Lauren Greenfield – Generation Wealth

What are you really like? And what do gold handbags, gleaming sports cars, glittering jewellery, luxury villas and ‘killer bodies’ have to do with it? For some people, these things are so important to their identity that they go so far as to hire a flashy car in order to show it off on Instagram, in imitation of Kim Kardashian, Paris Hilton and accounts like Rich Kids of London. American photographer and filmmaker Lauren Greenfield (b. 1966) has been concerned with the subject of ‘wealth’ for 25 years, portraying both the ‘rich and famous’ and those who do everything in their power to project the same image. The Hague Museum of Photography will be showing Generation Wealth, the first major retrospective of Greenfield’s work. With over 200 photographs and several short films, Generation Wealth promises to be an impressive account of some people’s burning desire to appear wealthy at any price.

Artist: Marc Mulders
Marc Mulders – Flowers and Animals

Marc Mulders’ (b. 1958) studio is a barn in the middle of a field of flowers. As he stands painting in the doorway, bees buzz and butterflies flit around his easel. Mulders calls his garden ‘my own private Giverny’, in reference to the famous gardens of Claude Monet, one of his artistic heroes. His impasto, almost abstract, oil paintings follow the natural world he sees around him. ‘In spring and summer I sniff all the aromas. In the autumn I paint with the echo of all those magnificent flowers in my head. And in winter I’m driven by a longing for the new flowers that will grow in my field’, he says.
Gemeentemuseum Den Haag will pay tribute to Mulders with a small retrospective in the Berlage Room to mark his sixtieth birthday.

Curated by Juan Pablo Fajardo
Artist: Emory Douglas
Emory Douglas: The Black Panthers

All power to the people! The battle cry of the Black Panthers resonates in our minds to this day. One of the architects of this political and aesthetic maxim is Emory Douglas, Minister of Culture of the radical movement founded in 1966 Oakland, California.
The party, with a complex mix of influences that range from Marxism and Maoism to principles of self-defence and the fight against racial and class exclusion, developed an ideological manifesto: a ten-point program of social, economic and political tenets. Within the scope of political graphics, the Black Panther’s striking visual universe undoubtedly stands out. From meticulously staged outfits —afros, leather jackets, berets and all-black clothing— to the potent and mindful visual production of their print propaganda, they portrayed a distinct viewpoint that seems both intuitive and calculated at once.
For the first time in Western Europe. This exhibition showcases a significant selection of posters and newspapers from the party’s initial years, featuring among its highlights provocative images of the armed revolution and caricatured depictions of the oppressor, devised to empower the African American community. It also presents a selection of photos and political documents.

Emory Douglas (1943) lives and works in the Bay Area, USA. His work has been shown in numerous exhibitions on the Black Panther Party. He had exhibitions at a.o. the Biennale of Sydney, the African American Art & Cultural Complex, New Museum, New York; San Francisco; the Richmond Art Center, California; Station Museum of Contemporary Art, Houston; and Tate Modern, London.

+ Symposium: 18 + 19 oktober 2018, more info: www.westdenhaag.nl

until 03 Mar
Curated by Feico Hoekstra
Artist: Ossip Zadkine
Zadkine aan Zee

Who isn't familiar with that bronze figure in Rotterdam with a hole in his body? Sometimes he is called ‘Holey Jan’ or ‘Jan with the hands.’ The sculpture is actually called De Verwoeste Stad (The destroyed city) and is considered worldwide as one of the most successful monuments for victims of the Second World War. Its fame is even so great that many people also know the name of the maker: Zadkine. That is special for a sculpture in the public space. But who was Zadkine? And what else did he make? The ‘Zadkine by the Sea’ exhibition provides a comprehensive overview of the oeuvre of this Parisian master of modernism who, together with fellow artists like Picasso, Brancusi and Lipchitz, changed the face of Western sculpture definitively. Special attention is paid to Zadkine’s intimate connection with the Netherlands, where his collectors and clients were often also his friends.

In 2017, museum Beelden aan Zee won the Turing Toekenning II award of €150.000 for its exhibition concept of Zadkine by the Sea.

Ossip Zadkine (1888-1967) is considered among the most important sculptors of the twentieth century. Born in Vitebsk in White Russia, he settled in Paris in 1910. He became acquainted with modern art there and from 1911 started contributing to it himself in stone and wood. Influenced by cubism, he developed his own unique style in the early nineteen-twenties, which would become increasingly dynamic and baroque through the nineteen-thirties. During the Second World War Zadkine remained in exile in the United States, where his reputation only increased. His expressive sculptures from after 1945 show his resilience in endowing the new ideals of the Europe of post-war reconstruction with a unique and new form.

