Unfortunately, Anton Heyboer (1924-2005) is better known to the general public for his five wives than for his wide-ranging body of work. Few remember that his work was bought by MoMA in New York, shown at documenta in Kassel and showcased in major exhibitions at the Gemeentemuseum Den Haag and the Stedelijk Museum Amsterdam. In 1975 the Los Angeles County Museum of Art (LACMA) even presented him alongside David Hockney and Lucian Freud as one of the most important European painters of that time. Now, 40 years after his last major exhibition, it is time to shine the spotlight once more on the international quality of Heyboer’s work.
The work of Maaike Schoorel (b. 1973) challenges the viewer’s ability to interpret what they see. By looking carefully and spending time with her canvas’ the apparently monochrome surfaces reveal themselves to be being made up of layers of coloured paint that describes faint landscapes, figures and still lifes. This autumn GEM is showing key works from Schoorel’s career, made between 2004 and 2017 in metropolises including London, New York, Rome and Amsterdam. The exhibition will also include some new works created specially for this show.
Black – the colour that Isaac Newton eliminated from the spectrum in the late 17th century – carries many meanings for artists and designers. This exhibition in the Vincent Award Room of the Gemeentemuseum, entitled Poetic Black, brings the various aspects of black together in paintings, prints, fashion designs and poetry; the intriguing array of exhibits draws both on the Gemeentemuseum’s own holdings and on the contemporary art collection belonging to the Broere Charitable Foundation (Monique Zajfen Collection). The exhibition include works by Wilhelm Sasnal, Lee Bontecou, Yohji Yamamoto and Ann Demeulenmeester.
In the exhibition 'This, That and Other', Uta Eisenreich (b. 1971) flirts with Dada and De Stijl. Her scientific-looking still lifes are built on a sense of logic and universal order, and their structure is linear and precise. But we also discover in her work a tendency towards complete nonsense and absurd humour, as if Mondrian’s compositions had hooked up with Schwitters’ sound poem Ursonate. Inspired by Mondrian’s abandonment of the figurative, Eisenreich explores the space between abstract and concrete forms, experimenting like a child with the potential meanings of geometric shapes and lines and sounds. Is there a grey area between the world of the abstract and the world of concrete meaning? Optical illusions also play a major role in Eisenreich’s work, as she uses them to further disrupt our already precarious powers of perception.
For more than 25 years Hans Eijkelboom (b., 1949) has been photographing the restless crowds that pass through city centres. With his camera at chest level, he goes looking for commonalities and resemblances in the appearance and behaviour of chance passers-by. In the resulting series of snapshots, you are first struck by the similarities: green parkas with blue jeans, short denim skirts with black leggings, Rolling Stones t-shirts, and sleeveless checked shirts. Only gradually do you notice how much effort everyone has put into finding a distinctive combination or some other way of adding their own twist to the current fashion. This body of work, which by now consists of almost 6,000 Photo Notes, shows how difficult it is to fulfil our desire for individuality within the framework of consumer society. In collaboration with the Photographischen Sammlung/SK Stiftung Kultur in Cologne, The Hague Museum of Photography is now holding a retrospective, ranging from Eijkelboom’s early career in the 1970s to his most recent street photography, including Photo Notes made in The Hague's city centre and new work created especially for documenta 14.
The subtle and sophisticated work of Marthe Wéry (1930-2005) owes its effectiveness to its very simplicity. It is all about the expressive power of lines, planes and colour in relation to space. This exhibition in the Berlage Room presents highlights of Wéry’s oeuvre from the 1970s and ’80s – a period when she was working on paper.
