In an all encompassing experience of sculpture, film and soundscape in a rhythmically activated environment Madison Bycroft will present the filmJolly Roger and Friends, a 60 minute film and a work of anti-portraiture. The work is “about” not being "about" two female pirates, Mary Read and Anne Bonnie, true historical figures from the 18th Century, who had to 'pass' as male for most of their lives. Inspired by New Narratives (San Francisco) and Theory, A sunday (Canada), two experimental prose groups, she wrote a text that used forms of writing that spoke ‘around’ characters or ‘alongside’ them. The minotaur, a golden institute, aping thespians and a priate mob all proliferate and decentralise the identities of the “main” characters.
For the exhibition at 1646, Madison Bycroft will explore how the unassailable can be written? Gender, subjectivity, identity, forms of relation, eros, ways of thinking the self, representation are all implicated when we communicate. Methodologies for writing outside of logocentric language exist in many forms, from negative theology, to excription, to feminine écriture, to disrecognition, disnarration and disidentification. These will all be investigated as narrative forms in the show.
Bycroft is currently interested in slapstick, deadpan, and the excess and/or annihilation of the performative subject-body, and to work with other “bodies” without capturing, defining or limiting it. Of particular interest is the politics, performance and orientation of humour, and the fool or scape goat, as the target of a joke.
Madison Bycroft, b. 1987, Adelaide/Kaurna Yarta, Australia, is an artist currently based between Paris and Rotterdam. Bycroft is a graduate from the MFA program at the Piet Zwart Institute in Rotterdam.
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.
In their first solo exhibition of 2019, Hoorn & Reniers show the paintings and drawings of German artist Sebastian Gögel (Sonneberg, 1978). His works are part of collections like those of Museum Boymans van Beuningen, Gemeentemuseum Den Haag and the Museum der bildenden Künste Leipzig, where he lives and works.
Aaron van Erp (NL/PY) – Drawings 1998-2018
Manfred Schneider (D), Helio Trope Sleep, video, drawings, paintings
January 26th until March 16th 2019
Found Footage (group show)
Anatole de Benedictis
Heden kicks off the new year with a group exhibition by Joncquil, Anatole de Benedictis and Yani Chuang. These three artists all work with existing objects as a starting point. By transforming these existing images and placing them in a different context, they create a new visual language. Objects are stripped of their functionality and are given a new role as an autonomous piece. The iconic - and sometimes also symbolic - appearance that was originally assigned to these images is transformed into a visual language with accompanying new connotations. By means of reproduction and repetition they also question the value and the aura of the image.
In Joncquil’s work the actions necessary for the creation of the piece are essential. His sculptures are extremely balanced and in total harmony, but also appear precarious: there is a certain ominous atmosphere in his work. Joncquil knows exactly how to capture this field of tension. He removes existing objects from their function, adds other pieces and thus creates new compositions. Joncquil also allows language and its interpretation to be regularly reflected in his art, for example by emphasizing double meanings or finding alienation in the translation from word to image.
Anatole de Benedictis often works with an existing image that he transforms into his own visual language. By intervening in the context, applying repetition and the selective use of loaded images, De Benedictis creates his own narrative. For example, he treats stamps from the notorious French marshal and collaborator Pétain with a translucent substance so that only a faded and pleasant-looking abstract colour scheme remains. By disassembling the content and the image, De Benedictis exposes the layering of his artworks and gives the viewer room for their own interpretation.
Yani Chuang transforms iconic design, furniture that has a very clear and recognizable shape, into new alienating, futuristic objects. With innovative interventions she gives these icons a new face. By developing innovative textile techniques Chuang effortlessly combines surprising fabrics, foam rubber and wool with traditional materials from the furniture, thus losing their original function.
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.
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.