Zadkine was a highly original artist with a clear personal vision which focused on the inextricable bond between man and nature. Through this he represented the role of Orpheus, the mythological poet whose art was able to keep the evil in the world at a distance. It was precisely that meaning which Zadkine, who had endured two world wars, attached to his own art. The exhibition in Beelden aan Zee focuses for the first time on this ideological motivation of the sculptor. Zadkine’s capacity to reinvent himself, time after time, so he could respond to the changing world around him with new forms, distinguishes him as one of the greatest artists of his time.

Artists: Anne Geene and Arjan de Nooy
Anne Geene and Arjan de Nooy – The Universal Photographer

With their humorous, pseudo-scientific work, Anne Geene (b. 1983) and Arjan de Nooy (b. 1965) make their audience look at the world in a new way. They collaborated on the award-winning publication Ornithologie (‘Ornithology’), an alternative bible for birdwatchers. This year Geene’s solo work won the Volkskrant’s art prize and the readers’ prize. The Universal Photographer is about the fictional photographer U. (1955-2010), whom Geene and De Nooy have used to make an ‘encyclopaedia’ of photography. The exhibition of the same name will be on show for the first time this autumn at The Hague Museum of Photography, to coincide with the publication of the book.

until 17 Feb
Artist: Shirin Neshat
Shirin Neshat

Photographic and film artist Shirin Neshat (b. 1957) grew up in Iran, but left at the age of 17 to study art at UC Berkeley in Los Angeles. Her work focuses on the conflict between her own roots and western culture, and the roles of men and women. This autumn her work will be on display at GEM. To Neshat’s delight, the show will run virtually concurrently with Splendour and Bliss. Arts of the Islamic World. From the early series Women of Allah to her more recent films and new photographic work, the selected works will illustrate Neshat’s development since the start of her career.

Anne Forest – I Am With Name

The work of Anne Forest has roots in both classical portrait art and the creepy horror genre. Forest 's work is dark but also lovely, and at the same time static and dreamy. Her imaginative characters stare at the viewer which gave an ominous feeling. They are stripped of their context, but have names. So Forest subtly shows the contrast between the individual character of its creatures and the fictional, universal world in which they all find themselves.

Forest works very detailed, with a lot of attention for texture. With unusual portraits she brings depth to her portraits, which come to life. The sleek, graphic lines ensure a clear division of the surface, where the depicted character demands all attention from the viewer. In her recent work, Forest challenges herself further by cutting foam carriers herself. These headlines are strongly reminiscent of traditional masks, but - like all the people portrayed by Forest - they have something unhuman. You could see them as dream-creatures. The strength of Forest lies in leaving these possibilities open, she herself gives no explanation about her work. This is precisely what makes it possible for the viewer to lose themselves in the dark dream world of Anne Forest.

Artist: Giovanni Palmieri
I often have nightmares of going back to my home country

Giovanni Palmieri (Paraguay 1993) graduated this summer from the photography department of the Royal Academy of Art The Hague. For his graduation project, Palmieri researched the mythological stories from Paraguay. The spirits who oppressed families and prescribed the rules to them. Tau, Kerana, and their seven cursed children. In his work, he tries to free himself from this by looking for the human side of these mythological creatures. He transforms them into an understanding of human behavior and explores the unknown answers of life.

Artist: Dave de Leeuw
Solo exhibition Dave de Leeuw | ‘Mumbling the phrases’

Hoorn & Reniers dedicates its last solo exhibition of 2018 to the works of Dave de Leeuw (Heerlen, 1981) who graduated from the Maastricht academy of fine arts in 2008. His oeuvre was first brought to the attention of the artloving public by former museum director Wim van Krimpen and consists of paintings, drawings, sculptures and occasionally videoinstallations. De Leeuw’s autobiographical works portray isolated individuals who oscillate between melancholy and humour, sensuality and loneliness and treat of his place in the world and the immense depth of existence.

Artist: Julie Béna
ROSE PANTOPON AND THE WHEEL OF FORTUNE

For her first solo exhibition in The Netherlands, Julie Béna will work on the next step of her ongoing project ‘Have you seen Pantopon Rose?’: a project based on theatre, antiquity, mythology, writing and nightlife. The main performer, Rose Pantopon, is inspired by the character that appears just once in one of the last chapters of Naked Lunch (a novel by American writer William S. Burroughs), when an old junky asks the question: “Have you seen Pantopon Rose?”.
The project builds on the following quest: Who is Rose? Feeding itself from Greek tragedy, theatre, and personal stories of having grown up amidst a theater company and night-clubs to support her studies, the artist brings fantasy, color, music, narration, gestures, objects, and the absurd together in this project.

Béna works on environments that draw inspiration from the world of literature film, theatre and popular culture.
She invents dream like states that blends her imagination with a pop culture sensibility. Béna’s work instigates
mystery and doubt and her emphasis on irrationality remains one of the biggest strengths in her work. She approaches her own subject through characters in the videos, performances, sculptures and rhythmical poetry.
Despite the fact that she studied at the Gerrit Rietveld Academie, this will be her first solo exhibition in The Netherlands.

until 23 Dec
Artists: Joseph Montgomery and Willem Hussem
Joe

Joseph Montgomery’s second solo exhibition at the gallery is comprised of shim paintings. Whereas in previous exhibitions his work has combined both soft collage and the hard edges of the shim painting, this exhibition is only built upon the base structure of wedge combinations. This includes an animation in which the protagonist is also constructed from wedges.

