The work of the German artists Christoph Girardet & Matthias Müller focuses on re-contextualizing found footage. They often use various fragments of older films of different genres (feature films, commercials, corporate films etc.) taken out of their original context, creating new connections and generating new meaning in doing so, enhanced by the addition of sound. While, in a number of works, the artists show the repetitive element of film by putting innumerable similar scenes from various films after one another, they also have produced a large amount of works revolving around one single emblematic motif. On one hand this gives the viewer a way to critically reflect on standards of cinematic representation. On the other hand, Girardet & Müller liberate their footage from its original source and serving function in offering it a new life. Somebody, Nobody, Anyone is their first solo exhibition in The Netherlands and will combine collective and individual works by Girardet & Müller.
The exhibition You Are Here curated by Christoph Girardet & Matthias Müller unites works in different media revolving around questions of identity. Identities mirrored in, shaped and distorted by contemporary media juxtaposed with poetic representations/manifestations and metaphors of the physical, individual self. As in many of the works of Girardet & Müller, parallel on show in West Huis Huguetan, there is an emphasis on the question of the self in regard to categories such as location and dislocation and the personal and the collective.
The artists presented in ‘Stretch Release’ can all be qualified as painters. However they do not limit their painterly practice to the well trodden path of oil on a stretched rectangular canvas. They regularly prefer to take the canvas off of the stretcher and let painted fabrics behave of their own accord. Some produce their own fabrics and dye or paint on them, others expose their painted textiles to the natural elements. These are works that do not necessarily ask to be hung from a wall, but can just as well be placed as markers within the architecture of a given space. They subtly influence the viewers’ gaze and movements, without immediately turning into obvious sculptural interventions.
Opening on the 8th of April, starting at 17.00.
For years, Erik Pape (1943) has been painting the busy Paris traffic hub Place Stalingrad, with its characteristic metro viaduct arches. In his most recent paintings, he has been tapping into a different layer of his subject: objects on and around the square that usually remain unnoticed. The city clock, the plate of food in the bistro, the clochards’ matrasses, the rice cooker in the Chinese store or the table with second hand books. They lead our gaze away from the metro viaduct that had become an almost abstract icon in Erik Pape’s paintings, to the prosaic, sometimes harsh reality of daily life that he witnesses during his stays in Paris when he documents the square.
Ronald Versloot (1964) recently painted a series of works featuring sailboats in which he uses an almost abstract composition with the upright surface of the sail placed at an angle on the horizontal surface of the water. Typical of Versloot’s work is his direct and simple way of painting and his use of minimal means to compose an image. He also uses gloss paint to make the surface shiny and sometimes leaves one of the sails uncovered so the canvas can literally function as such. In other paintings he experiments with high-gloss and epoxy paints to breathe life into the landscape and, as if it were a stage setting, places human figures in it using templates
In 2016 was Suzie van Staaveren (Aalsmeer, 1991) the winner of the Heden Startprijs, this exhibition is part of the prize. The jury voted unanimously for Suzie van Staaveren in 2016 as winner of this prize, her refreshing view on sculptures and positive energy makes her work unique and accessible. The aesthetically attractive works of diverse materials are attractive and pleasing. The change and rearrangement of her works by intervention of both the public and natural forces is characteristic of her work. Her playful way of coping with external factors without giving up the coincidence shows her flawless sense of form and space. The accessibility and interactivity of her work is in line with the mission of Heden: making accessible contemporary art of high quality.
Opening exhibition: Saturday 13 May at 17:00
Anatole de Benedictis is the first artist to show his work in Heden’s new basement exhibition space ‘Annex’. Annex offers a stage for experiment and for young talented The Hague based artists. The exhibitions in Annex are programmed by Heden, parallel to their regular exhibition program, in collaboration with the Royal Academy of Fine Arts (KABK) one of the most prominent art academies in the Netherlands. A selection of both alumni and current students will be chosen to show their work here.
Anatole de Benedictis (1992) graduated at the KABK in The Hague in 2016. With a recognizable visual language, Anatole creates his own order in a complex reality. With his drawings, he shows connections between text and image, while simultaneously tracking the viewer to self-fulfill the content of the image.