For the first time, Romanian/British artist Paul Neagu (Bucharest, 1938 – London, 2004) exhibits in The Netherlands, at Parts Project! The work of Paul Neagu is widely collected by the most important international museums as well as private collectors from all over the world. Both in his country of origin, Romania, and in England, his adopted country, he was embraced by the professional art world as one of the major conceptual artists of his time. He knew his way around in almost all media and did not restrict his experiments to his activities as a sculptor, painter or as a graphic or performance artist. In addition, he applied all conceivable new techniques that were being discovered in his time, such as 3D installations which often required the participation of the public. In consequence, he is unquestionably regarded as the visual arts pioneer of the 70s and 80s, who approached art from a philosophical rather than from a professional competence perspective. This enabled him to influence a whole generation of British artists like Anthony Gormley, Rachel Whiteread and Anish Kapoor who regarded him as their mentor, rather similar to how he in his turn looked upon Brancusi as his mentor.
Anish Kapoor wrote about Neagu in his necrology in The Guardian: “He was an influential teacher in that he had an international outlook, which was perhaps his main legacy to his students. His intellectual clarity was refreshing in an era when ‘making’ seemed to be more important than ‘thinking”.
His works can be found in public collections including, among others, the British Museum, London, le Fond départemental d'art contemporain, Bobigny, France, the Hugh Lane Municipal Gallery of Modern Art, Dublin, the Musee Cantonal de Beaux Arts, Lausanne, the National Museum of Art of Romania, Bucharest, the Philadelphia Art Museum, Philadelphia, Tate Gallery, London and various private collections worldwide, including The Netherlands.
Solo exhibition of OSSIP, an overview from the last 10 years.
Tomb of the Ordinary Man is an exhibition curated by Nare Eloyan who focuses on the object quality of artworks. She paints on ceramic vases that she finds in second-hand shops, viewing them as material that is offered to her by the urban environment. By painting on them she connects her art with society as it were. Nare Eloyan will invite several artists to create a room that can be perceived as a tomb or a treasure room, not for kings of pharao's but for the ordinary man. Besides her own vases and drawings the tomb will contain textile and glass works by Christie van der Haak, ceramic sculptures by Elmar Trenkwalder, embroidered and patched tapestries by Jakup Ferri and ceramic monkeys by Zeger Reyers.
Koos Flinterman makes portraits of sculptures. He portrays sculptures of ARP, Barbara Hepworth, Henry Moore and Picasso. He attempts to understand these works by viewing, selecting and then react.
His paintings become objects through his way of working. His works, like the sculptures he selects, often have an opening in the canvas. Koos hereby examines the absence of the form and makes it just as important as the presence. The viewer becomes aware of the volume of empty space, and the powerful resonance this can create. Also in the way he applies the paint on his canvasses, he gives the paintings a sculptural feel. The acrylic paint and modeling paste is also deliberately applied with templates, with the same precision as the sculptures get their shape.
In most of his works Alex Farrar refers in one way or another to the human body. He uses objects or materials that carry the imprint of a body (or part of the body), visualises physical behaviour (like sweating), deploys discomforting human habits (like biting fingernails) or creates sculptures that resemble body parts. In "The exhibition will be titled after its installation" four distinct series of new works –night sweat paintings, semblable forest, gestalt corniche and ‘umble prints– will coalesce in a scene that combines residues of the lived body with paranoiac visions and pataphysical logic.
Coinciding with the solo show by Alex Farrar, Ralph de Jongh presents his recent work in our front space.
Gemeentemuseum Den Haag and The Hague Museum of Photography are to honour one of the Netherlands’ most famous photographers, Erwin Olaf (b. 1959), with a double exhibition. Olaf, whose recent portraits of the royal family drew widespread admiration, will turn sixty in 2019 – a good moment to stage a major retrospective. The Hague Museum of Photography will focus on Olaf’s love of his craft and his transition from analogue photojournalist to digital image-maker and storyteller. Olaf will himself bring together some twenty photographs by famous photographers of the past who have been a vital source of inspiration to him. Gemeentemuseum Den Haag will show non-commissioned work by Olaf from 2000 to his most recent series, including the work he produced in Shanghai and another series never before seen on public display. Olaf will be showing his photography in the form of installations, in combination with film, sound and sculpture. ‘We will be setting up the galleries in such a way that the exhibition is a journey through my head,’ says Olaf. ‘Visitors will be able to wander through my mind.’
