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.
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.
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 trilogy will be concluded with The Party of Ruin on December 21, 20 pm - 12 am.
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 rebuilt 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.
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.
'Frame or be framed’ is a deep-rooted motif that runs through Puck Verkade’s (1987, The Netherlands) video based practice as an inquiry into the complexities of representation. How do these complexities inform gendered and racialised biases in everyday interpersonal encounters? How are they mediated and visualised in order to perpetuate social inequalities? Digging through generational layers of visual culture tropes has led Verkade to use humor and irony as an entry into the stickiness of subjectivity. A continuous feed of embodied explorations results in speculative constructions composed of re-appropriated found footage, sampled pop music, low res animations and personal recordings. Formerly predominantly screen based, Verkade’s recent body of work is unfolding into a diverse materiality of sorts and has made way for sculptural elements to support and situate her video works as part of space-intrusive installations.
Verkade’s installation ‘Breeder’, consisting of three video episodes and various privacy screen-like sculptures, speculates on how processes of reproduction become a sticky mess through lense based power structures. It explores how sexual, social and visual reproduction are entangled in a web of (mis)representation.
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.
The artist duo Les Deux Garçons, Michel Vanderheijden van Tinteren (1965) and Roel Moonen (1966), create a diverse oeuvre that consists of collages, assemblages, paintings and bronze sculptures. But the artists mainly focus on the unlikely and exciting terrain of mounted animals (taxidermy), which includes them with the modern animaliers, animal sculptors. The artists find their materials at taxidermists and in zoos; never on the free market, because the origin of an animal can be unclear in that case. For collecting and keeping protected animal species, also in art works, apply strict rules in the Netherlands. The Ministry of Agriculture and Fisheries monitors the so-called CITES convention, an international agreement to control the trade in protected animal species. Those who want to buy, sell or transport a CITES protected species in the Netherlands and within the EU must have the correct certificates. The animals included in the works of Les Deux Garçons have thus died naturally and are obtained legally.
Climate change is not a problem of the future!
At first sight the works might look fun, but the animals of Les Deux Garçons have a serious message. The artists want to draw attention to the problem of climate change and encourage the public to gain greater respect for the earth. Their exhibited work symbolizes the worrying state in which nature is at the moment. Endangered species like giraffes and tigers balance on the edge of the abyss, in a state of almost dreaming they await the moment when the earth will find its natural balance again. This explains title choices such as Les rêveurs gelés (The frozen dreamers) and La naissance de l'équilibre (The origin of the balance).
The exhibition 'Back-up' by ‘visual storyteller’ Jan Rosseel is a presentation about the complex relationship between memory, image and imagination. We dive into the fascinating visual research of Rosseel. We visit the Romania of 1989. The smell, the light, things disappearing, the horror ....
What do we personally remember of collective events? What makes an image iconic? Can we even forget historical events in our own times - with so many images being produced of everything that happens? Jan Rosseel's exhibition 'Back-up' at Stroom Den Haag is the final instalment of a triptych that started with a presentation almost a year ago at Amsterdam's De Brakke Grond and continued at Museum Dr. Guislain (Ghent, Belgium). The Stroom exhibition reflects a new maturity and deepening of the artist's themes, as well as adding a large number of new works.
The presentation focuses on the relationship between history, politics and power and on a new theme: the trial of Nicolae and Elena Ceausescu in 1989. This subject connects to the very foundations of Rosseel's research: the merging of personal recollections, the shaping of our collective memory and history by the media and the role played by public perception and images in these processes.
Organisation and acknowledegments:
'Jan Rosseel: Back-up' is a co-production of: De Brakke Grond, Museum Dr. Guislain and Stroom Den Haag. Special thanks to: Mondriaan Fund, City of The Hague, Netherlands Institute for Advanced Study in Humanities and Social Sciences (NIAS), The Art of Impact. Jan Rosseel is represented by The Ravestijn Gallery, Amsterdam.
1646 is proud to present the first solo exhibition of Antoni Hervàs in The Netherlands.
‘Pussies on Wheels’, different kinds of protection gear, some slimy cacti, DIY instruction book-aesthetics, a deconstructed rysograph comic zine, and a roadmap of intestines are just some of the elements used to create this exhibition. With ‘The Rubbery’ Antoni Hervàs will show new work that through the exploration of a variety of subjects, challenges the imposed normativity of stereotypes associated with masculinity and femininity and body politics, and that explores freedom of bodily self-expression.