Magnum photographer Bieke Depoorter has visited Egypt regularly since 2011. She first went there during the Arab Spring. Travelling through the country, Depoorter set out to explore the downside of the uprising. During this time of great uncertainty and mistrust, each day she would look for a new place to spend the night, preferably with a family in their home. Looking beyond the news and the politics, she searched for the intimate moments that often happen at home. As Bieke keeps trying to connect, she gradually becomes more aware of her status as an outsider, both culturally and as a photographer. In 2017 she decided to return to Egypt again. She engaged in a dialogue about the pictures and gave other people a voice in her work. From 21 October The Hague Museum of Photography will be showing an exhibition of the resulting work, for which Depoorter was awarded the prestigious Prix Levallois earlier this year.
Triangles, squares and circles – look around you and you see them everywhere. So it’s hardly surprising that geometrical forms occur constantly in our everyday image culture, especially in the field of photography. Frequently they are deliberately captured by the photographer; sometimes they are a happy accident. The Gemeentemuseum Den Haag possesses a large photographic collection, which the Hague Museum of Photography is keen to showcase. The multifaceted subject of ‘geometry’ is the starting point of this overview, which includes the most aesthetic and dramatic examples in the Gemeentemuseum’s collection.
twelve twelve is honoured to present the first exhibition of Anna Fafaliou in the Netherlands. In her work the artist investigates the visual and physical ways of remembering and how memory shapes us. Working with performance as well as sculpture she focuses on how we perceive and handle an individual as well as a collective memory. Always using white, Anna Fafaliou is interested in colour theory and especially the capabilities of colourlessness. The importance of the lack of colour in her work arises from the idea that even a hint of tint triggers a certain memory. For Fafaliou, whiteness does not impose anything onto the senses but rather serves to facilitate the creativity of the mind. Or as Kandinsky said: “White resonates, like a silence that can suddenly be understood.”
For the artist our everyday belongings and notions are closely linked to our emotions and memories. An example: she asked an audience to bring personal everyday objects to a performance. She painted them white and hung them randomly on the walls in a small room filling it completely from bottom to top. All of a sudden the importance of one specific object was gone. The memory behind them seamed deleted and a new story could be implemented.
Anna Fafaliou (*1987) obtained a MA from the School of Fine Arts, Aristotle University of Thessaloniki Greece, she underwent an MA in Film and Visual Arts, University of London. Since then her work has been shown around the world in various institutions, festivals, galleries. Selected exhibitions include: “Sleep” at Bangkok Art & Culture Centre (2016), “Concrete Matters” group show at Whitechapel Gallery / Cass (2016), “Windows” at Art Miami (2016), “Maps” group show at Scene Art (2015).
From November 2, 2017 to January 7, 2018, museum Beelden aan Zee shows the rst solo exhibition of Norva Sling. Norva Sling was born on November 12, 1947, under the zodiac sign of Scorpio in Curaçao. Norva is autodidact and her career as a ceramic sculptor started in 1972. She lives alternately on Curaçao and in the Netherlands. She summarizes her work and spirit in the striking words: “As an artist, I am especially inspired by nature, her cycle of birth and death. I like to work with curves, smoothly stretched convex and hollow shapes, kneaded with cool damp clay. “
The exhibition consists 30 sculptures, which together form a good overview of the artist’s oeuvre. The sculptures vary from portraits of women to animal figures. The female figure is often presented in relation to fertility, birth and pregnancy.
1646 is very happy to host ‘I dreamt in heaven’, the first solo exhibition by Margaret in The Netherlands, showing her latest video work.
I dreamt in Heaven explores the ethics and aesthetics of empathy (both through language, action and cinematic editing, music and sound design) via following a short voyeuristic and fantastical motorcycle ride of a child in late summer through suburbia. The short film is paired with sculpture, performance and text works (an email correspondence between an anonymous neuroscientist and the artist on the cultural, neuro, evolutionary and developmental implications of empathy).
In 2006, at the helm of the onset of possibility of his presidential campaign, Obama delivers a speech to a children’s organization. And then later, in 2008, to his church. “What we have in this country is not a federal deficit, but what we have,” fatherly lips pressed in millisecond meditation, “is an empathy deficit.” Sleeves, rolled up. At the podium.
