Group exhibition - Johnny Theodorus Wiekhart, Feiko Beckers, Alex Andropoulos, Robbin Heyker and Lucassen
After decades in which individual freedom was at the center of our liberal society, a new Romantic era has arrived. The Western world, again, is building walls and raising borders. A renewed sense of nationalism and a focus on ethical identity are central in the resistance of the elite and its status-quo.
‘Chronicle for the Millions’, is a response to this new era. Marin de Jong reacts by covering up his art works, discarding their visual value, destroying them and hiding them from the masses. By doing so a new form is created: the ultimate anti-form.
During his entire oeuvre, irony has always been the dominant form in which Marin de Jong communicates through his art works. In this new series, like in his earlier works, nothing is what it seems. And by doing so de Jong is joining the chaos that is central to the rise of this new Romantic era. As a spectator viewing this series, an inquiring mind is needed. The millions might be choosing super stars, dogmatic ideas and nationalism over individual freedom, mockery and irony are the only possible response.
The fascinating world of physical discomfort - things we rather not talk about – combined with implants, jewels, (vintage porn) photos and abstractions are the basis and inspiration for the latest project of Ton of Holland. The aging body, in a time of technical progress that makes the medical possibilities seem limitless, and people can continuously be physically renewed.
Only one size was used, all paintings are 1 m2, and four background colours: hospital white, blood red, surgery green and death black. Also on view is the collection “Medical Wallpapers”, designed with Dennis Koot.
Jeroen Doorenweerd Meets Gutai brings together two worlds: those of the Japanese avant-garde group Gutai (1954–1972) and the Dutch artist Jeroen Doorenweerd (1962). Gutai’s performances, installations and exhibitions broke new ground. The artists became known for paintings of which action was an inextricable part: “painting action, not action painting”, they called it. Doorenweerd (b. 1962) feels a kinship with the Japanese group despite the decades and thousands of kilometres between them. Gutai’s mentality and energy mirror his own. For Doorenweerd, a painting is a document of place, time and energy: the result of a “painting action”, a gesture, a state of being that is deeply personal. Jeroen Doorenweerd Meets Gutai features video footage of performances by Gutai artists including Shozo Shimamoto, Kazuo Shiraga and Atsuko Tanaka alongside Doorenweerd’s latest series of paintings, Silverstudio and Pinkorange.
Céline Condorelli presents Stroom's exhibition space as a place for rehearsal and play. A series of carousels and spinning tops invites visitors to play and interact with them, while (historical) references of radical playground-designs show what play means for the city and for society.
The artworks of Condorelli often allow intimate contact usually excluded from cultural objects: her works can be used and touched. They have double or triple lives, make references to works by others, and fulfill different spatial functions, such as an entrance, a display-structure, background, seating, bookshelf or as a room-divider.
Both the carousels and the spinning tops are sculptural objects as well as play structures, whereby the tops also function as scale models of (existing and possible future) carousels. At the end of the exhibition, the carousels will be relocated to the schoolyards of two local schools in The Hague. The pupils of which have been actively involved as researchers in the development of this project. And 'Proposals for a Qualitative Society (Spinning)' is full of references: to Lina Bo Bardi, Palle Nielsen, Aldo van Eyck, Charles & Ray Eames and Constant to name a few. They are present in a series of new (wall) works developed by Condorelli with graphic designer James Langdon.
'Proposals for a Qualitative Society (Spinning)' is Condorelli's contribution to 'Attempts to Read the World (Differently)', a program in which Stroom together with various artists looks in a searching, intuitive way at our present world, the rapid developments therein and possible futures. And by doing so, imagines a possible new world.
'Proposals for a Qualitative Society (Spinning)' is made possible in part by the Mondriaan Fund, BankGiro Loterij Fonds and the City of The Hague.