Shims are thin pieces of construction material typically used to fill in a gap or as a leveling device and are often made of cedar, a rot resistant type of lumber. They are used in two places in Montgomery’s work, the “shim painting” and the “shim doll”, both of which are composed of articulations of the modular unit. Thus the shim forms the basis of an expressive visual language through repetition and difference. They are present in the application suites shimindex.com and dollindex.com as two tools that allow the artist to compose a doll or painting by displaying all possible iterations given a set of limitations.

The title “Joe” comes from the fact that the artist is called by two names. He is Joe informally and Joseph formally. Similarly, a painting can be named twice or three or four times. Montgomery’s use of multiple aesthetics to construct paintings names painting both as a friendly practice and a strange practice. The play between informal and formal occurs in this new body of work’s use of mirror as a painting material. Collaged within the shims by occupying the interstitial space between the wedges, the reflective surface renders the figure ground relationships ambiguous while giving the decorative nature of the material a more psychological purpose. In the fragmentation of the architecture around the object and the reflection of the viewer’s body in portions, the shim + mirror combination announces a protagonist who is mutable relative to perspective. Similarly, a set of three monochromes appear solid from afar. At an intimate distance, bundled wedges and rectangles undulate under the skin of paint.

In the animation, the shim doll bathes. Based on the Bonnard painting Nude in the Bath (1936), the doll continuously labours to rest amidst two other characters, reflection in the fluid and shadow in the depths.

front space: Willem Hussem (1900 – 1974)
As a prelude to his solo exhibition at Dürst Britt & Mayhew in the spring of 2019 we will show a small selection of works by renowned Dutch artist Willem Hussem (1900-1974) in the front space of the gallery.

As an artist Willem Hussem continually experimented and produced highly diverse works of art, including painting, drawing and sculpture. A constant aspiration towards simplicity and purity underlies his entire oeuvre. This aspiration is closely connected with his need for clear systems of thought. It was in Hegel’s philosophy and Zen Bhuddism that he found the intellectual basis for the universalistic outlook on the world that would determine his thought and work.

Throughout his life Hussem was in search of a manner of working that tied in with his philosophical views. In poetry, he found this in short lyrics, while in art he initially found it in a style that steered a middle path between expressionism and constructivism, and finally in geometrical abstraction.

In 1960 Willem Hussem represented The Netherlands at the Venice Biennial. During his lifetime he had solo exhibitions at Gemeentemuseum in Den Haag, Museum Het Princessehof in Leeuwarden and Stedelijk Museum in Schiedam and participated in major group exhibitions in Museum Boijmans van Beuningen in Rotterdam, Van Abbemuseum in Eindhoven and Stedelijk Museum in Amsterdam. He also exhibited twice at the Carnegie International in Pittsburgh, US.
After Hussem’s death in 1974, the ‘Hussem Committee’, which consisted of influential artists, art historians and museum directors, kept his legacy alive. Retrospectives were mounted at Museum Boijmans van Beuningen in Rotterdam, Centraal Museum in Utrecht and most recently at Museum Belvedere in Oranjewoud.

Hussem’s work is held in many private and public collections, including Centraal Museum, Utrecht, Gemeentemuseum, Den Haag, Museum Boijmans van Beuningen, Rotterdam and Stedelijk Museum, Amsterdam.

Curated by Niekolaas Johannes Lekkerkerk
Artists: Anna Betbeze, Benoît Maire, Cevdet Erek, Daniel Gustav Cramer, Dominique Gonzales Foerster, Etienne Chambaud, Francisco Tropa, Gabriel Kuri, Irene Kopelman, Jean Painleve, Jochen Lempert, Joëlle Tuerlinkx, Jorinde Voigt, Karl Blossfeldt, Michael E. Smith, Nicolas Lamas, Oscar Santillán and others
Act II  ‘Archipelago — A Problem (On Exactitude in Science)’

The exhibition 'Archipelago — A Problem (On Exactitude in Science)' centres around a fictitious, mental archipelago where a group of mathematicians, geologists, cartographers and other scientists try to index the measurable facets and phenomenological manifestations that they uncover during their research expedition. As the unprecedented landscape is subject to constant change and fluctuations, the advanced instruments with which the research group is equipped prove to be unsuited to recording and documenting their observations and findings accurately. The scientific languages they employed elsewhere do not appear to correspond in any way to their somewhat predetermined, stable patterns of expectation, preconceived knowledges and epistemological registers: the diversity of living conditions and environments found within the archipelago appears so diverse and unstable that every island seems to require its own individual linguistic and scientific approach. To this end they decide to develop a new compendium entitled 'The Sea Island Mathematical Manual' in order to do justice to a world of constant change using a series of –to use philosopher Donna Haraway’s words–SFs (science fact, science fiction, speculative fabulation, so far).