‘The Rubbery’ reflects the eclectic attitude in Hervàs’ artistic work in which the final result is the outcome of a process of research, observation, aggregation and subversion of (cultural) material Antoni finds himself at work with at that moment. The process towards this show entailed the mining of subject matter such as male roller-derby contests, the Greek myth of Jason and the Argonauts and a fifties gay motorcycle club that engages in the practice of fistfucking while distributing underground photocopied zines containing instructions on protection, drawings of Tom of Finland and personal stories. These divergent topics are linked by his interest in defying attitudes towards the powers of society regulate the human body.
Drawing is for him the means to jot down notes of his discoveries, to reflect on them and to transform them anew in a process that he would describe as ‘liquid’. He takes advantage of the transformative power of the expanded method of drawing and installation for a larger study, rummaging the discarded edges of cultures, like the folkloristic and vernacular expressions of a particular context.
The final physical result could be seen as a digestion of his initial research, where the sculptures, video, and drawings take on an autonomous form of their own. They themselves turn into entities that defy authorative conventions of representation, as in the end the work resists any fixed interpretation.
The driving force for Peter Koole's paintings is a sense of justice. They question our guilt. There’s an appeal for compassion, the attempt to keep someone or some events out of oblivion. Some call Peter Koole's paintings political, he himself finds that a restrictive label that tends too much to a thirst for action. You might say that he chooses the side of the victims or paints from their point of view.
The exhibition The Wild consists of works on paper and drawings. The wild has always fascinated man for its pristineness and pureness, but also frightened him because of the dangers it can pose. For centuries nature was dominant and potentially threatening. However in our present time the balance has shifted in favour of civilisation that increasingly corrupts and endangers the remaining areas of untouched nature. In the work of the artists Jim Holyoak, Ed Pien, Anouk Griffioen, Sebastiaan Schlicherthe wilderness comes in different shapes.
Jim Holyoak (1978) draws the vegetation and animals of the Canadian Forests from direct observation. His drawings are not merely registrations but also give room to the imaginary and at times allude to extinct species and life forms. Fellow Canadian Ed Pien (1958) who has also often depicted forests in his work. is now experimenting with Atlantic Ocean water that he applies directly on black paper and that leaves salt crystals after evaporating. He complements this random pattern with white ink to create cavern-like spaces where ghostly creatures appear. Anouk Griffioen (1979) is known for her large format drawings of plants and forests that envelop the viewer. In the exhibition she presents a new work with rampant dead leaves that seem to transform into a wild creature. Sebastiaan Schlicher (1975) presents the wild as a refuge for fanatics and survivalists, who desperately try to fight the insignificance of their existence, away from civilization.
As Patti Smith once described: “Outside of society they are waiting for me, outside of society is where I want to be”.
In this exhibition Judith Maria Kleintjes presents ceramic objects that she made last year at the EKWC, and recent drawings. Ien Lucas shows a series of paintings from the past few years.
During Art Rotterdam (Feb 8 - Feb 11) the gallery will be closed.
“Since everything that is matter can, under favourable circumstances, convert to an organic state, then we can conditionally say that inorganic matter is in embryo living.” - Konstantin Tsiolkovsky, 19th century Soviet rocket-scientist.
In Another Dimension the invisible steps into the light for a brief moment. The creation of the artworks find their origin in that which usually remains unseen, or is so big that we can only think of it in abstractions. Another Dimension brings together artists that are inspired by the most distant corners of our cosmos and cherish a love for the fictional, invisible and alien. Fascinated by the most basic questions, they set out to experiment, eager to discover the nature of our material world.
The artists that form part of this exhibition were selected together with Zoro Feigl, who at the same time as Another Dimension will have a solo exhibition titled Infinity in the Electriciteitsfabriek next to Nest.
Image: A bright light shoots through the dark sky one night in the beginning of the 20th century, its spectators manage to photograph it. This mysterious entity is a comet; it is named Halley and can be considered the first ‘wonder of physics’ to be captured on film.
Zoro Feigl makes art that moves; like Poppy, an enormous flower constructed out of tarp that swirls around in a hulking, but at the same time rather elegant, kind of way. Or Detour. A long and winding road to nowhere in particular; a long green ribbon made of plastic that meanders endlessly across the floor. Those who take their time will be rewarded, because although the work sometimes looks dangerous and threatening, there is a chance to discern; a moment of recognition.
The artworks of Zoro Feigl find themselves in the realm of infinity. They might squeak, creak and scrape, twist, spout and above all protestingly grumble; but always in the form of a rhythmic cadence.