Kim Boske creates a new reality in her work, where she brings together multiple perspectives in one image. At first sight, her work looks like an impressionist landscape. The scenic and dreamy look of the work carries the viewer along to an almost fairy-tale world. Unique in her work is the apparent contradiction between the soft look of the image and the use of the photographic medium which is used to create razor-sharp images.
Kim composes her work by capturing different moments in time of the same image. In this way, time is not only an instrument to create the image, but also the subject of her research. The result of this process is a collection of images through time, which together form a new image. This constructed image could never exist but is made visible through layered fragments of time. During the exhibition, a special, limited edition print will be available.
Kim Boske (Hilversum, 1978) studied at the Royal Academy of Art in The Hague. Her work was shown at leading international museums, including the FOAM Photography Museum Amsterdam, MAM Moscow and the Dutch Photography Museum in Rotterdam.
For the exhibition On Speaking Terms designers Lorien Beijaert and Arna Mačkić of Studio L A have created an experimental exhibition space. The various works of art will be displayed within the walls of Nest but in a new setting, to facilitate seeing things from new perspectives. On Speaking Terms shows art that questions we-them binaries and ‘me against them’ terms of thinking within our society. A temporary arena in the heart of Nest will invite you to form and exchange ideas on new views.
Initiated and designed by Studio L A.
Group show with paintings by young international artists, curated by gallery artist Jan Wattjes.
In September 1646 opens the new season with an exhibition of the Antwerp based artist Dennis Tyfus. We have been intrigued by him and have been following his work and his label Ultra Eczema for about 10 years now.
Dennis Tyfus (Antwerp, 1979) is known for an oeuvre that is difficult to categorize. It grows out of the things he finds important and results in a practice that is unceasing. Ranging from drawings, paintings, collages, poems, installations, video’s to magazines and books (published & distributed under his own label Ultra Eczema) to music, vinyl record productions and radio shows on air at Radio Centraal.
Last year, during our visit to the former convent where Tyfus lives and works, he offered us some insight into his particularly versatile practice, which encompasses a great variety of materials and media, including the granite memorial stone stating ‘Here Lies Dennis Tyfus’, which was to be installed on the facade under Tyfus’ bedroom window on the day of our visit.
Tyfus is simultaneously an outcast and a unifying factor in the Antwerp art scene. He uses the record label Ultra Eczema as a vehicle for all sorts of collaborations with a range of artists and musicians, that causes uncertainty when it comes to position his work for both the art world professionals as for the wider audience. His work often hovers in the grey area between arts, city life and popular culture as the context for his work. Through these unexpected moves the works have an even stronger impact on us.
An example of this is the video piece ‘Gargles from Ipanema’, which he developed for the Mechelen-Nekkerpoel train station and featured an aged woman, dancing erotically on sultry muzak. The work lead to such controversy and complaints by commuters, that it was removed shortly after its installment.
We can’t wait to see what Tyfus has in store for 1646 and are eager to see how he will play with the unwritten rules of the space and its visitors.
‘I saw the best minds of my generation destroyed by madness’, born as a dog I now am howling.
A howl echoes through the corridors perpetually. For every soul forgotten, for every brain in the back row, for every maker who relishes making, for every romantic, for every one who questioned life’s worth but chose to truly live.
For all of these I howl, for I’m a dog»
In this edition of Billytown Kitchen sessions, SID YOUNG has taken Allen Ginsberg famous poem 'Howl' as the starting point of inspiration, whilst continuing to question the human condition from the perspective of now. In the times of cynicism, overpowering irony and glorification of sarcasm, is there still space for an honest, loud, pure human emotion? The answers you may find in the works of Debbie Young, Katerina Sidorova, Harriet Morley and Alex Burch.
SID YOUNG - alumni from KABK, The Hague - have invited two Glasgow based artists Morley and Burch in order to continue their international platform to expose young artists. Several SY exhibitions have already taken place with many future plans under their belt which will continue to highlight The Hague as a breeding ground for artistic talent.
