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.
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.
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.
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.
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, Maarten Overdijk and Jonas Wijtenburg.
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 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.
'Personal Pop' showcases the idiosyncratic work of the unknown, prematurely deceased, highly promising Bangladeshi-British artist Shah Jahan Miah (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.
In For the vision of Abou Ben Adhem Yaïr Callender is changing the space of 1646 into a sanctuary, a place to withdraw from the hustle and bustle of the street and daily life. Rather than sculptures he creates an environment that offers tranquility for those who want to quench their thirst for peace and serenity. But more than just an architectural construction this space contains associations with a more ecclesiastical atmosphere by means of a free use of of symbolic ornaments and forms that allude to elements such as a pulpit or baptistry. Callender also makes references to secular subjects as he offers the visitors the opportunity to leaf through some available books, enjoy a water pipe and hang around for a while. These surroundings contain a versatility of different kinds of sanctuaries and hide-aways to be activated by the visitor at his or her own liking.
The architectural constructions of Yaïr Callender keep somewhere in between ornament, sculpture and monumental composition and are often fuelled by his interest in the spiritual, which plays a pivotal role in his work. He gets his inspiration from both religious texts as well as scientific research and he draws connections to physics, mathematics, geometry as well as to history, religion and the use of symbolism. Furthermore Callender diligently studies processes of personal transformation from a spiritual perspective. His work doesn’t know the difference between personal concerns and professional performance as personal development finds its form in his work.
For the Vision of Abou Ben Adhem (a reference to a poem by the romantic poet Leigh Hunt) portrays Callender’s interests in transformation, in several ways: the transformation from child to adult, emotional and intellectual development or transformation as awakening after having been confronted with obstacles in life such as sickness, death, desire or happiness.
It has been very interesting for us to see how, throughout the years, Yaïr developed more and more the need to include the audience in the work, transmitting an overwhelming experience. This accounts also for For the Vision of Abou Ben Adhem when the work comes into existence when activated by the visitor. This need to include the audience into an overwhelming experience feels very coherent for a work that tries to deal with states of being and topics much bigger than ourselves.
Yaïr Callender (NL, 1987) graduated in 2014 at the Royal Academy of Art in The Hague, and has received grants from Stroom Invest and Mondriaan Fund for emerging artists. Callender has exhibited before at a.o. ‘Open Air’, as part of Art Rotterdam 2018, TENT Rotterdam, Kunstvereniging Diepenheim, Nest Den Haag and at the Unfair in Amsterdam.
In this collection exhibition, patterns and textiles applied in different materials and techniques, from wall hangings to risoprints, are central. Striking is the variety of patterns, there are works with tight graphic prints, but also more organic patterns woven into different fabrics. The contrast between the traditional character of the textile and the industrial character of a recurring pattern provide an interesting combination. There are works of art by, among others, Sigrid Calon, Christie van der Haak and Berend Strik.
After their studies at the Royal Academy of Art in The Hague, Anouk van Klaveren (1991), Christa van der Meer (1988), Dewi Bekker (1990) and Gino Anthonisse (1988) joined forces and formed the collective Das Leben am Haverkamp. The unconventional approach to design and fashion that typifies this collective leads to thought-provoking, unpolished work, inspired by daily rituals, the cultural relativity of luxury and alter egos. The glamorous fashion world is both their playing field and study object. Das Leben am Haverkamp is the sum of the personal individual styles of the collective.
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.
In his deceitfully offhand ecstatic scenes Janes Haid - Schmallenberg (Warstein, Germany, 1988) depicts the outcry of desperate indviduals subjugated to the impossibly fast pace of today's society.
In his paintings and ceramic sculptures Janes Haid - Schmallenberg strives for a balance between abstraction and figuration and between seriousness and play, resulting for instance in the use of absurd painting materials like nutrition powder for bodybuilders.
Janes Haid - Schmallenberg's work falls within a larger movement of young artists worldwide whose works question the established forms of painting.
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.
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.
Livingstone gallery presents a group show of American artists who, each in their own right, make us part of the American Dream. These days this utopian vision seems more under pressure than ever. With a worldly view and a social conscience artists like Robert Rauschenberg and Sol LeWitt visualize the notion that this dream should be accessible to everyone. By shipping an entire condemned Detroit house appropriately called The White House to the Art Rotterdam art fair in 2016, Ryan Mendoza showed us that for many the American dream turned into a nightmare. With his Tiger Paintings and his series on The Berlin Wall Kevin Berlin shows us that a social conscience has survived in the artworld. Actually, art seems the only way for the American Dream to survive. Louse Bourgeois said it best: “Art is a guaranty of sanity.”
New paintings and installation by Hugo Tieleman
German artist Thorsten Brinkmann (b. Herne, 1971) has an unstoppable urge to collect. The self-proclaimed ‘serial collector’ (Serialsammler) gathers all kinds of objects that have been discarded by others and takes them back to his studio in Hamburg. There, he recycles and redefines them in his art. This spring GEM museum of contemporary art will present the first Brinkmann retrospective, featuring more than 60 works whose common theme is the match/mismatch between our bodies and the objects around us.
The Gemeentemuseum has been following Brinkmann’s career since the very beginning. In 2008 GEM organised the first museum exhibition of his work and for a long time his Wäschling, a laundry basket on legs, stood in the foyer of the Gemeentemuseum.
Brinkmann has produced a new sculpture specially for GEM. Five metres long, it can be seen as a modern ‘horn of plenty’. A large installation consisting of a boxing ring complete with boxers will also be on display. Films will be screened in a cinema designed by Brinkmann himself.