In 2010, writer Jeremy Rifkin explains how at age 8 a flushed child will realize that life is fragile and that the body, a quiet armor, is decaying and will decay. Everyone, dies. This realization of mortality is met with the realization of empathy: your plight is shared & love is a practice, like the everyday, for the everyday*. Empathy does not exist in heaven. Empathy requires the hellish mortality contracts of earth to form.
The characters in the film ask: “Can I have some empathy on my fries? How about some empathy to pay my rent?” Mocking empathy, teasing mortality, for fun for an afternoon, forever, are they angels? The young skateboarders the seven beautiful archangels? Michael, Raphael, Gabriel, Uriel, Saraqael, Raguel, and Remiel. In heaven?
Empathy is a recent term. Its etymology is a mix-up, the Greek term (εμπαθεια / empatheia) meant obsession, intense emotional state, unbearable emotional engagement, positive or negative, hatred even. You pay attention if you feel, is the closest and most generous interpretation to the contemporary political and PR fluid-ease with the term: empathize.
Since her first presentation at the Rijksakademie Open Studios in 2015 we have followed Margaret Haines’ work. Her work at the Rijks was as intriguing as the studio visit that followed. We were immediately very impressed by her practice and her recent film ‘The Stars Down To Earth’, which offered us an experience of (pleasant) perplexity, an impression which comes back to us in all the works of Margaret we have seen, where characters embody at once the misfit, the ugly, the awkward, the celebrity, while the narrative navigates fluidly in and out of a complex constellation of politics, sexuality, psychology, history, and mythology.
Margaret Haines (b. 1984, Montreal, Canada) studied at École des Beaux Arts, Paris, FR and Concordia University, Montreal, CAN and received her MFA at the CalArts, Valencia, CA.
In 2015-2016 she has been a resident at the Rijksakademie in Amsterdam. Her work has been exhibited at Galerie Lily Robert, Paris, FR, ltd los angeles, Los Angeles, CA, Carroll Fletcher Gallery, London, UK, ICA, London, UK, Western Front Exhibitions, Vancouver, CA and Tanya Leighton Gallery, Berlin, DE amongst others.
*quote from a text message from Anna Maria Pinaka, October 18, 2017.
Museum Beelden aan Zee presents the first solo exhibition of the Curaçao sculptor and performance artist,Tirzo Martha, in the Netherlands. All exhibited artworks are new and specially made for this exhibition. In the course of the exhibition, a monumental installation will be created in collaboration with other people: the Monument of the Togetherness. The audience is witness to this process in the Main Hall of the museum.
Tirzo Martha is an artist with a message. His work is politically and socially committed. Community feel and social commitment are two core values in the oeuvre of Tirzo Martha. With his work, Tirzo Martha provides insight into the untouched and contradictory elements of Caribbean society.
Humour and craftsmanship go hand in hand in the work of ceramic artist Hans de Jong (1932-2011). With no concern for the possible functions of his objects, he modelled clay into fantastical creatures and playful figures with names like Crybaby, Flyfrog, Flatlander and His Transparency. Both his figurative objects and his vessels offer, as he himself put it, ‘the luxury of absolute superfluity’. You can do almost nothing with them except look at them – but the complexity of the skin and graphic details provides plenty to see. This is the first exhibition since the artist’s death to survey his entire oeuvre.
By looking at photography, you will discover interesting things about the world. That’s what Anne Geene does in her own way, both in her own work and in what she finds in photo archives. With great curiosity she explores plants and animals. In her exhibition 'The Museum of the Plant', Anne acts as a curator of nature and categorizes her high precision hair findings.
She studies and documents her material in search of patterns and phenomena, retrieves information and images from relevant literature. She makes her conclusions world-wide in photo works and in book form. What the camera has objectively registered is the basis of all her work. Her research is contingent on that of a scientific researcher. However, she is looking for visual similarities and patterns and bases her conclusions on underlying processes solely on this.