For more than ten years now, photographer Isabella Rozendaal (b. 1983) has been following hunters in different countries and cultures, from the Netherlands’ Hoeksche Waard to the Amazon. She is driven in this quest by two questions: what is it like to be part of the food chain in an industrialised society, and what does the concept of ‘wilderness’ mean to modern humans?
Event takes place between 1-3 of March
Exhibition Opening Party at GEM, museum of contemporary art
British artist Helen Dowling (b. 1982) uses a multitude of images that she has found, downloaded or filmed herself to create video works that have a hallucinatory effect, taking the viewer on a visual trip that presents them with an alienating view of existence. At the same time, the works reference philosophy and poetry – from poet Kate Tempest to feminist thinker Hélène Cixous – and universal themes like the landscape and humankind’s impact on nature. Stranger on Display is Dowling’s first museum solo exhibition, which brings together several films and sculptures to create a site specific installation.
Artist Talk - Joncquil, Anatole de Benedictis, Yani Chuang
Saturday, March 2
3.30 - 5 pm
Heden - Denneweg 14a
In the framework of the exhibition "Found Footage, which features work by Joncquil, Anatole de Benedictis and Yani Chuang, the three artists explain their work. During these artist talks they give a special insight into their artistic practice. They will discuss their creative process, their themes and motives. The artists will give an in-depth analysis of their work, focussing on pieces that are on show in the exhibition. We conclude the afternoon with drinks and bites and the opportunity to take a closer look at the exhibition.
Page Not Found invites you during three consecutive events to discover publishing artists who share an interest in sexualized representations and renewing the discourse about them, and more generally in feminist agency in their production. During her event, AnnaMaria Pinaka will talk about her experiments with a methodology she calls porno-graphing. This involves the reappropriation of sexual and pornographic representations to propose alternative mappings of sexual intimacy. The discussion aims to address the binary position of art/porn, public/private and healthy/pathological by pointing to the excess of space that spans these positionings.
AnnaMaria Pinaka is a visual artist and researcher. In her work, she mainly focuses on the intimacies of domestic life while re-appropriating sexual or pornographic imagery through lens-based media, a method she conceptualizes in her written work as porno-graphing. She recently finished her PhD at the department of Theatre and Performance at Roehampton University, a project that took her almost eight years. Part of her practice-based research is now published as a zine by Onomatopee. The publication, that is titled Porno-graphing, carries the subtitle ‘What do dirty sexual subjectivities do to art?’ and it discusses different positions in the art/porn debate as well as the ways in which porno-graphing strategies can mediate between binary stances.
British artist Helen Dowling (b. 1982) uses a multitude of images that she has found, downloaded or made herself to create associative worlds that border on abstraction. Her atmospheric films play with rhythm, colour and sound, presenting an alienating view of our universe. From heavenly bodies to wandering humans, images appear in apparently random succession, creating hypnotic stories with no linear plot. The show at GEM will be Dowling’s first solo exhibition in a museum, and it will combine several video works and sculptures to create a total installation.
Page Not Found invites you during three consecutive events to discover publishing artists who share an interest in sexualized representations and renewing the discourse about them, and more generally in feminist agency in their production. Viktorija Rybakova's most recent work revolves around the human eroticism and the idea of the body as a sensitive fabric. At the occasion of this event, she will talk about her interest in the diversity, amplitude and instability of human sexuality.
Viktorija Rybakova (b. 1989, Vilnius) is an independent artist, architect and researcher from Lithuania. Her research practice combines the academic and artistic fields, with her main focus being the human body and history. Rybakova is currently working on research in the field of neuroscience, the history of eroticism and decoding the languages we speak through a thorough exploration of the body tissues. After concluding a fellowship at Jan Van Eyck Academie in 2017, she moved to Brussels, where she runs Studio Laumes: an art, design and research atelier, together with Goda Budvytyte. Viktorija’s unique handmade publications have been exhibited a.o on the 55th Venice Biennial. She is the winner of the Tallinn Print Triennial 2016.