Curated by Niekolaas Johannes Lekkerkerk

From September to December 2018, Tlön Projects will temporarily be housed at the Parts Project venue for the launch of its satellite programme by means of two exhibitions. For more information about the program of Tlön Projects please see www.tlonprojects.org

Parts Project will take a slightly different position in The Hague’s art scene. In addition to self-initiated projects, there will be room for close collaboration with like-minded initiatives to realize their own projects. From January 2019 onwards, Parts Project resumes its programming in new directions.

until 22 Dec
Artists: Aaron van Erp, Amir Tirandaz, Anselm Kiefer, Jasper de Beijer, Jose Maria Sicilia, Raquel Maulwurf, Roger Wardin, Ruri Matsumoto, Simon Schrikker and others

The End of War (11/11/1918, Armistice WW I) with works by Raquel Maulwurf, Anselm Kiefer, Jose Maria Sicilia, Amir Tirandaz, Aaron van Erp, Simon Schrikker, Jürgen Brodwolf, Ruri Matsumoto, Roger Wardin, Daniele Galliano, Ryan Mendoza, Kcho, Theo Eissens, Jasper de Beijer, Ottmar Hörl.

Curated by Roel Arkesteijn
Artist: Nishiko
Nishiko: Repairing Earthquake Project

As part of a series of presentations highlighting promising visual artists, this fall Stroom Den Haag will feature an exhibition of the 'Repairing Earthquake Project', the magnum opus of the Hague-based artist Nishiko (Kagoshima, Japan, 1981). After the earthquake and the subsequent tsunami in March 2011, she visited the Tohoku district in Japan, searching for remaining objects and collecting eye-witness accounts that enable us to experience the aftermath of the disaster first hand. During the project Nishiko repairs and reconstructs the battered objects with great care and tenderness. With their scars they are visual reminders of these historical events. The repaired objects were further granted a second life, as the artist had them adopted by foster parents. The exhibition at Stroom will present the 'Repairing Earthquake Project' for the first time in its entirety.

The exhibition at Stroom not only aims to present the impressive 'Repairing Earthquake Project' to a wider audience. Nishiko's project also enables us to experience a human tragedy. Simultaneously the project bears witness to an ecological crisis. The fact that the sea level is rising dramatically due to man-made climate change, as well as the presence of plastic garbage patches in the Great Pacific, gives the project even more urgency. The 'Repairing Earthquake Project' not only dwells on the earthquake and tsunami in Japan in 2011, it also reflects upon our common future.

The exhibition and the Stroom School side program will be compiled by guest curator Roel Arkesteijn. He is a curator and author interested in forms of artistic engagement, activism, and art for social change. Since 2008 he has been curator of contemporary art at Museum Het Domein (currently: Museum De Domijnen) in Sittard.

Special thanks to:
The exhibition is made possible through generous support by the Prins Bernhard Cultuurfonds, the Mondriaan Fund and the City of The Hague.

Artist: Elka Oudenampsen
Elka Oudenampsen – SOLO

Colours, shapes, overlap in compositions and patterns, as a reflection from her inner landscape. Painter Elka Oudenampsen (1967) brings something to life. Examining what colour does, what the eye observes. Contrasts deliver new experiences and put everything in a different perspective. Her energy arises in the making, searching for a spatial collage, to a controlled final image. In her earlier work you can still see fragments from reality. More recent canvases are painted in a range of colours and delimited in forms.

These shapes are also placed over each other, or opposite and cut across, vertically or horizontally. This creates a spatial experience. The image is often caught in a stationary motion. Sometimes you see clear marks of paint, regular, taut and accurate. The composition of one work is even more complex than that of the other.

In a painting of Elka Oudenampsen there are no traces of political engagement or social views. However a strong drive is to be discerned. Trough proper research canvases are produced in all sizes and colours. It is her energy flow that determines the end result. Autonomy of a visual language is the goal that Oudenampsen strives for. All produced by the pure experience of looking.

until 23 Dec
Artists: Andrea Freckmann, Cedric ter Bals, Christie van der Haak, Diederik Gerlach, Dieter Mammel, Dirk Zoete, ed pien, Elmar Trenkwalder, Elsbeth Ciesluk, Erik Pape, Eva Spierenburg, Frank Van den Broeck, Heidi Linck, Henri Jacobs, Jan Brokof, Justin Wijers, Karin van Dam, Kim Hospers, marcel van eeden, Marjolijn van der Meij, Martin Assig, Martin Fenne, Nare Eloyan, Nour-Eddine Jarram, Robbie Cornelissen, Robert Nicol, Robine Clignett, Ronald Versloot, sebastiaan schlicher, Seekee Chung, Shary Boyle, Stan Klamer, Susanna Inglada, Tobias Gerber, Tobias Lengkeek and Zeger Reyers
Ristretto