Anne Geene (Breda, 1983) studied Arts and Culture at the Erasmus University Rotterdam, and photographed at the Royal Academy of Fine Arts KABK and captures hidden beauties of plants and animals as an artist.
Lorena van Bunningen investigates in her work the rational versus the subconscious. She is looking for what her work is asking for. Something which does not arise from a thought but by a process. In the exhibition 'Still Movements' she captures the moment between the silence and the movement. Capturing this event of a small event, produces images in which time seems silent.
In daily life, we use numerous rituals that we are unaware of and hear many objects. These stupid moments are recorded by Lorena. She is looking for the moment when a known object loses its familiarity and functionality and becomes abstract. She looks at the daily environment, materials and dealing with the material world around us. She sees objects as traces, as evidence of our actions and of our existence.
Lorena van Bunningen (Quito 1990) studied at the Royal Academy of Fine Arts in The Hague. In 2017 she was the favourite of the audience during Beelden in Leiden.
Special selection of recent paintings, objects and works on paper by the famous Swiss artist Jürgen Brodwolf
New paintings, works on paper and video by Dutch artist Simon Schrikker
This solo exhibition is a beautiful combination of recent sculptures, drawings and paintings. The series of drawings on view, are made plein air next to the Sioule, a meandering river in the lush green landscape of the Auvergne. The paintings too have their roots abroad: Warffemius painted them after a visit to Hohhot in Inner Mongolia. Right next to the Wuta Si Temple, an age-old Buddhist monument in the city, an inhabitant cultivates calabashes, that grow downwards like a hanging garden. This image inspired Warffemius to paint a new series of paintings in which verticals are strongly present. Until recently, Warffemius focused on trees and their branches in his three dimensional work, and translated this into robust sculptures of steel and bronze. Now he looks at the roots of the trees, and takes his inspiration from mangroves with their roots that support the plant like a palisade. My Secret Garden brings the different media in which Warffemius works together, and gives a clear notion of his recent developments.
During PAN Amsterdam (19-26 November) the gallery is opened by appointment only.
Billytown is excited to present Apenkooi, a solo presentation by Eric Giraudet de Boudemange. The exhibition is an installation of sculptural and video experiments, a game of poetic correspondences revolving around essential questions about origins of speech and consciousness. It follows research Eric started in the beginning of 2017 on representations of the figure of the Wild Man in European folklore, and todays manifestations in science, technology and pop culture.
Many say that The Netherlands is slightly too proper, polished, too spruced up, and so we travel to grimy cities, decaying ruins and scarcely lit cafés. We enthusiastically embrace the dingy and unorganised aspects of abandoned villages or derelict houses stained by humidity and graffiti-clad. Destitution has developed as an aesthetic concept that we constantly see everywhere; how many restaurants do have 3-ply toilet paper, but don’t place lampshades around their bulbs? In shabbiness lies true beauty. Or…?
For the exhibition On Speaking Terms, that was to be seen in Nest from 9 September to 5 November, Studio L A designed an architecture that enabled the spectator to view art from a different perspective. An arena was built in the heart of Nest, surrounded by ramps, stairs and Baroque drapes. The artworks of On Speaking Terms have now disappeared, and Nest offers the chance to a band of artists to make the space their own, to break it down, and rebuild it once again. In two months a triptych will form through artists’ work periods during which they will encrust the architecture with different layers of earth.
In Places of Ruin artists will explore the glorification of impoverishment.
The Kitchen is proud to present a duo exhibition by Paul de Jong and Frieder Haller.
The Kitchen is an artist-run-space within the artist-run-space Billytown. The project originated in the kitchen of our former building on the Binckhorstlaan; a space where the group gathered most often and new ideas were brought to life. Our Kitchen as a project space represents the energetic and experimental qualities of Billytown as an artist initiative. Currently The Kitchen is situated in the monumental staircase and a classroom of our building at the Capadosestraat. This unconventional space invites emerging artists to have a DIY mentality and experiment in which they dare to reach the edge of failure.