Page Not Found invites you during three consecutive events to discover publishing artists who share an interest in sexualized representations and renewing the discourse about them, and more generally in feminist agency in their production. During her event, at the occasion of Hoogtij, Zoe Williams chose to screen "Ceremony of the Void", a film documenting one of her performances.
The politics of sex is central Zoe Williams’ practice. Her works touch on ideas of seduction, sensuality and transgression. Williams is interested in building a subtly irreverent dialogue and tension between such polarities as the animate and the inanimate, the seductive and the repulsive, as well as examining contemporary attitudes towards notions of taste, sexuality and beauty. Zoe Williams recently published ‘The Unruly Glove, The Green Bum and The Sickly Trickle’, designed by Rory Gleeson, which incorporates William’s drawings and is accompanied by the poetry of the artist and writer Susan Finlay. Susan Finlay works across various media including painting, fashion-textiles and text. Her novel,’Our Lady of Everything’, will be published by Serpent's Tail in Spring 2019.
Zoe Williams (b.1983). lives and works in London and is represented by Galerie Antoine Levi, Paris. Recent solo exhibitions include: The Unruly Glove, The Green Bum and The Sickly Trickle, Galerie Antoine Levi, Paris; Morsa, Studio Amaro, Naples, Pel, Galerie Antoine Levi; Copenhagen; Soft Paste, The Studio Warehouse Gallery, Glasgow; The Flight of O, Spike Island, Bristol. Significant group projects include (X) A Fantasy, group exhibition and performance commission, DRAF, London; Spring/Summer 2015, DCA, Dundee; The Chic and The Borderline, cur. by David Roberts Art Foundation, part of Art International Istanbul; Watch yourself, cur. by David Dale Gallery with Video Art Network Lagos and UK:NG Festival, Rele, Lagos; Mood is Made /Temperature Is Taken, GSS, Glasgow; 'Chateaux Double Wide', collaborative project, Glasgow International Festival 2016; H Y P E R C O N N E C T E D, MMOMA, part of 5th Moscow International Biennale of Young Artists. Forthcoming projects include The Armoury Show 2019, New York, A group exhibition at Greengrassi, London and a solo exhibition at Mimosa House, London in May 2019.
Arna Mačkić in conversation with Sun Ra
The material and the hand of the maker are barely discernible in the minimalist objects of Maria van Kesteren (b. 1933). The execution is perfect, down to the smallest detail, the result of her years of devotion to the craft of woodturning. The Gemeentemuseum will pay tribute to this artist to mark her 85th birthday
Page Not Found is delighted to invite you to a reading of "Communism for Kids" by its author, Bini Adamczak.
This book presents political theory in the simple terms of a children's story, offering relief for many who have been numbed by Marxist exegesis and given headaches by the earnest pompousness of socialist politics. It proposes a different kind of communism, one that is true to its ideals and free from authoritarianism. Adamczak illustrated herself the story, showing lovable little revolutionaries experiencing their political awakening. In an epilogue, the text leaves the genre of children's literature, to provide theoretical justification about the various forms of anti-capitalist critique. In March 2017, the volume was published in English by the MIT Press, which led to vehement protests from the US alt-right and conservative circles who saw the book as an attempt to corrupt America's youth. Among others, the LA Review of Books praised the opus.
Bini Adamczak (Berlin, 1979) is a Berlin-based social theorist and artist. She writes on political theory, queer politics, and the past future of revolutions. She is a member of the Jour Fixe initiative berlin. She published "Past Future: On the Loneliness of Communist Specters and the Reconstruction of Tomorrow", a performative and political work of mourning, and two books, not translated in English, at the occasion of the hundredth anniversary of the Russian Revolution. She coined an antonym of "penetration": circlusion, conjuring a speculative shift in the framing of sexual power and politics, by assuming agency around the acts of enclosing, encircling, engulfing.