In the group show Ristretto the artists of the gallery each show one or two small works. Ristretto includes long time represented artists like Robine Clignett, Marcel van Eeden and Diederik Gerlach but also new names as Shary Boyle and young talents like Tobias Lengkeek, Susanna Inglada and Cedric ter Bals. The show gives an actual overview of the gallery, with drawing at its core where Sebastiaan Schlicher newly developed a new variety with his video synthesis in which he draws by means of an electronic signal. Textwork by Elsbeth Ciesluk, recent glasswork by Christie van der Haak, ceramics by Elmar Trenkwalder and textile work by Martin Fenne show the diversity and width of the gallery program, completed by new paintings of Erik Pape, Andrea Freckmann, Tobias Lengkeek and Ronald Versloot.

Curated by Roel Arkesteijn
Artist: Nishiko
Opening – Nishiko: Repairing Earthquake Project

The opening of the exhibition 'Repairing Earthquake Project', the magnum opus of the Hague-based artist Nishiko (Kagoshima, Japan, 1981). After the earthquake and the subsequent tsunami in 2011, she visited the Tohoku district in Japan, searching for remaining objects and collecting eyewitness accounts that enable us to experience the aftermath of the disaster first hand. During the project Nishiko repairs and reconstructs the battered objects with great care and tenderness. Their scars are visual reminders of these historical events. The repaired objects were further granted a second life, as the artist had them adopted by foster parents. The exhibition at Stroom not only aims to present the impressive 'Repairing Earthquake Project' to a wider audience. Nishiko's project also enables us to experience a human tragedy. Simultaneously the project bears witness to an ecological crisis. The fact that the sea level is rising dramatically due to man-made climate change, as well as the presence of plastic garbage patches in the Pacific Ocean, gives the project even more urgency. The 'Repairing Earthquake Project' not only dwells on the earthquake and tsunami in Japan in 2011, it also reflects upon our common future.

until 16:00 – 17:00
Opening ‘Ristretto’

Opening of the groupshow Ristretto with Martin Assig, Cedric ter Bals, Shary Boyle, Frank Van den Broeck, Jan Brokof, Seekee Chung, Elsbeth Ciesluk, Robine Clignett, Robbie Cornelissen, Karin van Dam, Marcel van Eeden, Nare Eloyan, Martin Fenne, Andrea Freckmann, Tobias Gerber, Diederik Gerlach, Christie van der Haak, Kim Hospers, Susanna Inglada, Henri Jacobs, Nour-Eddine Jarram, Stan Klamer, Tobias Lengkeek, Heidi Linck, Dieter Mammel, Marjolijn van der Meij, Robert Nicol, Erik Pape, Ed Pien, Zeger Reyers, Sebastiaan Schlicher, Eva Spierenburg, Elmar Trenkwalder, Ronald Versloot, Justin Wijers, Dirk Zoete.

Artist: Elka Oudenampsen
Opening solo exhibition Elka Oudenampsen

Since the Philip Morris Art Prize was awarded to her in 1999, Elka Oudenampsen (1967) has been painting steadily, balancing between figuration and abstraction. Her former 'characters' disappeared in a forest of geometric 'landscapes', in which elementary forms such as the cylinder, the oval and the rectangle are strongly present. It is sometimes simply two-dimensional and at the same time spatially dynamic, while all colours make your eyes tremble. No, colours are only a means to achieve something, but not the goal in itself. Composition is also her playing field, no more and no less. She arranges and defines the world she sees. In this solo exhibition the painter Oudenampsen shows her journey as a process that does not end.

24 Nov – 16:00 – 18:00
Artist: Sam Lock
Unremembered

Opening of 'Unremembered' - solo exhibition by Sam Lock

Sam Lock’s new body of work can be seen as gestures on paper, canvas and aluminum. The process of creating itself is assigned primary importance as he approaches his works intuitively and directly in order to capture the moment. The works explores the idea of drawing and painting, rather than solely being drawings or paintings in themselves.

24 Nov 06 Jan
Artist: Sam Lock
Unremembered

Sam Lock’s new body of work gives an idea of said gestures on paper, canvas, and even aluminum. Thereby, the process of creating itself is assigned primary importance as he approaches his works always intuitively and directly in order to capture the moment. One could compare it with the mere idea of a drawing.
For example, by using pencil and pastel markings as well as traces of paint, his pictures suggest to be the result of literally exploring the space of the medium. Irregular lines, dots, curls, elliptical forms, staccato-like pencil strokes, and well-defined color fields are essential and omnipresent elements on paper as well as on canvas. Another characteristic of Sam Locks method is to exceed the physical boundaries of a picture by letting elements appear to leave the medium or to emerge into it, thereby creating the impression that they might extend beyond the image.
His works show a balance between white spaces with slight traces of pencil or paint on one hand, and condensed areas of rectangular and strongly colored forms on the other hand. Sometimes, the white spaces hide behind a one-color field, which almost fills the entire picture; and sometimes, just a fine line of color appears on the edge of an otherwise bright painting consisting of different shades of white.

