Artists: James Irvine, Wieki Somers and others
Richard Hutten – Sit!

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.

Artist: Dirk Kome
Dirk Kome – Tonnis Post

Photographer Dirk Kome (1976) responds to the work of photographer Tonnis Post (1877-1930).

Jan Banning – Retrospective 1981-2018

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.

until 12 Aug
Artist: Charlotte Dumas

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)

until 23 Sep
Curated by Joost Bergman
Artist: Johan Creten
Naked Roots

Under the title Naked Roots museum Beelden aan Zee will display a selection of fifty sculptures in clay and bronze, many of which are monumental, by the Belgian artist Johan Creten. With both earlier and more recent work, this exhibition provides the visitor with the opportunity to gain a broad overview of his rich oeuvre. The symbolic title refers not only specifically to the basis of Creten’s sculptures, but also to more general themes such as origins, the place of the individual in history, and human relationships.

The New York Times correctly described Johan Creten as an artist who was able to take ceramics out of the traditional conventions and help it gain a leading position in the field of contemporary art. He has used clay and ceramics since the 1980s in a highly original, personal way, and this has resulted in sculptural works with a deep conceptual basis. Clay is not longer le parent pauvre (the poor relation), but a material that has a serious artistic aura and limitless new possibilities.

This resulted in a vast ceramic oeuvre that he has exhibited worldwide in countless major museums such as the Bass Museum in Miami, the Crac in Sète and the Louvre in Paris.

Johan Creten (Sint-Truiden, 1963) initially studied painting at the Academie voor Schone Kunsten in Ghent, then studied sculpture at the École Supérieure des Beaux-Arts in Paris and was resident at the Rijksakademie in Amsterdam. For some time thereafter he led something of a nomadic artist’s life between Miami, Monterrey (Mexico), Kohler (Wisconsin) and the Villa Medici in Rome; all places where he created works. Currently he is based in Paris.

His beautifully coloured sculptures that take on all manner of forms are full of (double entendre) references and ‘winks’ which mean that their complex interrelationships and meaning is far from easy to define. The themes are often ‘veiled’ in the sculpture or are to be found in the title, in some instances more explicitly. In this way there are examples to be seen from his famous Odore di Femmina - and from the impressive Glorie series.

The artist himself says only little about the background of his work, preferring to let his sculptures speak for themselves. Therefore to a great extent the viewer determines for himself, by association, what he is seeing. In the case of the engaged artist Creten, nothing is simply what it seems. Good examples of this are sculptures such as The price of Freedom and Why does Strange Fruit always look so Sweet.

As regards his subject matter, mankind and nature offer him an inexhaustible source of inspiration, but classic antiquity, art history, opera, literature and poetry also provide countless subjects. However, this inhoudelijke gelaagdheid substantive layering can also be supplemented with more current, societally sensitive subjects such as politics, racism, balance of power and sexuality. He represents his view of the world as Wunderkammer, or cabinet of curiosities as sixteenth-century collections of objets d’art and curios were called. Johan Creten, himself an enthusiastic collector, kneads all these influences into a wondrous world full of imaginary creatures, flowers and human figures. In this exhibition there will also be on display a number of historical objets d’art from Creten’s own collection; these will shed light on his fascinations and visual motivations, and include a French ivory Sint Sebastiaan from circa 1500, an Eskimo torso carved out of a walrus tooth and a bronze Renaissance Venus.

Many of Johan Creten’s sculptures were created in close collaboration with ceramic atelier Struktuur 68 in The Hague and the famous French porcelain maker Manufacture Nationale de Sèvres. The craftsmanship of such institutions in combination with Creten’s artistry produces exceptionally beautifully executed works of art, each of which has its own unique appeal. He also devotes a great deal of attention to the skin of his sculptures. This can be rough or aggressive, covered in crystals and small details, or indeed smooth by the application of a glossy layer of glaze.

Remarkably enough, this lavish visual language has its roots in the most modest of all artists’ material: clay. It is, almost literally, the fertile ground from which Creten’s sculpture arise.