Art – History – Collection showcases a selection of artworks from the collector and former museum director Reyn van der Lugt’s extensive trove of contemporary art. Specially for Parts Projects, he has made a selection of photographs, drawings, paintings and sculptures that refer to the rich world of art history, from the destruction of images to their reproduction, from the process of creating art to the exhibition of it.
All his life, Van der Lugt has been interested in various aspects of art history, from the Greeks and Romans through the Renaissance and classicism to the present day. He says, “I find it fascinating when contemporary artists allow themselves to be influenced by the visual language of the past and take it as a point of departure for their own art, whether as inspiration or as the subject of commentary.” Art – History – Collection bears witness to this fascination, shared by the collector and the artists.
Time is a concept that is difficult to visualize; it is mainly noticeable in the changes people and things go through. The underlying fact is that practically everything is in a constant state of transition in a cycle of creation, deterioration and regeneration.
In his World Stress Paintings, Olphaert den Otter (1955) depicts buildings and landscapes that have been transformed into ruins and wildernesses by some catastrophe, but then again can also be rebuild or produce new life. This theme is portrayed explicitly by Tobias Lengkeek (1991) in his Alteration paintings, featuring objects in a process of transition. In the Debris series he attempts to capture the time between the moment things have turned into waste and their former state when they were new and whole. Marjolijn van der Meij (1970) actively manipulates transformation by distorting or partially covering old photographs of artworks, portraits and architecture. The image is thus deformed but also renewed and gets a new inner tension and depth of focus. Martin Gabriel (1991) explores the element of time in the virtual world of videogames where different options are available at the same time to the player. He visualizes this by portraying three versions of an avatar in a painting, or by building a model of a virtual space. At the center of it is an octagonal well, a kind of Fons Vitae, that looks as if it has travelled from a medieval tapestry to the virtual world of the videogame.
Mireille Hildebrandt will explore digital space and the cityscape. Hildebrandt calls the fusion of online and offline worlds ‘the Onlife World'. She highlights the boundaries between on- and offline worlds to find out if they are becoming increasingly artificial: we have to make this distinction to retain some of our personal space. The question will be what kind of humans we may become when ‘living with algorithms' is the new normal. How can we learn to live in the Onlife World without being cynical about the upcoming smart cityscape?
The Knight's Move
The Knight's Move is a series of lectures by eminent international speakers who stand out by their unusual, enlightening and inspirational visions concerning the city, urbanity, the public domain, and community.
Together with Constantin Brancusi and Pablo Picasso, the Spanish artist Julio González (1876 – 1942) is considered one of the most important sculptors of the 20th century. This retrospective of over 100 works, most of which are being exhibited in the Netherlands for the first time, sheds light on his personal development: from his days as a metal worker in his father’s workshop in Barcelona to his time as an avant-garde sculptor in Paris. It also addresses the unique collaboration and friendship between González and Picasso. For both artists, the collaboration provided a major push to further development. Thanks to González, Picasso discovered new modes of expression in sculpture and for González the collaboration was the final leg of his journey towards a distinctive artistic style. This exhibition at the Gemeentemuseum Den Haag focuses principally on González’s development. With no fewer than 20 works by Picasso, it is also a celebration of the friendship between the two men.
Jeroen Blok integrates found imagery directly into his works as collage pieces. Trough the combination of diverse images he transforms the known in order to create new worlds or events which doesn’t exist and never will. Consequently, the work reflects on an idea of an utopia sometimes represented by the captivating, wonderful imagery of far away holiday locations. Rather than magical his work tends to be realistic and attempts to break down the myth of an ideal world yet to visit.
The words ‘Act or Perish’ are emblazoned on the leaflet of British anti-war group the Committee of 100, co-founded by artist and activist Gustav Metzger in 1960. Metzger fiercely opposed the atomic bomb, and spent much of his time participating in protests and organizing peaceful demonstrations. This exhibition emphasizes Metzger’s pragmatic yet radical approach, and his belief that art could and should be used for social change. His strong principles were reflected in both his art and his actions, always intrinsically connected.
