On 11 February 2017, The Hague unveiled a new monument for J.R. Thorbecke. Artist Thom Puckey has portrayed the 19th-century statesman as a visionary architect of his times, forging a unique connection between the past and the present. The exhibition 'A Matter of Time. Thom Puckey en het Thorbecke monument' presents a selection of works from Thom Puckey’s oeuvre. It is intended to shed light on the imagery used in this striking new memorial and the connections between the Thorbecke monument and Puckey’s other work.
The monument at Lange Voorhout is not a classical statue. Rather, it shows two loosely-connected tableaux. Thorbecke – carved from white marble – sits behind his desk and turns around to look at us across the gulf of time. The second scene is a modern-day informal meeting between two men and a woman, who sits on a table. It is no coincidence that the viewer’s own image is mirrored in the stainless steel pedestal that supports the second scene. This creates an active connection between the viewer and the different figures and temporal zones.
The Monument for J.R. Thorbecke contains various features that refer to early and more recent works by Thom Puckey. Transparency and optical elements can already be found in the artist’s installations and sculpture from the 1980s, and in his black-and-white analogue photography and figurative work of recent years. Puckey’s material of choice in his later sculpture is usually white marble. His fragmented, cinematic scenes centre on the process of viewing. The artist details his sculpture with such precision that its scientific, sensual or violent character is able to take viewers out of their comfort zone.
The exhibition ‘A Matter of Time. Thom Puckey and the Thorbecke monument’ is possible thanks to the support of Annie Gentils Gallery, Narcisse Tordoir, Cultural Heritage Agency of the Netherlands, Museum Arnhem, Mondriaan Fonds and the City of The Hague - Municipality.
Group exhibition - Johnny Theodorus Wiekhart, Feiko Beckers, Alex Andropoulos, Robbin Heyker and Lucassen
In the celebration year of 100 year Mondriaan/ De Stijl, Heden presents the collection exhibition Don't be afraid of Red, Yellow & Blue from July 12 until September 3. Artworks from the Heden collection connected to Mondriaan and De Stijl will be shown. Recognisable are the colours, lines and the visual language of De Stijl. The artworks are characterized by geometric, abstract shapes in bright, primary colours.
With just a few lines and a few colours Bob Bonies (1937), Wim Sinemus (1903-1987), Jan Dibbets (1941), Anatole de Benedictis (1992) and Krijn de Koning (1963) salient to create images. A central theme in this exhibition is the artists’ research into form, line and colour. Although different techniques have been used (drawings, silk screens and installation) these artworks from different periods (from 1950 to present) form a diverse but harmonious unity.
Although each of these artists have a different approach, they are all connected by the abstract visual language and universal forms. These artworks show that the universal visual language of De Stijl is still relevant and current.
This summer West starts a new, ambitious series of art projects in public space on the Lange Voorhout in The Hague, entitled 'Arcade'. In this way we give an independent follow-up to the traditional sculpture exhibition on this lane of linden trees.
First in the Arcade series is Jesper Just (Denmark, 1974). The artist, living in New York, has created an international furore in the art world over the past few years. 'The location is always a starting point in my work and always a major protagonist.' With this statement in mind Jesper Just gives the city palace 'Huis Huguetan' on the Lange Voorhout a leading role in the presentation of his work. Building on his fascination for the way in which architecture influences our behaviour, the artist has created a site-specific architectural installation in public space.
Summer installation with works by gallery artists, inspired by water.
During the summer, the gallery is open by appointment only. Please contact us via email@example.com
The curator of the exhibition 'Continuous Monuments' Nina Folkersma will moderate a conversation between Rutger Wolfson and Jesper Just. The talk will be about Just’s new site-specific installation and the presentation in Huis Huguetan. What is the correlation between both presentations? What role does sound play in his oeuvre? How did Just’s interest in architecture arise and how is this revealed in his films? What were the ideals of Superstudio and why are they important? How can film and architecture slow down or gang up nowadays society?
