Morgan Betz (b. 1974) is producing new work especially for the projects room at the Gemeentemuseum Den Haag. Using a visual language that looks like a blend of Pop Art and comic strip, he has developed a highly personal idiom in which high art in the form of art history mingles with low art in the shape of comics and advertising images. In addition, Betz is exploring the way the image is applied. This is traditionally done with a paintbrush but Betz places the artist at a further remove from the canvas.
The work of Jean Brusselmans (1884-1953) is rooted in the Belgian tradition of painting established by artists like James Ensor and Rik Wouters. After the First World War, he took that tradition as the starting point for the development of a distinctive and expressive style characterised by orderliness and simplicity of composition. Although Brusselmans has long been a source of inspiration for connoisseurs, this is the first time that the general public in the Netherlands has had the opportunity to admire the paintings of this important Belgian artist.
Richard Hutten not only designs chairs, he also collects them. Since he graduated from the Design Academy in Eindhoven in 1990 he has been buying unusual chairs, or exchanging them with designer friends for his own designs. His collection now numbers more than a hundred items, from prototypes to the great design classics, from graduation projects to unique pieces. From March the Gemeentemuseum will be showing Hutten’s personal collection alongside chairs of his own design, like the Berlage chair based on a chair designed by architect H.P. Berlage. The exhibition will include playful contemporary and conceptual designs by famous names from the Netherlands and abroad, each with its own personal story.
Richard Hutten – Sit! will feature a hundred chairs ‘that matter’, according to this Dutch designer, whether because of their cutting-edge design or because the maker is someone who is dear to him. All the items in the exhibition are Hutten’s own work or are from his private collection, and date from the 1990s to the present day. Highlights include the 250-kilo Layers Cloud Chair, made of 545 layers of CNC-cut upholstery fabric, the Juno Chair, which designer James Irvine gave to Hutten just before his death, a graduation project by leading Dutch designer Wieki Somers and prototypes and scale models from Hutten’s own archive that have never been shown before.
German artist Thorsten Brinkmann (b. Herne, 1971) has an unstoppable urge to collect. The self-proclaimed ‘serial collector’ (Serialsammler) gathers all kinds of objects that have been discarded by others and takes them back to his studio in Hamburg. There, he recycles and redefines them in his art. This spring GEM museum of contemporary art will present the first Brinkmann retrospective, featuring more than 60 works whose common theme is the match/mismatch between our bodies and the objects around us.
The Gemeentemuseum has been following Brinkmann’s career since the very beginning. In 2008 GEM organised the first museum exhibition of his work and for a long time his Wäschling, a laundry basket on legs, stood in the foyer of the Gemeentemuseum.
Brinkmann has produced a new sculpture specially for GEM. Five metres long, it can be seen as a modern ‘horn of plenty’. A large installation consisting of a boxing ring complete with boxers will also be on display. Films will be screened in a cinema designed by Brinkmann himself.
& MORE is a recent initiative in the upstairs space of NOUVELLES IMAGES; apart from the longer-term running exhibitions downstairs the gallery works here with shorter intimate presentations with works from our stock or from the NI-collection inspired by a specific theme or a link with projects of our artists elsewhere. The current Thorsten Brinkmann exhibition, 'Life is funny, my deer', at GEM is a perfect occasion to show an &MORE selection of his photographs in our NI-collection from the period 2007 – 2016 together with works of Zhang Huan and Charles Fréger.
Andrea Bender (Schotten, Germany, 1972) lives and works in Düsseldorf. She graduated from the Kunstakademie Düsseldorf in 2009 where she took lessons with Jörg Immendorff and Dieter Krieg. Recently solo exhibitions of her work were organized in museums worldwide, like the Yanhuan Museum in Beijing, the Museum Kunstpalast in Düsseldorf, the MoMa XLY in Changdu, the Lehmbruckmuseum in Duisburg and the MOCAK in Krakow. In her first solo exhibition with Hoorn & Reniers Andrea Bender shows her new paintings which take inspiration from ancient mythology.
