For the background evening Yair Callender will compile an evening.
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.
Opening of our new solo exhibition of Hugo Tieleman. Also opening: American Dreamers, group show.
Opening of Andrea Freckmann's solo exhibition Commedia, Get On Stage!, by Wim Noordhoek: journalist and publicist.
“Daily life consists of going through systems, until you die", a student of the Sandberg Institute recently said. Initially a gloomy analysis, but after longer consideration, it is also possible to give it a more positive reading. Systems direct our lives, give it meaning because they tell us how to live and guide us in times of uncertainty and doubt. The analysis became the research area of Reinventing Daily Life for which Nest invited four artists whose visual practice is strongly based on examining systems (of thought). They question, use, or manipulate the structures that make life uncluttered. Thanks to the lucid redefinition and endless perseverance of the artists, we get the freedom to consider the world again, if only for a moment.
Performance + Panel Discussion
A performance for multiple cameras, microphones, video projection, computers, and other instruments, all manifesting towards ‘glossodelia’. What are glossodelia? To answer this question beyond the literal meaning of the word – ‘revealing tongues’ – Gary Hill, George Quasha, & Charles Stein enter into a state of co-performative inquiry through what they use for language. This includes just about anything that can be generated in real (and hyperreal) time, such as sound, image, word, gesture, and a range of semi-definable electronic phenomena (electronic linguistics). What they make happen through various instruments (psychonautic languaging vehicles) becomes a field of strange attractors (dynamical lingualia) with a pull toward possible language realities (lingualities). They have called it 'a pulsational conversation with stepped-up intensity in which Real Time is invited to show its other side'.
On Saturday 14 April from 5 to 7 pm the exhibition When nothing has to be of Annemarie Slobbe opens at Heden Annex. You are most welcome!
On Saturday 14 April from 5 to 7 pm the exhibition Higher from the inside of Mickey Yang opens at Heden. You are most welcome!
How to deal with an unfinished body of work?
How to interpret and frame artistic practice?
Shah Jahan Miah as a case study to discuss these and related questions.
Location: Parts Project / Royal Academy of Art, The Hague
Participants: open to general public with fine art and art history students as target audience
Participation is free of charge but please RSVP through email@example.com
More info will follow soon at www.partsproject.nl
Opening speech by Maria Schnyder
Karin van Pinxteren (1967, ’s-Hertogenbosch, the Netherlands) studied Graphic Design and Architectural Design and gradually entered the field of art to become the full-on artistic practitioner she is today. Presently she explores particular notions of disciplining and trust within the poetic parameters of spatial relations.
In her work van Pinxteren basically seeks out perspectives of the gaze and its focus set within relational structures. Subsequently, and more specific, she explores these perspectives in settings that allow for multiple angles of vision and parallel focus points as she plays this field’s symbolic order. Here, she explores and identifies both the subject’s and the setting’s relational position along the parameters of language, spatial settings and language carried. In sum, her work relates the fullness of our daily theatre as a hybrid-reading biotope: led insistently to enact itself according to cultivated promises of modernity.
Van Pinxteren longs for openness, for a deeper trust in our environment that should begin with a more profound understanding and a shift in perspective, altering the foci from the system’s point of view while simultaneously including open-ended personal whereabouts.
Andrea Bender (Schotten, Germany, 1972) lives and works in Düsseldorf. She graduated from the Kunstakademie Düsseldorf in 2009 where she took lessons with Jörg Immendorff and Dieter Krieg. Recently solo exhibitions of her work were organized in museums worldwide, like the Yanhuan Museum in Beijing, the Museum Kunstpalast in Düsseldorf, the MoMa XLY in Changdu, the Lehmbruckmuseum in Duisburg and the MOCAK in Krakow. In her first solo exhibition with Hoorn & Reniers, Andrea Bender shows her new paintings which take inspiration from ancient mythology.
Open house in the exhibition by Christopher Kline: O.K.-The Musical (Dutch Colonial), is an ongoing project based on the lore of his hometown Kinderhook, realised in the form of an in-process community theatre musical, exhibitions, videos and publications.
Opening of the collaborative exhibition JaGaTa in which Henri Jacobs, Patrick Gabler and Koen Taselaar combine their work in which patterns take centre stage.
Performances of O.K-The Musical (Dutch Colonial). (www.okthemusical.com)
Please see www.1646.nl for exact times.
An exhibition concept in which we are taken by the hand through essays written by the artist Twan Janssen to enable us to look at the work of 13 female artists in another way. Looking at art is also reading the artwork and with this very personal view of Twan Janssen in which he is not afraid to use childhood memories, astonishment, daily casual thoughts, you will get the opportunity to look at the works in a different way.
It’s a personal guide....
The exhibition has a beginning and an end. And all what happens in between is arranged/positioned in such a way that again a story is told. This text is not written by Twan Janssen, but floats between the lines.
The end is marked by a video work of AnneMarie van Splunter; A Day Such As This. The soundtrack is by Bill Withers; the chorus, lovely Day, lovely Day, lovely Day, lovely Day .... And that’s also the beginning again. A beginning for which a flag is planted for women who make art, who are again and again without doubt use their femininity in favour of their artistic career and creating works you can’t ignore. Watching and reading go hand in hand although for all of them the source is different. They are moving forward and onward.
May 27 will be a Lovely Day, The Future is Female.