Fascinated by the beauty of simplicity the artist always sets out to experiment with the limits of the physical. Under the motto of ‘beyond what it should into what it could be’, he tests the materials in his studio by placing them under a drill or running around with them. So it is that Zoro Feigl has become a strong voice in contemporarary art.
The industrial environment of one of the oldest still operational power plants of The Netherlands will form the backdrop to an exhibition that will bring together a large portion of Zoro Feigl’s work. In the midst of this moving scenery the artist and his team will work daily in a temporary studio, busy constructing a new installation. The public is hereby cordially invited to become part of this process.
The works of art of David Pedraza (Madrid, 1976) is the result of a deep analysis and reflection on painting, together with his personal experiences and his Catholic background. He has an interest in art history and the great master painters like Velazquez, Goya, El Greco, Rembrandt. Picasso,etc. David looks into the relationship between these artists and art used as power/political/social tools. Therefore he refers himself to power systems and to the search for our true role in society. With the medium of oil paint and spray paint, David creates images with a certain atmosphere where time has stopped to exist and the represented figures seem to loose their authority. His paintings are questioning religion and government institutions, their interaction with society, and how people deal with each other through believing as well as the practice of the so called "law of God" and the laws that we all follow as "average citizens". He is interested in the confrontation between the open and hidden goals of these institutions and the way they are showed to us.
Martijn Mendel (1994) recently graduated from the Royal Academy for the Visual Arts in The Hague. He published a book and several leading galleries added his photographs to their collections. His work, in which he accurately maps out the vulnerability of adolescence, shows a certain degree of maturity that transcends his age. His work is an intimate research into coming of age and the search for a personal identity. Martijn uses the fashion tradition to create striking stories that capture the emotional vicissitudes of being young.
New paintings and works on paper by Ruri Matsumoto, winner of the Livingstone Projects Prize 2017.
New paintings by Jan Wattjes, with presentation of new catalog The White Cube Concept, 2017
Opening of our new exhibitions of Jan Wattjes and Ruri Matsumoto
As part of the programme around the exhibition 'No Excuses' at Museum Beelden aan Zee, artist Tirzo Martha will tell you about his work and vision during an artist talk at the museum. Please join this conversation with the artist and feel free to ask questions.
This evening is dedicated to Antoni Hervas' exhibition 'The Rubbery' at 1646.
A figure behind a misted window turns its face away and closes its eyes in an attempt to evade the lens of the photographer. The metro passenger is crushed between fellow-commuters and unable to move when photographer Michael Wolf points his camera at him from the other side of the glass. Over the 2010-2013 period, Wolf returned time and time again to the same metro platform in Tokyo to lie in wait for his passing prey. The result is Tokyo Compression, perhaps Wolf’s most renowned photo-series, in which he explores the subjects of privacy and voyeurism in great detail. In the densely populated world cities where Michael Wolf works, these themes are unavoidable. The Hague Museum of Photography is about to exhibit a major retrospective of Wolf’s work, stretching from his earliest years as a documentary photographer right through to relatively recent series like Architecture of Density and Transparent City.
Marnix van Uum and Gerard Herman
Every two years, the GEM museum of contemporary art turns the spotlight on artists who have recently graduated from The Hague’s Royal Academy of Art. The new selection by director Benno Tempel will comprise half a dozen talented representatives of the 2016 and 2017 cohorts. Their diverse and surprising work will be showcased in Now or Never #4.
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.
Festive closing of the exhibition 'No Excuses!' by artist Tirzo Martha.
André Volten (1925 - 2002) was at the forefront of abstract sculpture in the Netherlands. Numerous sculptures, almost always in steel, are set up everywhere in the country at prominent locations such as the Stopera and the IJ-riverside in Amsterdam and the Jaarbeursplein in Utrecht. His work is often fully integrated into the surroundings. The relationship between the artwork, the environment and the spectator was always very important to Volten for his creation process. Museum Beelden aan Zee honors Volten, the Dutch master of geometric abstraction in three dimensions, with a retrospective exhibition. The exhibition will include a richly illustrated catalog with contributions by Jan Teeuwisse, Trude Hooykaas and Emma van Proosdij.