Photographer Dirk Kome (1976) responds to the work of photographer Tonnis Post (1877-1930).
This summer, The Hague Museum of Photography is to stage the first retrospective of the work of Dutch artist photographer Jan Banning (b. 1954). Before taking up photography, he studied social and economic history, and this is reflected in his work. Banning’s pictures present an image of social and political circumstances in different countries, as he travels the world in his attempt to visualise abstract concepts like state power and the impact of war. One of his most well known series is Comfort Women (2010), portraits of Indonesian women forced to work as sex slaves for the Japanese army during the Second World War. For Bureaucratics (2003-2007) he photographed public officials in eight countries. The Hague Museum of Photography will show Banning’s most important work from the 1980s to the present day. It will also present two series never before shown: The Sweating Subject (2016), in which Jan Banning photographs himself – bathed in sweat – at royal courts in Ghana, and The Green Zone, a poignant series about the demilitarised zone in Cyprus, abandoned for over forty years.
In JaGaTa (the first two letters of their surnames) Henri Jacobs, Patrick Gabler and Koen Taselaar combine their work into a collaborative exhibition. In their drawings and paintings patterns and structures are dominant, Henri Jacobs (1958) exploring tesselations in his ongoing Journal Drawings series, Patrick Gabler (1967) focusing on circles meticulously built out of tiny brush strokes and Koen Taselaar (1986) developing playful patterns in his drawings.
NOUVELLES IMAGES (NI) shows Helen Frik’s new addition to The Frik Collection Ceramic Museum (FCCM): the Arita (porcelain) Wing. Marnix Goossens reveals part of his new photo-project which focuses on mesmerizing and wondrous encounters with and in nature. Redefining the meaning and structure of objects and (human) nature is essential for the sculpture of guest-artists Lisa Sebestikova and Hannah Joka. In her photography Joka explores the ‘Perception’ of this cross-over territory.
(The Arita-wing was made possible thanks to the Mondriaan Fund and Saga Prefecture, Japan.)
The notion that the state of humanity can be read and studied by the way we relate to animals is a vital thread in Charlotte Dumas’ work (born 1977, lives and works in Amsterdam and New York). Her choice of subject relates directly to the way we use, co-exist with, and define specific animals, assigning various symbolisms to them as well as our own personal reflections.
Her series ANIMA features the caisson horses of America’s Arlington National Cemetery, the burial site of U.S. service personnel, located outside the country’s capital city of Washington, D.C. These animals are among the few that still perform a duty for mankind that dates back centuries. No longer used in warfare as such, they now have the sole and exclusive privilege of accompanying soldiers to their final resting place. Charlotte Dumas photographed and filmed these horses when their working day was done, as they were falling asleep in front of her eyes and camera. The horses not only convey their vulnerability at rest, but also reflect a falling, the losing of consciousness. Dumas: “As I spent time with them at night I felt this was maybe one of the most intimate and private moments to witness: the gap between wakefulness and slumber, a space for dreaming and reverie.
It is Charlotte Dumas’ belief that the disappearance of the actual presence of animals as a given in our society greatly affects how we experience life and, for example, our ability to empathize with one another.
The gap that currently exists between animals used and seen as a food resource on the one hand and their anthropomorphic use on the other (as they are also often depicted in visual language) contributes to an increasingly contradictory relationship. When it comes to animal topics, emotions often run high. It seems the less we are in direct contact with the animals, the more we lose the perspective of their true capacity and what they mean to us and we to them.
Dumas has been observing different animals, mostly horses and dogs, within specific situations for over a decade. She is particularly interested in the complexity of how we define value when it comes to animals, as well as how we attribute value to ourselves and others. The context of her subjects is what defines each subject.
