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.
Photographer Dirk Kome (1976) responds to the work of photographer Tonnis Post (1877-1930).
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.
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)
'My Practice, My Politics' portrays the way in which artists and designers capture their views on society through the subject matter they explore, the language and tools they employ, the aesthetics they manifest, and the communities they engage. The exhibition and program brings together 22 alumni of 11 departments of the Royal Academy of Art, in The Hague, The Netherlands during the Salone del Mobile in Milan. Following this presentation, a selection of the works will be exhibited at Stroom Den Haag.
In The Mushroom Club, Lisa van Casand (1990) examines the remains of a former NATO headquarters in the Limburg caves. On view are reconstructions of various aspects of this secret location, such as a mushroom plantation, a digital animation of an underground golf course and fragments of conversations with former employees.
Lisa van Casand graduated from the KABK in 2017 and won the Heden Start Prize, which is awarded annually to a talented alumnus of this academy. The jury of the Heden Start Prize was impressed by Lisa van Casand’s ability to translate a complex research into a presentation that is aesthetically appealing, but that also encourages reflection.
Eline Benjaminsen (1992) conducts research into the bizarre world of algorithmic and automated stock exchange trading in her exhibition Where the money is made. With striking photographs of seemingly insignificant locations, she exposes the invisible infrastructure of financial transactions. Led by microwave transmitters and receivers, the work documents the physical landscapes of an immaterial market. The exhibition consists of a series of photographs, a film essay and a publication.
Eline Benjaminsen graduated from the KABK in 2017 and won the Steenbergen Stipendium 2017 with her project Where the money was made.
The Future Is Female showcases the powers of female artists while encouraging an open dialogue around art. The exhibition combines work by 13 artists with writings by the artist Twan Janssen. He guides the viewer on a visual and verbal journey between the artworks by means of highly personal writings in which he shares his wonder, childhood memories and incidental everyday thoughts. In this way, he spurs us to look at the works through new eyes and to engage in playful contemplation of art, life, ourselves, others, and more.
The artists in the exhibition, all of significant stature, do the same. Each of the works contains a certain autobiographical element. The exhibition unfolds as a story about subjects including beauty, travel, childhood and being a child. It includes work by Yael Davids, Danielle Kwaaitaal, Rosemarie Trockel, Karin Sander, Lily van der Stokker, Katharina Grosse, Corita Kent, Lucia Tallova, Sylvie Fleury, Rose Wylie, Aase Seidler Gernes, Roos van Haaften and AnneMarie van Splunter.
Twan Janssen regularly posts writings about art on Facebook, inviting readers to think and respond. The comments on his posts show how highly his readers value his perspective. The personal experience of art characterises collectors’ relationship with the works they own, and Parts Project is therefore pleased to present the thrilling exhibition The Future Is Female.
Text: Twan Janssen
Curator: Francis Boeske
A selection of recent and brand new works.
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.
The Theory of the endless persistence of images proposed by the German art historian Aby Warburg, has created suitable conditions for perceiving history and for constructing an outlook on the past. Contemporary Pakistani artist, Imran Channa regards old photos and Archives as reservoirs of memory. Therefore his research is pushing him to create or juxtapose parallels by framing, reframing and de-framing his own archives with time-based media, making a constellation with the displacement of different times, images, and their consequences. Pasts in Particles shows a series where Channa renders iconic and non-iconic images of India/Pakistan partition into graphite
drawings with obsessive attention to detail. The artist then proceeds to erase, smudge or redraw the image again, resulting in abstract forms that bear only the faintest resemblance to the original photograph.
Selection of works on canvas and panel from the last 15 years, with a new catalogue.
Selection of paintings from the Orbs series, with presentation of new catalogue.
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.
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.
In the exhibition Kim Hospers (1982) presents his complete 'Esse Est Percipi #Whatever' series, which consists of 12 x 12 small format color pencil drawings. They depict photos of pranks that he finds on the internet: people that have fallen asleep because of drukenness or tiredness whose faces have been painted or written upon, by family or friends to redicule them. Kim hospers interpretets this phenomenon in a postive way: in their riduculouness they are all equal and hence equally 'worthy'. Typical is the craftmanship and meticulous rendering of details used in the drawings that contrasts with the volatile and randomness of the photos on social media.
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.