Conversation will be in English.
The fascinating world of physical discomfort - things we rather not talk about – combined with implants, jewels, (vintage porn) photos and abstractions are the basis and inspiration for the latest project of Ton of Holland. The aging body, in a time of technical progress that makes the medical possibilities seem limitless, and people can continuously be physically renewed.
Only one size was used, all paintings are 1 m2, and four background colours: hospital white, blood red, surgery green and death black. Also on view is the collection “Medical Wallpapers”, designed with Dennis Koot.
Jeroen Doorenweerd Meets Gutai brings together two worlds: those of the Japanese avant-garde group Gutai (1954–1972) and the Dutch artist Jeroen Doorenweerd (1962). Gutai’s performances, installations and exhibitions broke new ground. The artists became known for paintings of which action was an inextricable part: “painting action, not action painting”, they called it. Doorenweerd (b. 1962) feels a kinship with the Japanese group despite the decades and thousands of kilometres between them. Gutai’s mentality and energy mirror his own. For Doorenweerd, a painting is a document of place, time and energy: the result of a “painting action”, a gesture, a state of being that is deeply personal. Jeroen Doorenweerd Meets Gutai features video footage of performances by Gutai artists including Shozo Shimamoto, Kazuo Shiraga and Atsuko Tanaka alongside Doorenweerd’s latest series of paintings, Silverstudio and Pinkorange.
Céline Condorelli presents Stroom's exhibition space as a place for rehearsal and play. A series of carousels and spinning tops invites visitors to play and interact with them, while (historical) references of radical playground-designs show what play means for the city and for society.
The artworks of Condorelli often allow intimate contact usually excluded from cultural objects: her works can be used and touched. They have double or triple lives, make references to works by others, and fulfill different spatial functions, such as an entrance, a display-structure, background, seating, bookshelf or as a room-divider.
Both the carousels and the spinning tops are sculptural objects as well as play structures, whereby the tops also function as scale models of (existing and possible future) carousels. At the end of the exhibition, the carousels will be relocated to the schoolyards of two local schools in The Hague. The pupils of which have been actively involved as researchers in the development of this project. And 'Proposals for a Qualitative Society (Spinning)' is full of references: to Lina Bo Bardi, Palle Nielsen, Aldo van Eyck, Charles & Ray Eames and Constant to name a few. They are present in a series of new (wall) works developed by Condorelli with graphic designer James Langdon.
'Proposals for a Qualitative Society (Spinning)' is Condorelli's contribution to 'Attempts to Read the World (Differently)', a program in which Stroom together with various artists looks in a searching, intuitive way at our present world, the rapid developments therein and possible futures. And by doing so, imagines a possible new world.
'Proposals for a Qualitative Society (Spinning)' is made possible in part by the Mondriaan Fund, BankGiro Loterij Fonds and the City of The Hague.
Kim Boske creates a new reality in her work, where she brings together multiple perspectives in one image. At first sight, her work looks like an impressionist landscape. The scenic and dreamy look of the work carries the viewer along to an almost fairy-tale world. Unique in her work is the apparent contradiction between the soft look of the image and the use of the photographic medium which is used to create razor-sharp images.
Kim composes her work by capturing different moments in time of the same image. In this way, time is not only an instrument to create the image, but also the subject of her research. The result of this process is a collection of images through time, which together form a new image. This constructed image could never exist but is made visible through layered fragments of time. During the exhibition, a special, limited edition print will be available.
Kim Boske (Hilversum, 1978) studied at the Royal Academy of Art in The Hague. Her work was shown at leading international museums, including the FOAM Photography Museum Amsterdam, MAM Moscow and the Dutch Photography Museum in Rotterdam.
For the exhibition On Speaking Terms designers Lorien Beijaert and Arna Mačkić of Studio L A have created an experimental exhibition space. The various works of art will be displayed within the walls of Nest but in a new setting, to facilitate seeing things from new perspectives. On Speaking Terms shows art that questions we-them binaries and ‘me against them’ terms of thinking within our society. A temporary arena in the heart of Nest will invite you to form and exchange ideas on new views.