Artists: Charlotte Mutsaers and Dave de Leeuw
Artist talk | Charlotte Mutsaers & Dave de Leeuw

Hoorn & Reniers cordially invite you to attend their upcoming artist talk. Author and artist Charlotte Mutsaers will enter in conversation with Dave de Leeuw whose running solo exhibition and recent developments in his works will form the starting point of the conversation.

28 Nov 13 Dec
Artists: Ien Lucas, Michel Hoogervorst, Ossip, Ton van Kints and Warffemius
After PAN Amsterdam

Highlights of the fair.

Image credits: René van der Hulst

International Symposium: All Power to the People! Day I

The struggle of the Black Panthers is alive today. It is a struggle for political recognition and representation, for equal rights and emancipation from systemic oppression and persistent exploitation. The Black Panthers were not ambivalent about their goals, theirs was an internationalist, socialist, abolitionist program.

For many activists today, the slavery paradigm has not ended but has merely transformed into the prevalence of prison labour and institutional racism. The slaveowners have been liberalised, the new masters are faceless corporations run for the benefit of disparate financial interests. Black liberation has not been achieved, and this is why we are seeing a new generation of activists who call themselves the ‘new abolitionists’.

Systemic transformation require international solidarity networks and generations of struggle to achieve. Such networks can not be built and sustained by politics alone, they require a cultural dimension which can sustain the movements through the challenges. Another world is possible, and not only possible, it is immanent.

Through the insights of our discussants, this symposium brings actors from the cultural, academic and activist sectors from The Netherlands and around the world to catalyse concerted action to energizing a political movement for international solidarity.

With professor of journalism Jared Ball (US), professor of law Kathleen Cleaver (US), artist Emory Douglas (US), curator Juan Pablo Fajardo (CO), collector Alden Kimbrough (US), and publisher Firoze Manji (KE) amongst others.

This two-day symposium takes place on 28 and 29 November 2018, 4-10 pm. For more information, full program and tickets go to: www.westdenhaag.nl

29 Nov – 19:30 – 22:00
Artist: Julie Béna
Background Evening with Julie Béna

For this background evening Julie Béna will compile an evening reflecting on her exhibition 'ROSE PANTOPON AND THE WHEEL OF FORTUNE'.

International Symposium: All Power to the People! Day II

The struggle of the Black Panthers is alive today. It is a struggle for political recognition and representation, for equal rights and emancipation from systemic oppression and persistent exploitation. The Black Panthers were not ambivalent about their goals, theirs was an internationalist, socialist, abolitionist program.

For many activists today, the slavery paradigm has not ended but has merely transformed into the prevalence of prison labour and institutional racism. The slaveowners have been liberalised, the new masters are faceless corporations run for the benefit of disparate financial interests. Black liberation has not been achieved, and this is why we are seeing a new generation of activists who call themselves the ‘new abolitionists’.

Systemic transformation require international solidarity networks and generations of struggle to achieve. Such networks can not be built and sustained by politics alone, they require a cultural dimension which can sustain the movements through the challenges. Another world is possible, and not only possible, it is immanent.

Through the insights of our discussants, this symposium brings actors from the cultural, academic and activist sectors from The Netherlands and around the world to catalyse concerted action to energizing a political movement for international solidarity.

With professor of journalism Jared Ball (US), professor of law Kathleen Cleaver (US), artist Emory Douglas (US), curator Juan Pablo Fajardo (CO), collector Alden Kimbrough (US), and publisher Firoze Manji (KE) amongst others.

This two-day symposium takes place on 28 and 29 November 2018, 4-10 pm. For more information, full program and tickets go to: www.westdenhaag.nl

Curated by Vincent van Velsen and Dan Walwin
Artists: Aline Bouvy, Charlott Weise, Dan Walwin, Daniel Jacoby, Evita Vasiljeva, Graham Kelly, Hanae Wilke, Josse Pyl, Kareem Lotfy, Lauren Hall, Machteld Rullens, Magali Reus, Nicola Arthen, Nicolas Pelzer, Nicolas Riis, Pieter van der Schaaf, Rubén Grilo, Sarah Pichlkostner, Saskia Noor Van Imhoff, Urara Tsuchiya and Yvonne Dröge Wendel
Even if it’s Jazz or the Quiet Storm

Sometimes an exhibition is not about just one thing, subject or theme, but rather about individual voices and the relationships they have with each other. Even if it's Jazz or the Quiet Storm establishes open associative connections and does not encourage you to understand, but to keep you going.