Long known for his unique combination of video, sound, performance and installation, Gary Hill has continuously offered multilayered investigations into the phenomenological nature of how we perceive the world through a network of visual, aural and linguistic signals. Exploring the cognitive and sensorial conditions that underlie our discursive modes of communication, Hill experiments with the material and sonic properties of language to offer provocative meditations upon the production of meaning within our everyday contexts, as well as highly personal poetic spaces. His works are characterized by their experimental rigor, imaginative leaps, and conceptual precision.. What differentiates his practice from the solely theory-driven is a visceral necessity that is almost palpable. Since the early 1970s, Hill’s use of video, and by extension electronic media, has occupied a central role in his artistic practice, using the medium as a formal site and structure to both examine and destabilize the power of the image. Concerned with an increasingly homogenized visual culture, Hill disarticulates the primary communicative function of electronic media by playing with sound, speed, sequence and light, to produce not only radical ruptures within our normative processes of perception, but new ways of encountering meaning — whether it be grappling with, accumulating, absorbing or surrendering to it.
Gary Hill was born in 1951 in Santa Monica, California and currently lives and works in Seattle. Originally a sculptor, he began working with sound and video in the early 1970s and has since produced a large body of both single-channel video works and mixed-media installations. The thresholds between language and image, silence and sound, and lightness and darkness are of primary concern in much of Hill’s work, but rather than emerging as sets of dualities, these thresholds — as well as the gaps between absence and presence, real and recorded time, viewed and viewing — are described by Hill as “resonating membranes” through which he and viewer become “next to close by.”
Gary Hill (1951) has received numerous fellowships and awards, most notably the Leone d'Oro Prize for Sculpture at the Venice Biennale (1995), the prestigious McArthur Foundation Fellowship (1998), the Kurt-Schwiters-Preis 2000, the Strangers genius award (2011) and Honorary Degrees from The Academy of Fine Arts Poznan, Poland (2005) and Cornish College of the Arts (2011). Hill's work has been the subject of major retrospectives and solo exhibtions at diverse international art museums and institutes.
A solo exhibition with new paintings by artist Ronald Versloot.
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.
'Personal Pop' showcases the idiosyncratic work of the unknown, prematurely deceased, highly promising Bangladeshi-British artist Shah Jahan (b. 1976, Sylhet, Bangladesh; d. 2015, Birmingham, UK). He grew up in Birmingham, studied at the Ruskin School of Art at Oxford University, and worked as a resident at De Ateliers in Amsterdam from 1998 to 2001. Enthusiastic tutors of those days (up to today) amongst others Marlene Dumas, Georg Herold, Didier Vermeiren, Rob Birza. His work is strikingly varied, comprising videos, sculptures, paintings, collages, installations, clothing and drawings that blend the fabric of his own everyday life with the language of pop art and popular culture. Shah’s unique ideas about art, his drive to produce, his unbridled ambition, and the great promise all those strengths added up to were overshadowed by his mental health problems and his early death at 38.
Shah was convinced that art possessed a transformative quality, and he envisioned a position for himself at the centre of society. He strove to make a kind of art he called “personal pop”: it was close to mass culture, like pop, but at the same time completely personal. His body of work is made up of apparently accessible objects that on closer inspection turn out to be part of a deeper web of meanings and references, with links to each other, religion, politics and identity. As such, it meshes perfectly with contemporary reality, in which objects, people, ideas and worlds are increasingly intertwined.
Sculptures, collages, photos
A selection from his studio
During the opening a book about his live and work, written by Robine Clignett, will be launched.
Solo exhibition with artist Yair Callender
The exhibition LAND of GOOD, at twelve twelve, aims to create and introduce a gender-symmetrical society, based on steady balance between men and women, expressed through the educational power of Art. Vika Kova believes Art can contribute to change the world. She has been focusing her art practice on that unique intercultural and intergenerational project.
Milo Rau, one of Europe’s most acclaimed theater directors, presents the spatial installation ‘The Congo Tribunal’. For more than 20 years an inexplicable Civil War is turning a territory as big as western Europe into hell on earth. Triggered by the Rwandan genocide in 1994, the Congo War, also called the 'Third World War', has claimed six million lives. Many observers not only see in it a fight about political predominance in Central Africa, but also one of the most decisive economic battles for the share in the era of globalization. Will the future order of the global community be decided here?
Milo Rau's "The Congo Tribunal" examines the causes and backgrounds to this, so far biggest and bloodiest economic war in human history in a unique and stunningly transmedia art project.
Every year, Nest organises a One Nest Stand (a one-night-show) for which academy students get the assignment to make a work in the sphere of one of the exhibitions of Nest. This year students of the Royal Academy of The Hague draw their inspiration from the exhibition 'Another Dimension' at Nest. The students are invited to think about the most distant corners of our cosmos, and the fictional, invisible and alien that emerge from that.