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.
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.
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.
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.
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.
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.
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
In her new colourful and associative paintings, Inge Aanstoot researches the influence of culture, nature and history on human development and vice versa. Inge Aanstoot became widely known as the winner of the Piket Award for painting and the Sacha Tanja Award. In 2016 she painted a gigantic mural in the Rotterdam Kunsthal Museum. Louise de Blécourt, director of the LL.M. F.H. Piket Foundation, will perform the opening of the exhibition.
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.
Jacob Dwyer, Marius Lut and Jan van der Ploeg
20.01 - 24.02.2018
Opening 20.01.2018, 5-9pm
The exhibition The Shape of Time brings together works by Jacob Dwyer, Marius Lut and Jan van der Ploeg. Trying to find an incongruity between the abstract works, the exhibition space, the daily reality and the origin of things.
7 schlagers en een film
Marnix van Uum and Gerard Herman
20.01 - 24.02.2018
Opening 20.01.2018, 5-9pm
Performance during the opening at 8.30pm
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.
Finissage of 'The Wild' : Anouk Griffioen, Jim Holyoak, Ed Pien, Sebastiaan Schlicher.
At 15:00 hours you are welcome for tea and cookies, Anouk Griffioen and Sebastiaan Schlicher will be present to talk about their work.
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.
Groupshow with Alex Farrar, Alexandre Lavet, Joseph Montgomery and Maarten Overdijk
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.
The Future is Coming (and Going) : paintings, work on paper.
Ronald Versloot (1964) enjoys playing with the conventions of painting. The age-old Figur – Grund Problem is central to this practice: how does one connect the human figure with the background of the painting? Versloot zooms in on this issue by using stencils to paint people onto his canvases. Many of the figures are based on 19th and early 20th century photographs featuring people and carriages. This gives the impression of looking back in time. The figures stand out clearly against the flowing background and thus define the image. The basis of Will-o’-the-Wisp is a dark, deep blue layer of lacquer on top of which Versloot has painted a white, milky layer, in which the silhouettes of a man and a street light are saved out. Man and street light consequently consist only of darkblue nothingness. In other paintings the background partially overlaps the foreground (not the other way around), and the templates of human figures have been reused several times, without you being aware of it directly. This subtle game he plays with image conventions is subservient to the paintings’ narrative component that often carries a certain degree of suspense. They are images frozen in time in which the human figures define the image and provide clues. It is for the viewer to interpret and organize, like the man with the oversized draft horse in Cultivate who tries to bring order into the chaos of the background.
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.
Vernissage of Ronald Versloot's solo exhibition The Future is Coming (and Going) in which he shows his latest works. Versloot plays with the conventions of painting by using templates for his human figures and mixing different types of paint that merge and react with eachother in the background.
'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.
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 more than 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.
Milo Rau's 'The Congo Tribunal' examines the causes and backgrounds to this global conflict in a unique and stunningly transmedia art project. For 'The Congo Tribunal' Milo Rau gathered victims, perpetrators, witnesses and analysts of the Congo War for a unique civil tribunal in eastern Congo. For the first time in the history of this war, three exemplary cases were heard, exposing an unveiled portrait of one of the biggest and bloodiest economic wars in the history of mankind.
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.