Curated by Vincent van Velsen and Dan Walwin
Artists: Aline Bouvy, Charlott Weise, Daniel Jacoby, Evita Vasiljeva, Graham Kelly, Hanae Wilke, Josse Pyl, Kareem Lotfy, Lauren Hall, Machteld Rullens, Magali Reus, Nicola Arthen, Nicolas Pelzer, Nicolas Riis, Pieter van der Schaaf, Rubén Grilo, Saskia Noor Van Imhoff, Urara Tsuchiya and Yvonne Dröge Wendel
Opening Even if it’s Jazz or the Quiet Storm

Sometimes an exhibition is not about just one thing, subject or theme, but rather about individual voices and the relationships they have with each other. Even if it's Jazz or the Quiet Storm establishes open associative connections and does not encourage you to understand, but to keep you going.

01 Dec 17 Mar
Artist: Ad Gerritsen
Ad Gerritsen

Dutch artist Ad Gerritsen (1940-2015) painted, above all, people. His images are familiar, yet disturbing and discomfiting. His colourful paintings have a dark undertone and his stylized figures have something grim about them. Gerritsen often holds up a mirror to our world. You may see more of yourself than you want to in his pictures. From December 2018, the Gemeentemuseum presents Gerritsen's finest paintings, plus drawings, graphic work and ceramics.

01 Dec – 18:00 – 20:00
Artist: Özlem Altın
Özlem Altın: Dance

Page Not Found is delighted to invite you to meet visual artist Özlem Altın. She will talk about her latest publication, “Dance”, and present a new mini-edition, made especially for this event.

In her work, Özlem Altın draws especially from the comprehensive collection of images and texts that she has intuitively compiled from various sources and, moreover, from her own drawings and photographs. Altın transforms the exhibition space into a kind of stage, into a site for performing a visual programme, the elements of which emerge, surface, and then disappear again, similar to a clue or trail. The focus of this programme rests with the body, the languages of bodies, the gestures, the suggested movements and changes in posture. The body, for Altın, is a vehicle for transferring knowledge, experience, a vehicle of communication and exchange.

Özlem Altın (b.1977) is a visual artist based in Berlin. She is a graduate of the Piet Zwart Institute in Rotterdam (MA) and the Hoogeschool voor de Kunsten in Arnhem (BA). Selected solo shows include 10th Berlin Biennale (2018), Camera Austria, Graz (2017), Vleeshal (as part of OAOA), Middelburg (2015), Cathartic ballet at Circus in Berlin (2013), Rhythm of Resemblance at Günther-Peill Foundation at the Leopold Hoesch Museum in Düren (2012) and Ianus (My memory of what happened is not what happened) at Fondazione Morra Greco in Naples (2010). Özlem Altın is the founder of Orient Press publishing house in Berlin and the member of the Oceans Academy of Arts (OAOA).

Credits: (images) "Intuition", "What you are looking for" and "Wheel of Union" by Özlem Altın, (text) excerpts from "Developing, Handling, Processing, Preparing" by Reinhard Braun

14 december t/m 1 januari 2019 is de galerie gesloten
happy New Year!

Artist: Kasia Fudakowski
Kasia Fudakowski – solo exhibition

The work by Kasia Fudakowski (1985, lives and works in Berlin) is characterised by a cleverness and distinct sense of humor, probably tinted by her British background, full of sarcasm and self-ridicule that worked as powerful tools for reflection.

In December 2018/January 2019 she will present a video installation at 1646 with newly developed work. This work concerns a futuristic scenario that evolves around scientists who confirm a direct correlation between the dramatically rising sea levels and the amount of words that we speak. Delegates from every nation of the world gather together to find a quick solution and resolve that each citizen of the world shall be rationed to 433 words per day. This comes to be known as Cage Law after John Cage’s 4”33’.
This disaster-in-slow-motion horrific farce, follows the lives of four main characters trying to keep their heads above water, where Every Word Counts. Their central narrative thread is intercut by shorts shot around the world, which investigate the consequences of this new law, from ten different cultural, economic and climactic perspectives.

Kasia Fudakowski has previously shown her work at 1646 and during this performance in 2016, 'Tap and Die - A lecture on the work of Andy Kaufman and Lee Lozano', Kasia managed to merge an experience of struggle, directness, laughter and lightness with a full mastering of the tragi-comic. She has this ability to find visual forms, far from any literal translaton, that serve to explore her captivating mindmap of socially engaged ideas and psychology.

Kasia Fudakowski has exhibited internatonally at venues such as Modern Art Oxford; Museum
of Contemporary Art, San Diego; Kunstverein Braunschweig; Arnolfni, Bristol; GAK, Bremen;
FUTURA, Prague; Harburger Bahnhof Kunstverein, Hamburg; Sprengel Museum, Hanover; and
Bring Art into Life! at Museum Ludwig, Cologne.

image: Still from Word Count 04, The Martyrdom of Professor Sanchez, 2018, written and directed by Kasia Fudakowski, courtesy of the artist and ChertLüdde, Berlin.