In fifty works, museum Beelden aan Zee will provide a retrospective of the fascinating oeuvre of Johan Creten. Ceramic sculptures complemented by monumental bronze sculptures and photographic collages.

Also to be seen will be the preliminary models and the master cast of the imposing Vleermuisfontein (bat fountain) that Creten is currently developing for the city of Bolsward as part of the Leeuwarden Capital of Culture 2018.

The visitor can take a seat at a number of observation points that will be located around the exhibition in order to look upon and reflect on the works.

To accompany the exhibition will be a richly illustrated catalogue with a written contribution from Joost Bergman.

Artist: Theo Eissens
Linea Recta – From A to B

Selection of works on canvas and panel from the last 15 years, with a new catalogue.

Artist: James Brown
Orbs, views from my other house

Selection of paintings from the Orbs series, with presentation of new catalogue.

until 29 Jul
Artists: Andrea Bender, Arike Gill, Dave de Leeuw, Inge Aanstoot, Janes Haid - Schmallenberg, Jim Impelmans, Joyce ter Weele, Nora Axnick, Peter Feiler, Robin von Einsiedel and Wim Warrink
On paper

Hoorn & Reniers' summer exhibition focusses on paper. 11 international established and upcoming artists show their works on paper and give their view on the position of the individual in today's Western society.

Artists: Beryl Korot, Davidson Gigliotti, Frank Gillette, Ira Schneider, Michael Shamberg, Paul Ryan and others
Radical Software – The Raindance Foundation, Media Ecology and Video Art

The exhibition Radical Software. The Raindance Foundation, for Media Ecology and Video Art presents video works and installations from the pioneering group of American artists and thinkers of the 1970s who harnessed emergent low cost communication technologies with the purpose of greater ecological uses of the media.

The exhibition presents works including those by Frank Gillette, Beryl Korot, Ira Schneider, Michael Shamberg and honorary members Davidson Gigliotti, and Paul Ryan. It uses the extensive video archives of the ZKM | Center for Art and Media research collection to do this. This references the complete videotape collection of the Raindance Foundation, and the archives of Ira Schneider and Paul Ryan. As well as rarely seen video works and installations, the exhibition also presents archival materials and the Radical Software journal published by Raindance from 1970-1974.

The Raindance Corporation was first founded in 1969 as a media think tank and a group of video makers. It was renamed to the Raindance Foundation in 1971. Raindance challenged the monopoly of the commercial broadcast industry by cultivating artistic uses of video within alternate cultures. In the context of the US-American counterculture of the 1968 movement and inspired by the ideas of Marshall McLuhan, Buckminster Fuller and Gregory Bateson, the Raindance members’ works tested the socio-critical, participatory and emancipatory potential of the new affordable medium of video.

until 07 Oct
Artist: Sam Samiee
Sam Samiee

Iranian-born artist and essayist Sam Samiee (b. 1988, Teheran) makes installations consisting of multiple paintings. He combines this two-dimensional medium with spatial objects, testing the potential and the limits of traditional painting.

Samiee is also a researcher, exploring western painting, philosophy and psychoanalysis and studying the rich history of Persian literature. He attempts in his work to unite the west’s visual culture with the east’s word-oriented culture. By breaking with the tradition of the two-dimensional painting, he repeatedly questions how an artist can portray the three-dimensional world. As he himself says, ‘Painting is a way of further developing and shaping all my ideas and thoughts’.

Samiee, who works in Amsterdam, Berlin and Teheran, and studied at the Royal Academy of Art in Amsterdam in 2014-2015, will be presenting an installation combining works from 2014 to the present day in the Gemeentemuseum’s Projects Gallery. He will also integrate into the installation a number of paintings from the museum’s collection, by the artists Constant, Paul Thek and Emo Verkerk, with whom he feels a kinship.

Artist: Sam Keogh
Solo exhibition Sam Keogh

We have seen the work of Keogh on earlier occasions, including his performance during the event ‘Ectoplasm’ curated by Padraic Moore in 1646 in 2016. The last time we saw a performance of his, at the Rijksakademie Open presentation, it managed to contain an experience that felt as if a pattern was developing.

