In 2016 was Suzie van Staaveren (Aalsmeer, 1991) the winner of the Heden Startprijs, this exhibition is part of the prize. The jury voted unanimously for Suzie van Staaveren in 2016 as winner of this prize, her refreshing view on sculptures and positive energy makes her work unique and accessible. The aesthetically attractive works of diverse materials are attractive and pleasing. The change and rearrangement of her works by intervention of both the public and natural forces is characteristic of her work. Her playful way of coping with external factors without giving up the coincidence shows her flawless sense of form and space. The accessibility and interactivity of her work is in line with the mission of Heden: making accessible contemporary art of high quality.
Opening exhibition: Saturday 13 May at 17:00
Anatole de Benedictis is the first artist to show his work in Heden’s new basement exhibition space ‘Annex’. Annex offers a stage for experiment and for young talented The Hague based artists. The exhibitions in Annex are programmed by Heden, parallel to their regular exhibition program, in collaboration with the Royal Academy of Fine Arts (KABK) one of the most prominent art academies in the Netherlands. A selection of both alumni and current students will be chosen to show their work here.
Anatole de Benedictis (1992) graduated at the KABK in The Hague in 2016. With a recognizable visual language, Anatole creates his own order in a complex reality. With his drawings, he shows connections between text and image, while simultaneously tracking the viewer to self-fulfill the content of the image.
The drawings that the Benedictis makes are often existing or self-constructed maps. He emphasizes the application of structure, a theme that plays an important role in his work. By drawing maps, he regularly creates images in a random way. These images are patches of the world around him, which he incorporates and provides a new interpretation.
Opening exhibition: Saturday 13 May at 17:00
'Bij nader inzien - Accenten' from the Cleveringa Collection showcases the work of three very different artists who work in diverse disciplines but make art in a similarly bold and consistently radical way: Leo Vroegindeweij (b.1955), Rob van Koningsbruggen (b.1948) and Carel Balth (b.1939). All three artists’ work was collected by the Hague collector Piet Cleveringa (1917–2013), who amassed an impressive trove of postwar Dutch art starting in the 1980s and then generously donated it to various museums. Between 1980 and 1985, in his gallery De Kijkschuur in the village of Acquoy, Cleveringa staged a series of exhibitions he called 'Accenten'. Parts Project commemorates Cleveringa’s life by choosing three artists from his stable and exhibiting them together, just as the collector would have.
Movement of light and light source, real time and the narrated time transmuted into viewing, the denting of metal studs, expansion joints, white shrink-plastic, a spray booth, tar sculptures that use the space like a shoe, the release. These auto referential building blocks will again be the vehicle for daily concerns in the exhibition En dat ook by Bram De Jonghe at 1646. The sculptural language that the artist uses flirts with the temporary by confirming the permanent. The consolidation of heavy metal studs presupposes the presence of strong forces and suggests an action has taken place for a specific reason.
Ever since he moved to The Hague, we have kept an eye on the work of Bram De Jonghe, from his first room-filling installation at Billytown, to his more recent solo presentations at Stroom Den Haag and Art Rotterdam. Though one would expect his large architectural interventions to be the most conspicuous part of his work, they are often of such self-evidence that they’re easily overlooked. It is actually the smaller, subtler works, which are placed within these interventions, that manage to surprise at unexpected moments, from the corner of your eye.
A machine that again and again tries to blow out a candle but never succeeds, a level magically floating in the air above a small shelf, a slightly bending fluorescent tube: they are small works, inspired by everyday subjects, which are preserved in their mysteriousness by the way they’re placed in the whole, as if you just caught them unattended.
The work of Bram De Jonghe arises in the tension between a formalistic and a practical attitude. By installing an obstruction in the exhibition space the viewer will look differently at these surroundings and the imaging grows in the redundant space of the thought. The image is added on the retina to the images that already exist in the mental space and by gathering several works in one specific space a synergy is created that each individual work on its own could not achieve.
Bram De Jonghe (1985, Oostende, BE) lives and works in The Hague. He obtained his BA and MA degree at the College for Science and Art of St. Lucas in Ghent. In 2015 he was the winner of the significant Volkskrant Visual Arts Prize. Recent solo exhibitions De Jonghe had at Netwerk in Aalst (BE), P/////akt in Amsterdam, TTTT (These things take time) in Ghent (BE), Stroom Den Haag and Billytown in The Hague.
by Kolja Gollub
Post-Peace brings together artists from a variety of origins to question how war and peace appear today. Many works in the exhibition are united by common expressions of danger, fear, and the feeling of disorientation created by mass media’s multiple versions of reality.
The First World War used to be described as “the War to End All Wars” at the time, but the First World War paved the war for the Second, whose conclusion gave us the Postwar Era, defined by the central antagonism of the USA and the USSR, the “Cold War,” with its myriad proxy conflicts and regional wars. The defeat of the Soviet Union and the triumph of capitalist democracy was meant to usher in a new non-conflictual age, but this period in which the “peace” of global capitalism can only be bought at the price of continuous violence and warfare, is probably best described as Post-Peace.
The exhibition Post-Peace is not directly about war, but rather about peace. Gathered together the selected artists will expose, through a visual conversation, the screen of peace as it functions today. How much war is present in our contemporary peace? That is the question.
Guess Things Happen That Way is an exhibition at two locations: in Michel Hoogervorst's studio and in the gallery. On show in the gallery are paintings and drawings from different periods. At the studio Michel painted a series of five murals, of which the last one can be admired. The exhibition is an outcome of research on how an artwork interacts with a space, done by Hoogervorst between December 2016 and May 2017. For the series of murals he was inspired by the atmosphere and dimensions of the space. Following from the murals, he made paintings and drawings that also relate to its surroundings and to each other.
During the opening on May 28 a book of the same name is presented, that gives an insight to the developmental stages in his practice and the different layers in his work. The first four murals of the series are also included in the book.
New painting and works on paper made by American artist Kevin Berlin in Berlin, during his working period for Livingstone Projects Berlin.
Special selection of collages from the last 40 years, in celebration of the artist's 80th birthday.
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
Vernissage Sunday 18 June 16:15 hours by Dr. Alied Ottevanger, curator 20th century prints and drawings Rijksprentenkabinet, Rijksmuseum Amsterdam.
In his drawings, Robbie Cornelissen (1954) is continuously pushing the boundaries of the medium. At the Cacaofabriek Helmond, he recently realized the impressive installation Kantelpunt I (Tipping Point 1) in which his drawings interacted with objects of Karin van Dam. Cornelissen’s drawings not only acted as images featuring imaginary spaces, but also performed a physical role. Two giant line drawings hung vertically in the space, as a five-meter-high waterfall of lines gushing down, making them just as tangible as Karin van Dam’s objects.
In his ongoing animation series The Nr. 9 Sessions Robbie Cornelissen uses the stop-motion technique in which every new pencil stroke is photographed. He researches how an abstract, flat composition can evolve into a tangible, three-dimensional, architectural image. Recent animations from the The Nr. 9 Sessions series will be shown in the solo exhibition at the gallery together with several large format drawings from the Tipping Point installation as well as smaller works.
Man is mostly absent in Robbie Cornelissen’s work, making it harder to determine the scale of the rooms and objects. This preserves the magic of the drawing and entices the spectator into ‘entering’ the space for further exploration.
The last show before the summer break: an update from six artists of the gallery.
Group show with paintings by young international artists, curated by gallery artist Jan Wattjes.