Solo project by Bea McMahon
After various residencies in Xiamen, Beijing and Tokyo and an extended stay in Taipei, Paul Beumer returns to The Hague for his second solo exhibition at Dürst Britt & Mayhew. For this exhibition he will create several site-specific installations made out of pieces of fabric that have been treated with his own interpretations of ancient Asian techniques for painting and dying.
Marshall McLuhan (CA), Wolfgang Spahn (AT), Darsha Hewitt (CA), Christof Migone (CA), Thomas Begin (CA), Haroun Farocki (DE), !Mediengruppe Bitnik (DE/CH), Mogens Jacobsen (DK), Reynold Reynolds (USA), Hito Steyerl (DE), Peter Blegvad (UK), Willy Lemaitre (CA) & Angela Washko (USA), Stephanie Syjuco (USA), MRZB (IT),
Recursive exhibition and symposium project. Celebrating the synthetic practices of the Toronto School, featuring the radical experimental publishing work of Marshall McLuhan as art. Feedback’ brings artists, designers, scholars and thinkers together to probe, encounter and contest the light-speed electronic information environments we inhabit today.
Exploding out of the wreckage of World War II the early cyberneticists Norbert Wiener and Claude Shannon, sketched out a future where even thinking could be automated. Marshall McLuhan saw in the electronic information of global instantaneous mass-communication of the satellite and tv age, the end of the rational tradition of enlightenment Humanism, and the emergence of a ‘Global Village’ and ‘Global Theater’ where people would be caught up in their interconnectivity and develop new social art forms.
The pace of technological transformation, automation and globalisation has resulted in massive human migration, precaritization, displacement and new transitional modes of existence. Publics are formed and dissolved algorithmically according to need, no longer on the level of opinion or knowledge, but according to advanced social cybernetics of the advertising economy. The medium is the message.
This autumn marks the fourth time in a row that Stroom organizes an exhibition in Atrium City Hall The Hague. The exhibition 'Play your city' (Speel je stad) zooms in on the importance of outdoor play, a physical interaction with the urban environment, a view of the city as a playground and what the contribution of art could be in this field. The exhibition features a.o. scale models of a selection of Art-at-school projects initiated by Stroom, and the video 'Voice of Children' by the British collective Assemble. In addition, the exhibition design actively invites visitors to come and play.
Play your city (Speel je stad) is generously supported by: the City of The Hague, Stichting Atrium City Hall, BankGiro Loterij Fonds and Bouwfonds Cultuurfonds.
Parallel to 'Play your city' (Speel je stad), but from an entirely different perspective, Stroom presents the exhibition 'Céline Condorelli: Proposals for a Qualitative Society (Spinning)', also focusing on what play means for the city and for the society we live in (9 September - 19 November 2017).
After Warffemius, herman de vries and Jeroen Henneman, the work of Pat Andrea is focus of the Art The Hague campaign in 2017.
In the booth of Galerie Ramakers works by Pat Andrea and other artists are featured.
A surprise party on your body!
In the context of his exhibition 'Enfant Terrine' artist Dennis Tyfus decided to offer an evening of No Choice Tattoos:
A permanent surprise!
No shadows, no colors, no stencils, NO CHOICE!
To get your tattoo, make a reservation by sending an email to: email@example.com
A small tattoo costs 80 euros. The only choice you have concerns the size and place or bodypart.
Dennis Tyfus (Antwerp, 1979) is not at all preoccupied with art and even less with the art world. He simply draws, paints, takes photographs, makes films, plays noise music, sings, parodies, produces gramophone records and CDs, creates books and magazines, has a programme on Radio Centraal, makes collages, and lodges his oeuvre under the Ultra Eczema label.
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
Opening of our new solo exhibition of Simon Schrikker by Dutch artist Olphaert den Otter. Also opening: Malerhimmel, solo exhibition of Jürgen Brodwolf.