We would describe it as an experience of alienation; alienation from a world that contains lots of facts and data, lots of words and more words and objects, heaps of estranged objects. It felt as if you are being in outer space, alone with your own internal dialogue surrounded by lots of leftovers from your personal past, from the history of civilisation and from the products of a culture you are part of and that you are somehow failing to put together.
In the work of Sam, this ‘failure’ of connecting these elements suddenly reveals a parallel fascinating experience. The verbiage becomes materiality: sculptural and the real materials in combination with the way Sam interacts with them transmits a sensorial experience that gets close to the youtube sensation of ASMR (Autonomous sensory meridian response).

Sam Keogh a current artist in residence at the Irish Museum of Modern Art, working toward a new commission for EVA International in Limerick to open this April. He works across installation, sculpture, performance, drawing and collage. In recent work his installations facilitate a performance which morphs sculpture into props and collage into mnemonic devices or surfaces to be read as a half improvised pictorial script.

Artists: Barbara Ellison, Bram Vreven, Matthias König, Yota Morimoto and others
Soundwaves – Dick Raaijmakers and Sonology

Dutch composer, musical theatre maker and visual artist Dick Raaijmakers (1930 - 2013) is regarded as a major innovator. His multi-faceted oeuvre spans a period of some fifty years, starting with the first electronic pop song ever: his 1957 Song of the Second Moon. The many installations, musical and theatre performances and other sonic experiments that followed were always far ahead of their time. Soundwaves showcases Raaijmakers’ work alongside that of a younger generation of artists who merge sound and images in novel ways.

In 1967 Dick Raaijmakers launched the concept of the Ideophone: a loudspeaker that becomes an active ‘speaker’ and composes its own music. Between 1968 and 1970 he continued to elaborate the concept, eventually creating large installations that were all entitled Ideophone (a combination of ‘idea’ and ‘phone’, meaning a speech sound or sound unit in isolation). This exhibition presents Ideophone III, an installation comprising four large loudspeakers. Metal plates suspended in front of the centres of these ‘speakers’ are alternately kicked away in a perpetual cycle of movement.

The exhibition associates this piece by Raaijmakers with works by a new generation of artists fascinated by sound: Barbara Ellison, Matthias König, Yota Morimoto and Bram Vreven.

Curated by Michael Tedja
Artists: Dwight Marica, Evren Tekinoktay, Gean Moreno, Jabu Arnell, Jean Bernard Koeman, Liv Ylva, Michael Tedja, Miek Hoekzema, Moshekwa Langa, Radcliffe Bailey, RaQuel van Haver, Richard Bott, Ronald Ophuis, Samson Kambalu and others
ASYNCHRONOUS curatd by Michael Tedja

This summer NOUVELLES IMAGES presents a special group-exhibition, ASYNCHRONOUS, with guest-artists curated by artist & writer MICHAEL TEDJA (Rotterdam, 1971).
Michael Tedja: "Asynchronous conversations by and with people who make fantastic art. For me as an artist/curator, this show is a transformation wall, a kind of metamorphosis that takes place within a non-linear story. All artists have different positions and retain their artistic independence and at the same time tell one story. ASYNCHRONOUS. Go see and listen."

– a system having no global clock
– a sequential logic not governed by a circuit
– transmission of information without the use of an external signal
– a model of discrete cells which update their state independently

KUNSTENAARS | ARTISTS: Jabu Arnell | Radcliffe Bailey | Richard Bott | Luis Gispert | Carlson Hatton | Miek Hoekzema | Raquel Van Haver | Samson Kambalu | Jean-Bernard Koeman | Dwight Marica | Gean Moreno | Moshekwa Langa | Ronald Ophuis | Michael Tedja | Evren Tekinoktay | Liv Ylva

until 26 Aug
Artist: Tamara Dees

Bare, the second solo show by Tamara Dees.

In the show Bare, the artist investigates how we relate to size, material and art (history). Tamara Dees transforms the transmission of paintings completely. Sometimes she removes the subject, in other artworks the subjects of the paintings are completely covered with leaf gold. All that remains of the original painting is a trace, and though this trace is borrowed from the painting, it has become another nature entirely: it is that trace stripped of its iconicity. The transmission is always done with great care. She conserves her found treasures with care, by letting it disappear under the valuable leaves.