Rescue dogs who, in the aftermath of the 9/11 attacks, searched day and night for survivors at the Pentagon and World Trade Center. Horses living in the wild, on the fringes of Nevada towns, or on small islands in Japan. Breeds that are almost extinct because of they no longer serve any practical purpose.
Charlotte Dumas has held numerous solo exhibitions at venues throughout the world, including Museum De Pont, Tilburg (2015) The Photographers' Gallery in London (2015), Gallery 916 Tokyo (2016 and 2014), Corcoran Gallery of Art, Washington, DC (2012), FO.KU.S., Innsbruck (2010), Foam Fotografiemuseum Amsterdam (2009), Stay at andriesse eyck galerie, Amsterdam (2017), TEFAF CURATED, La Grande Horizontale, curated by Penelope Curtis, Maastricht, (2017) Like a Horse, Fotografiska, Stockholm, (2017) Work Horse, Kunstverein Heilbronn, (2018), The Collection Illuminated by Charlotte Dumas, Fotomuseum Rotterdam, (2018) and upcoming Het paard in de kalebas. Een tentoonstelling van Charlotte Dumas, Japanmuseum SieboldHuis, Leiden (2018)
'My Practice, My Politics' portrays the way in which artists and designers capture their views on society through the subject matter they explore, the language and tools they employ, the aesthetics they manifest, and the communities they engage. The exhibition and program brings together 22 alumni of 11 departments of the Royal Academy of Art, in The Hague, The Netherlands during the Salone del Mobile in Milan. Following this presentation, a selection of the works will be exhibited at Stroom Den Haag.
In The Mushroom Club, Lisa van Casand (1990) examines the remains of a former NATO headquarters in the Limburg caves. On view are reconstructions of various aspects of this secret location, such as a mushroom plantation, a digital animation of an underground golf course and fragments of conversations with former employees.
Lisa van Casand graduated from the KABK in 2017 and won the Heden Start Prize, which is awarded annually to a talented alumnus of this academy. The jury of the Heden Start Prize was impressed by Lisa van Casand’s ability to translate a complex research into a presentation that is aesthetically appealing, but that also encourages reflection.
Eline Benjaminsen (1992) conducts research into the bizarre world of algorithmic and automated stock exchange trading in her exhibition Where the money is made. With striking photographs of seemingly insignificant locations, she exposes the invisible infrastructure of financial transactions. Led by microwave transmitters and receivers, the work documents the physical landscapes of an immaterial market. The exhibition consists of a series of photographs, a film essay and a publication.
Eline Benjaminsen graduated from the KABK in 2017 and won the Steenbergen Stipendium 2017 with her project Where the money was made.
The Future Is Female showcases the powers of female artists while encouraging an open dialogue around art. The exhibition combines work by 13 artists with writings by the artist Twan Janssen. He guides the viewer on a visual and verbal journey between the artworks by means of highly personal writings in which he shares his wonder, childhood memories and incidental everyday thoughts. In this way, he spurs us to look at the works through new eyes and to engage in playful contemplation of art, life, ourselves, others, and more.
The artists in the exhibition, all of significant stature, do the same. Each of the works contains a certain autobiographical element. The exhibition unfolds as a story about subjects including beauty, travel, childhood and being a child. It includes work by Yael Davids, Danielle Kwaaitaal, Rosemarie Trockel, Karin Sander, Lily van der Stokker, Katharina Grosse, Corita Kent, Lucia Tallova, Sylvie Fleury, Rose Wylie, Aase Seidler Gernes, Roos van Haaften and AnneMarie van Splunter.
Twan Janssen regularly posts writings about art on Facebook, inviting readers to think and respond. The comments on his posts show how highly his readers value his perspective. The personal experience of art characterises collectors’ relationship with the works they own, and Parts Project is therefore pleased to present the thrilling exhibition The Future Is Female.
Text: Twan Janssen
Curator: Francis Boeske
A selection of recent and brand new works.