15 Dec – 18:00 – 20:00
Artist: Falke Pisano

More information about this event coming soon.

Falke Pisano (1978, Amsterdam) lives and works in Rotterdam and Berlin. Her diagrammatic works expose a loop, in which shifting abstract sculptural forms are conceived directly in relation to written and spoken language, implying an ongoing and morphing production of meaning. In the publication ‘’Figures of Speech’’ (designed and co-edited by Will Holder, published by JRP-Ringier, Christoph Keller Editions, 2010) Pisano brought together her work focusing on the act of speech in relation to different forms of agency in artistic production. The artist second cycle of works (2011-) “The Body in Crisis” consists of a series of propositions and inquiries that look at the body in crisis as an ongoing event.

Pisano’s solo exhibitions include Centro de Creación Contemporanea de Andalucia, Cordoba (2016), Badischer Kunstverein Karlsruhe (2016), Gallery at REDCAT, Los Angeles (2015), Praxes, Berlin (2014), The Showroom, London ( 2013), Ellen de Bruijne Projects (Amsterdam, 2007, 2011) Hollybush Gardens (London, 2009, 2012), De Vleeshal (Middelburg, 2012), CAC (with Benoît Maire, Vilnius, 2011), Transmission Gallery (Glasgow, 2010), Extra City (Antwerp, 2010), Kunstverein (Graz, 2009) and Halle für Kunst e.V. (Lüneburg, 2008). She participated in major groups shows such as the Venice Biennial (2009) and Manifesta (2008). She performed at Museo Reina Sofia (2012), the 5th Berlin Biennale (2008) and Lisson Gallery, London (2007). She is the winner of Prix de Rome 2013.

Artists: Aaron van Erp and Manfred Schneider
Opening Aaron van Erp and Manfred Schneider

The opening of our new exhibitions by Aaron van Erp and Manfred Schneider.

13 Jan 08 Mar
Artist: Aaron van Erp
Drawing from the hip

Aaron van Erp (NL/PY) – Drawings 1998-2018

13 Jan 08 Mar
Artist: Manfred Schneider
Helio Trope Sleep

Manfred Schneider (D), Helio Trope Sleep, video, drawings, paintings

20 Jan 17 Mar
Artist: Paul Neagu
Anthropocosmos

Parts Project is proud to be able showing a solo presentation of the UK/Romanian artist Paul Neagu (1938-2004).

Although known mainly as a sculptor in Britain in later years, Neagu always worked in a variety of mediums - and often across mediums - producing paintings and drawings as well as three-dimensional works, and especially performances. During the last decade or so of his life, ill-health prevented him from realising new performances, although he continued to plan and conceptualise these, and to draw and paint extensively. Neagu's performances of the 1970s were intimately linked to his sculpture and painting, and would often take place in front of or in conjunction with his own works as if they were "props", in a most dramatic and athletic manner. Such performances demanded an absolute fitness and physical tone of which he was intensely proud. (Paul Overy)

His works can be found in public collections including, among others, the British Museum, London, le Fond départemental d'art contemporain, Seine Saint-Denis, Bobigny, France, the Hugh Lane Municipal Gallery of Modern Art, Dublin, the Musee Cantonal de Beaux Arts, Lausanne, Switzerland, the National Museum of Art of Romania, Bucharest, the Philadelphia Art Museum, Philadelphia, USA, Tate Gallery, London and various private collections worldwide, including The Netherlands.

Curator: Maria Rus Bojan

20 Jan – 15:00 – 18:00
Artist: Paul Neagu
Opening Anthropocosmos

Parts Project is proud to be able showing a solo presentation of the UK/Romanian artist Paul Neagu (1938-2004).

Although known mainly as a sculptor in Britain in later years, Neagu always worked in a variety of mediums - and often across mediums - producing paintings and drawings as well as three-dimensional works, and especially performances. During the last decade or so of his life, ill-health prevented him from realising new performances, although he continued to plan and conceptualise these, and to draw and paint extensively. Neagu's performances of the 1970s were intimately linked to his sculpture and painting, and would often take place in front of or in conjunction with his own works as if they were "props", in a most dramatic and athletic manner. Such performances demanded an absolute fitness and physical tone of which he was intensely proud. (Paul Overy)

His works can be found in public collections including, among others, the British Museum, London, le Fond départemental d'art contemporain, Seine Saint-Denis, Bobigny, France, the Hugh Lane Municipal Gallery of Modern Art, Dublin, the Musee Cantonal de Beaux Arts, Lausanne, Switzerland, the National Museum of Art of Romania, Bucharest, the Philadelphia Art Museum, Philadelphia, USA, Tate Gallery, London and various private collections worldwide, including he Netherlands.

Curator: Maria Rus Bojan