Artists: Hieke Luik, Ien Lucas, Julie Cockburn, Mat van der Heijden, Michel Hoogervorst, Ossip and Sjoerd Buisman
Erdbeeren mit Sahne

Recent works by artists of the gallery.

Artists: Alex Farrar, Alexandre Lavet, Jacqueline de Jong, Joseph Montgomery, Lennart Lahuis, Paul Beumer, Pieter Paul Pothoven, Puck Verkade, Raúl Ortega Ayala, Sybren Renema and Wieske Wester
The odd uneven time

For the summer season of 2018 Dürst Britt & Mayhew is proud to present a group exhibition with a selection of works by our eleven represented artists: Paul Beumer, Alex Farrar, Jacqueline de Jong, Lennart Lahuis, Alexandre Lavet, Joseph Montgomery, Raúl Ortega Ayala, Pieter Paul Pothoven, Sybren Renema, Puck Verkade, Wieske Wester.

The gallery will be closed for holidays from 23 July until 14 August.

until 25 Aug
Artists: Carla Klein, Jan Roëde, Koen Taselaar, marcel van eeden, Marlene Dumas and others
Heden at home

This summer Heden presents contemporary art in a vintage setting. From 12 July you will find the most beautiful, the nicest and the finest artworks from Heden’s collection and finally you can view the works in this exhibition in a special arrangement. The store mooi MUF! decorates the exhibition with vintage furniture as a living room. In this way you can view and choose the art from a cool retro couch while enjoying a cup of coffee. If you have made a choice, you also will receive a 50% discount on the rent of the work for a year! If you already rent a work of art, you can rent one at an affordable price!

The exhibition features works by, among others, Carla Klein, Marlene Dumas, Rens Krikhaar, Marcel van Eden, Shaan Syed and many other artists.

We look forward to see you this summer at Heden!

01 Sep 07 Oct
Artist: Saskia Tannemaat
I wish my name was Louise

Saskia Tannemaat manages to capture the mystery in portraits about desire, happiness and pleasure. For these portraits she uses a mix of materials and techniques. She draws the contouring lines using charcoal, fills the objects with black ink and covers them with paper cloth or Chinese Joss paper. Saskia Tannemaat engages with the world surrounding her, through personal questions and a strong visual language. In her portraits, Saskia doesn’t strive to match reality. Tannemaat portrays people who don’t fit into our idea of our current society. They create their own path and thereby destination. She manages to capture the mystery in portraits about desire, happiness and pleasure.

01 Sep – 16:00 – 19:00
I wish my name was Louise

Festive opening of Saskia Tannemaat her second solo exhibition at twelve twelve! It would be great if you could join , to celebrate this with us!

Saskia Tannemaat manages to capture the mystery in portraits about desire, happiness and pleasure. For these portraits she uses a mix of materials and techniques. She draws the contouring lines using charcoal, fills the objects with black ink and covers them with paper cloth or Chinese Joss paper. Saskia Tannemaat engages with the world surrounding her, through personal questions and a strong visual language. In her portraits, Saskia doesn’t strive to match reality. Tannemaat portrays people who don’t fit into our idea of our current society. They create their own path and thereby destination. She manages to capture the mystery in portraits about desire, happiness and pleasure.

Curated by Gert Scheerlinck
Artists: Gert Scheerlinck, Johan de Wit, Johan Gelper, Katleen Vinck, Nicolas Lamas and Rein Dufait
LE SUD (50° 38′ 28″ NB, 4° 40′ 5″ OL)

LE SUD shows six conceptual Belgian artists

Curated by Gert Scheerlink
Artists: Gert Scheerlinck, Johan de Wit, Johan Gelper, Katleen Vinck, Nicolas Lamas and Rein Dufait
LE SUD (50° 38′ 28″ NB, 4° 40′ 5″ OL)

A group exhibition curated by Gert Scheerlinck, with six Belgium artists.