On 11 February 2017, The Hague unveiled a new monument for J.R. Thorbecke. Artist Thom Puckey has portrayed the 19th-century statesman as a visionary architect of his times, forging a unique connection between the past and the present. The exhibition 'A Matter of Time. Thom Puckey en het Thorbecke monument' presents a selection of works from Thom Puckey’s oeuvre. It is intended to shed light on the imagery used in this striking new memorial and the connections between the Thorbecke monument and Puckey’s other work.
The monument at Lange Voorhout is not a classical statue. Rather, it shows two loosely-connected tableaux. Thorbecke – carved from white marble – sits behind his desk and turns around to look at us across the gulf of time. The second scene is a modern-day informal meeting between two men and a woman, who sits on a table. It is no coincidence that the viewer’s own image is mirrored in the stainless steel pedestal that supports the second scene. This creates an active connection between the viewer and the different figures and temporal zones.
The Monument for J.R. Thorbecke contains various features that refer to early and more recent works by Thom Puckey. Transparency and optical elements can already be found in the artist’s installations and sculpture from the 1980s, and in his black-and-white analogue photography and figurative work of recent years. Puckey’s material of choice in his later sculpture is usually white marble. His fragmented, cinematic scenes centre on the process of viewing. The artist details his sculpture with such precision that its scientific, sensual or violent character is able to take viewers out of their comfort zone.
The exhibition ‘A Matter of Time. Thom Puckey and the Thorbecke monument’ is possible thanks to the support of Annie Gentils Gallery, Narcisse Tordoir, Cultural Heritage Agency of the Netherlands, Museum Arnhem, Mondriaan Fonds and the City of The Hague - Municipality.
Group exhibition - Johnny Theodorus Wiekhart, Feiko Beckers, Alex Andropoulos, Robbin Heyker and Lucassen
The last show before the summer break: an update from six artists of the gallery.
In the celebration year of 100 year Mondriaan/ De Stijl, Heden presents the collection exhibition Don't be afraid of Red, Yellow & Blue from July 12 until September 3. Artworks from the Heden collection connected to Mondriaan and De Stijl will be shown. Recognisable are the colours, lines and the visual language of De Stijl. The artworks are characterized by geometric, abstract shapes in bright, primary colours.
With just a few lines and a few colours Bob Bonies (1937), Wim Sinemus (1903-1987), Jan Dibbets (1941), Anatole de Benedictis (1992) and Krijn de Koning (1963) salient to create images. A central theme in this exhibition is the artists’ research into form, line and colour. Although different techniques have been used (drawings, silk screens and installation) these artworks from different periods (from 1950 to present) form a diverse but harmonious unity.
Although each of these artists have a different approach, they are all connected by the abstract visual language and universal forms. These artworks show that the universal visual language of De Stijl is still relevant and current.
Summer installation with works by gallery artists, inspired by water.
During the summer, the gallery is open by appointment only. Please contact us via email@example.com
Everything We Could Not Keep -Elsbeth Ciesluk, Eva Spierenburg
work on paper, paintings, three dimensional work, video
23 July - 20 August: by appointment only 2 through 20 August
During her studies at the Rijksacademie Amsterdam Eva Spierenburg (1987) departed from painting and started to create more and more spatial works. The paintings have transcended their frames to evolve into installations with painted objects, sculptures, drawings, photographic prints and video. Her work is intensely personal: “It is a collection of attempts to comprehend life and death, to materialize absence, to chase away fears without avoiding them, to incorporate my own body, to find strength in vulnerability.” For instance, she made a skin-toned costume from canvas; a male alter ego she used to imitate the postures of the men in her paintings. Dreams also play an important role, with the human body embedded in a protective environment as a recurring theme. In her most recent work the body is reduced to skin: cloths painted in skin tones are hung on the wall and suspended freely in the room and represent the boundary between the individual and the world.
For Elsbeth Ciesluk (1986) vulnerability and one’s relation to the world are also recurring themes. Language plays an important role in her work. She preferably uses a typewriter to produce texts that are both very direct and enigmatic to express her sense of amazement as well as her struggle with the imperfections of the world. Like Eva Spierenburg she incorporates images from dreams that give her work a mysterious and sometimes humorous undertone. Apart from texts, Ciesluk makes large drawings and paintings on paper and textiles featuring animals that are represented in a rudimentary way that express both power and vulnerability. In the exhibition she will produce a large work directly on one of the gallery walls in response to Eva Spierenburg’s work that will be placed more freely in the gallery space.
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.
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.
Group show with paintings by young international artists, curated by gallery artist Jan Wattjes.
Opening of the group exhibition Painting Now, curated by Jan Wattjes. The artists will be present.
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.