The drawings that the Benedictis makes are often existing or self-constructed maps. He emphasizes the application of structure, a theme that plays an important role in his work. By drawing maps, he regularly creates images in a random way. These images are patches of the world around him, which he incorporates and provides a new interpretation.
Opening exhibition: Saturday 13 May at 17:00
'Bij nader inzien - Accenten' from the Cleveringa Collection showcases the work of three very different artists who work in diverse disciplines but make art in a similarly bold and consistently radical way: Leo Vroegindeweij (b.1955), Rob van Koningsbruggen (b.1948) and Carel Balth (b.1939). All three artists’ work was collected by the Hague collector Piet Cleveringa (1917–2013), who amassed an impressive trove of postwar Dutch art starting in the 1980s and then generously donated it to various museums. Between 1980 and 1985, in his gallery De Kijkschuur in the village of Acquoy, Cleveringa staged a series of exhibitions he called 'Accenten'. Parts Project commemorates Cleveringa’s life by choosing three artists from his stable and exhibiting them together, just as the collector would have.
Movement of light and light source, real time and the narrated time transmuted into viewing, the denting of metal studs, expansion joints, white shrink-plastic, a spray booth, tar sculptures that use the space like a shoe, the release. These auto referential building blocks will again be the vehicle for daily concerns in the exhibition En dat ook by Bram De Jonghe at 1646. The sculptural language that the artist uses flirts with the temporary by confirming the permanent. The consolidation of heavy metal studs presupposes the presence of strong forces and suggests an action has taken place for a specific reason.
Ever since he moved to The Hague, we have kept an eye on the work of Bram De Jonghe, from his first room-filling installation at Billytown, to his more recent solo presentations at Stroom Den Haag and Art Rotterdam. Though one would expect his large architectural interventions to be the most conspicuous part of his work, they are often of such self-evidence that they’re easily overlooked. It is actually the smaller, subtler works, which are placed within these interventions, that manage to surprise at unexpected moments, from the corner of your eye.
A machine that again and again tries to blow out a candle but never succeeds, a level magically floating in the air above a small shelf, a slightly bending fluorescent tube: they are small works, inspired by everyday subjects, which are preserved in their mysteriousness by the way they’re placed in the whole, as if you just caught them unattended.
The work of Bram De Jonghe arises in the tension between a formalistic and a practical attitude. By installing an obstruction in the exhibition space the viewer will look differently at these surroundings and the imaging grows in the redundant space of the thought. The image is added on the retina to the images that already exist in the mental space and by gathering several works in one specific space a synergy is created that each individual work on its own could not achieve.
Bram De Jonghe (1985, Oostende, BE) lives and works in The Hague. He obtained his BA and MA degree at the College for Science and Art of St. Lucas in Ghent. In 2015 he was the winner of the significant Volkskrant Visual Arts Prize. Recent solo exhibitions De Jonghe had at Netwerk in Aalst (BE), P/////akt in Amsterdam, TTTT (These things take time) in Ghent (BE), Stroom Den Haag and Billytown in The Hague.
by Kolja Gollub
Guess Things Happen That Way is an exhibition at two locations: in Michel Hoogervorst's studio and in the gallery. On show in the gallery are paintings and drawings from different periods. At the studio Michel painted a series of five murals, of which the last one can be admired. The exhibition is an outcome of research on how an artwork interacts with a space, done by Hoogervorst between December 2016 and May 2017. For the series of murals he was inspired by the atmosphere and dimensions of the space. Following from the murals, he made paintings and drawings that also relate to its surroundings and to each other.
During the opening on May 28 a book of the same name is presented, that gives an insight to the developmental stages in his practice and the different layers in his work. The first four murals of the series are also included in the book.
New painting and works on paper made by American artist Kevin Berlin in Berlin, during his working period for Livingstone Projects Berlin.
Special selection of collages from the last 40 years, in celebration of the artist's 80th birthday.
Opening of our new exhibitions of Mark Brusse, with a selection of collages from the last 40 years in celebration of the artist's 80th birthday, and Kevin Berlin, with works made by Kevin Berlin in our studio in Berlin