Initiated and designed by Studio L A.
Group show with paintings by young international artists, curated by gallery artist Jan Wattjes.
Opening of the group exhibition Painting Now, curated by Jan Wattjes. The artists will be present.
‘I saw the best minds of my generation destroyed by madness’, born as a dog I now am howling.
A howl echoes through the corridors perpetually. For every soul forgotten, for every brain in the back row, for every maker who relishes making, for every romantic, for every one who questioned life’s worth but chose to truly live.
For all of these I howl, for I’m a dog»
In this edition of Billytown Kitchen sessions, SID YOUNG has taken Allen Ginsberg famous poem 'Howl' as the starting point of inspiration, whilst continuing to question the human condition from the perspective of now. In the times of cynicism, overpowering irony and glorification of sarcasm, is there still space for an honest, loud, pure human emotion? The answers you may find in the works of Debbie Young, Katerina Sidorova, Harriet Morley and Alex Burch.
SID YOUNG - alumni from KABK, The Hague - have invited two Glasgow based artists Morley and Burch in order to continue their international platform to expose young artists. Several SY exhibitions have already taken place with many future plans under their belt which will continue to highlight The Hague as a breeding ground for artistic talent.
Solo project by Bea McMahon
Marshall McLuhan (CA), Wolfgang Spahn (AT), Darsha Hewitt (CA), Christof Migone (CA), Thomas Begin (CA), Haroun Farocki (DE), !Mediengruppe Bitnik (DE/CH), Mogens Jacobsen (DK), Reynold Reynolds (USA), Hito Steyerl (DE), Peter Blegvad (UK), Willy Lemaitre (CA) & Angela Washko (USA), Stephanie Syjuco (USA), MRZB (IT),
Recursive exhibition and symposium project. Celebrating the synthetic practices of the Toronto School, featuring the radical experimental publishing work of Marshall McLuhan as art. Feedback’ brings artists, designers, scholars and thinkers together to probe, encounter and contest the light-speed electronic information environments we inhabit today.
Exploding out of the wreckage of World War II the early cyberneticists Norbert Wiener and Claude Shannon, sketched out a future where even thinking could be automated. Marshall McLuhan saw in the electronic information of global instantaneous mass-communication of the satellite and tv age, the end of the rational tradition of enlightenment Humanism, and the emergence of a ‘Global Village’ and ‘Global Theater’ where people would be caught up in their interconnectivity and develop new social art forms.
The pace of technological transformation, automation and globalisation has resulted in massive human migration, precaritization, displacement and new transitional modes of existence. Publics are formed and dissolved algorithmically according to need, no longer on the level of opinion or knowledge, but according to advanced social cybernetics of the advertising economy. The medium is the message.
This autumn marks the fourth time in a row that Stroom organizes an exhibition in Atrium City Hall The Hague. The exhibition 'Play your city' (Speel je stad) zooms in on the importance of outdoor play, a physical interaction with the urban environment, a view of the city as a playground and what the contribution of art could be in this field. The exhibition features a.o. scale models of a selection of Art-at-school projects initiated by Stroom, and the video 'Voice of Children' by the British collective Assemble. In addition, the exhibition design actively invites visitors to come and play.
Play your city (Speel je stad) is generously supported by: the City of The Hague, Stichting Atrium City Hall, BankGiro Loterij Fonds and Bouwfonds Cultuurfonds.
Parallel to 'Play your city' (Speel je stad), but from an entirely different perspective, Stroom presents the exhibition 'Céline Condorelli: Proposals for a Qualitative Society (Spinning)', also focusing on what play means for the city and for the society we live in (9 September - 19 November 2017).
After Warffemius, herman de vries and Jeroen Henneman, the work of Pat Andrea is focus of the Art The Hague campaign in 2017.
In the booth of Galerie Ramakers works by Pat Andrea and other artists are featured.