J A C Q U E L I N E   H A S S I N K
A M A D O R   G A L L E R Y  

M O R T E N   A N D E R S E N

B O R I S   B E C K E R

O L A F   O T T O   B E C K E R

F L O R I A N   B Ö H M

M I K I K O   H A R A

J A C Q U E L I N E   H A S S I N K

O S A M U   K A N E M U R A

K E I Z O   K I T A J I M A

J E N S   L I E B C H E N

S U S A N   M E I S E L A S

T A I J I   M A T S U E

R Y U J I   M I Y A M O T O

M A R K   P O W E R

L A R S   T U N B J Ö R K

R O B E R T   V O I T

 

A R T I S T S
E X H I B I T I O N S
In her first project, "The Table of Power" (1993-1995), Hassink photographed the tables of the uninhabited boardrooms of Europe's 40 largest multinational corporations.

In "Banks" (1995-1996), Hassink explored the relationship between Europe's largest banks and Europe's largest multinationals, photographing thieir boardroom tables empty of people.
Shoes are initially private objects that come to occupy both public and private terrain. In "The Shoe Project" (1999-2001), Hassink approached women who own more than 100 pairs of luxurious shoes.

The haute couture world is the most elite in the fashion industry. Unusually large rooms with mirrors, they are private spaces within a private environment. In "Haute Couture Fitting Rooms, Paris" (2003-ongoing), Hassink addresses these spaces that are a reflection of the very specific corporate image the couturier wants to project, and at the same time a secluded and elite 'mirror world'.
For "Car Girls" (2002-2007) Hassink visited car shows in cities of 3 different continents, each with differing cultural values with regard to their ideal images of beauty and women. The series captures the moments during the womens' performances when they become more like dolls or tools than individuals.

 

H O M E
A R T I S T   I N F O
C O N T A C T