Andrea Freckmann's (1970) paintings often depict a world that moves between reality and the theatrical. In her latest work she explicitly focuses on the Commedia dell'Arte, a form of satirical theater that was developed in 16th century Italy. In her paintings she presents objects and events from her personal life that could be used as props and actions in such a play. Central in the exhibition is a scaffold consisting of floorboards on which she has painted objects and people, like a patterned carpet on which the play can be acted out. She thus integrates the illusional world of her paintings with the physical stage.
Ten selected artists were asked to create a piece of art that is inspired by a collection/piece from a collection from the EAC. All ten pieces of art will have to fit in an antique suitcase donated by one of our founders.
“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.
In the exhibition Higher from the inside at Heden, Mickey Yang emphasizes the production process by letting it be part of the visual language.
She wants to emphasize the character of the production process for the presentation by making it part of the formal language. Think of the print of a mold, the rough skin of cast bronze or the negative of a print. By incorporating processivity into the work, visitors become witness to the development process.
Annemarie Slobbe (1990) makes paintings and drawings in which she wants to show the time, to let herself and others see and think our relationship with this. She responds to changes in light and of the viewer. This process is also made visible in her images.
'De Dingen' is a daily program of activities exploring and showing the implications of the radically changing relationship between man and things, with a.o. artists, legal experts, robotica experts, philosophers and theater makers.
Partners: Ambassade van de Noordzee, Building Conversation, Parlement van de Dingen, Stichting De Noordzee, Waag Society.
For exact times and events check our website: www.stroom.nl
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.
Johansson is best known for his “tetris-works”, in which he meticulously transforms found objects into works of art. His installations are colourful and humourous, but are also about the search for the unexpected. When he sorts ordinary objects by size, shape and colour, something comes into existence that one cannot take their eyes off.
Going to a fleemarket with Johansson is quite an experience, when he almost compulsively searches for discarded objects to give a second life as an artwork. His ultimate moment of joy is when he finds a double of something that was a useless singular object from unknown provenance until then. The chance this happens is tiny, but that makes Johansson’s desire only bigger. It is this longing for coincidences, irregularities in daily life that make unexpected situations and images occur, which Johansson translates into works of art.
Especially for this solo exhibition, Johansson will make a new, site-specific work in the gallery.
We got to know the work of Christopher Kline through our collaboration with Conglomerate collective in 2016, of which he is a founding member.
When we were introduced to his personal artistic work, we realised how clearly it reflected many qualities that he made present during our collaboration, a pleasure in working together, a love for the ‘do it yourself’ craft and the sculptural qualities of the ‘non perfectly finished work’, and a pleasure for multidisciplinary, performance and humour.
Next to that, his own work intrigued us for the way he manages to activate so many people of a local community into his projects, how it manages to exalt the joy of amateurism and the way he is capable of turning historically sensitive subject matter into such surprising visual and storyline experiences that keep you fascinated and open to the politically charged content behind.
Since 2014 he has been developing O.K.-The Musical, an ongoing project based on the lore of his hometown, realised in the form of an in-process community theatre musical, exhibitions, videos and publications. Iterations of O.K. have taken place at Tate Liverpool, Centre for Contemporary Art Ujazdowski Castle, Warsaw, La Casa Encendida, Madrid, Arken, Ishøj, DK and KW Institute for Contemporary Art, Berlin and the latest edition will take place in May at 1646.
Christopher Kline (b. 1982, Kinderhook, USA) is a Berlin-based artist and musician who co-runs the project space Kinderhook & Caracas with Sol Calero, and co-produces the artist-run TV Network CONGLOMERATE.
Photographer Dirk Kome (1976) responds to the work of photographer Tonnis Post (1877-1930).
In JaGaTa (the first two letters of their surnames) Henri Jacobs, Patrick Gabler and Koen Taselaar combine their work into a collaborative exhibition. In their drawings and paintings patterns and structures are dominant, Henri Jacobs (1958) exploring tesselations in his ongoing Journal Drawings series, Patrick Gabler (1967) focusing on circles meticulously built out of tiny brush strokes and Koen Taselaar (1986) developing playful patterns in his drawings.
'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.
The Future is Female: 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.
A selection of recent and brand new works.
Since several years 1646 collaborates yearly with the students of the Master Artistic Research at the Royal Academy of Art, The Hague (KABK) for a short term project.
The MAR is an intensive two-year programme for highly motivated artists who have a specific interest in research processes and are eager to carry out critical reflection in relation to their art practice.
In 2018 the project will take place from 11 to 17 June.
We have seen the work of Keogh on earlier occasions, including his performance during the event ‘Ectoplasm’ curated by Padraic Moore in 1646 in 2016. The last time we saw a performance of his, at the Rijksakademie Open presentation, it managed to contain an experience that felt as if a pattern was developing.
We would describe it as an experience of alienation; alienation from a world that contains lots of facts and data, lots of words and more words and objects, heaps of estranged objects. It felt as if you are being in outer space, alone with your own internal dialogue surrounded by lots of leftovers from your personal past, from the history of civilisation and from the products of a culture you are part of and that you are somehow failing to put together.
In the work of Sam, this ‘failure’ of connecting these elements suddenly reveals a parallel fascinating experience. The verbiage becomes materiality: sculptural and the real materials in combination with the way Sam interacts with them transmits a sensorial experience that gets close to the youtube sensation of ASMR (Autonomous sensory meridian response).
Sam Keogh a current artist in residence at the Irish Museum of Modern Art, working toward a new commission for EVA International in Limerick to open this April. He works across installation, sculpture, performance, drawing and collage. In recent work his installations facilitate a performance which morphs sculpture into props and collage into mnemonic devices or surfaces to be read as a half improvised pictorial script.