Born to Polish-Jewish parents in Nurnberg, Metzger was evacuated to Great Britain in 1939 at the age of twelve with the help of the initiative known as the Refugee Children's Movement. As a young boy, he became aware of the atrocities of the totalitarian Nazi regime, and his parents and other relatives were killed in the Holocaust. During the war he became interested in left wing politics and wanted to become a political revolutionary. Metzger became an artist after realizing the potential of art to transform society and throughout his career he explored the ways in which aesthetics could be used to convey political ideas and encourage action.
As relations between world powers are again on edge, the climate crisis is denied at a political level, and our planet is increasingly destroyed, Metzger’s work is more relevant than ever. It reminds us that, while the destruction of humankind is looming close, as Metzger said only months before his death: ‘not only can art cause change, art must cause change’.
Gustav Metzger (10 April 1926 - 1 March 2017) has had solo exhibitions at Serpentine Galleries, London; Tate Britain, London; Museo Jumex, Mexico City; Neuer Berliner Kunstverein, Berlin; Haus der Kunst München, Munich, Kunsthalle Basel, Basel; New Museum, New York; Tel Aviv Museum of Art, Tel Aviv and many others. Moreover, his work was shown at documenta 13 (2012), the Venice Biennale of 2003 and the Sao Paulo Biennale of 2010.
Even heard of Live Action Role Playing? Always thought it deals with fantasy, dragons and dress-up? As it turns out, live games are about a poetic re-imagination of the world and our roles in it. Sign up for the Transformation Game by artist and live game developer Áron Birtalan, organised in the spirit of 'Uncertainty Seminars: The Strange Escape'. The location will be disclosed later, but is walking distance from Stroom Den Haag. The number of participants is limited.
Want to know more about LARP-ing?
Read this wonderful article by Paul Graham Raven on the background and social and political potential of Live Action Role Playing (LARP). From the vaults of @Rhizome: http://rhizome.org/editorial/2012/sep/20/game-very-brief-history-larp-part-1/
This event is part of 'Uncertainty Seminars', which in turn is part of the on-going program 'Attempts to Read the World (Differently)'. This is generously supported by the Mondriaan Fonds and the City of The Hague.
Friday 8 December 2017, 15-20 hrs
Location: to be disclosed (walking distance from Stroom Den Haag)
Admission: € 7,50 / € 5,- (discount with Ooievaarspas or student pass)
Language spoken: English
RSVP and more information follow the link below: https://www.stroom.nl/activiteiten/lezing_symposium.php?l_id=962153
Join us on Saturday 9 December for an afternoon program with lectures, a discussion, and a performance exploring the deviate potential of doubt. With contributions by: Ramon Amaro - thinker and lecturer in philosophy, machine learning and black study; Jude Crilly - visual artist; Johanna Koljonen - media analyst, experience designer and LARP expert; The Rodina - design studio
'Uncertainty Seminars' is a series of hybrid and interdisciplinary activities that utilize doubt and hesitation as speculative strategies for exploring the liquid nature of our times. 'Uncertainty Seminars: The Strange Escape' proposes uncertainty as a playful and imaginative state of mind — one that departs from conventional societal norms and models. The program instinctively embraces strangeness and impractical alternatives, re-routing the logic that we employ when dealing with fundamental change.
'Uncertainty Seminars' is part of the on-going program 'Attempts to Read the World (Differently)', in which Stroom Den Haag joins various artists in a searching, intuitive examination of our world today and an attempt to recalibrate our familiar systems of navigation.
Saturday 9 December 2017, 13-18 hrs
Location: Stroom, Hogewal 1-9, The Hague
Admission: € 7,50 / € 5,- (discount for students and holders of Ooievaarspas)
Language spoken: English