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.
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.
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.
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.
& MORE is a recent initiative in the upstairs space of NOUVELLES IMAGES; apart from the longer-term running exhibitions downstairs the gallery works here with shorter intimate presentations with works from our stock or from the NI-collection inspired by a specific theme or a link with projects of our artists elsewhere. The current Thorsten Brinkmann exhibition, 'Life is funny, my deer', at GEM is a perfect occasion to show an &MORE selection of his photographs in our NI-collection from the period 2007 – 2016 together with works of Zhang Huan and Charles Fréger.
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.
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.
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.
NOUVELLES IMAGES (NI) shows Helen Frik’s new addition to The Frik Collection Ceramic Museum (FCCM): the Arita (porcelain) Wing. Marnix Goossens reveals part of his new photo-project which focuses on mesmerizing and wondrous encounters with and in nature. Redefining the meaning and structure of objects and (human) nature is essential for the sculpture of guest-artists Lisa Sebestikova and Hannah Joka. In her photography Joka explores the ‘Perception’ of this cross-over territory.
(The Arita-wing was made possible thanks to the Mondriaan Fund and Saga Prefecture, Japan.)
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.
Festival Designkwartier presents a 3 day design event in Zeeheldenkwartier, the Hague.
The human desire to understand abstractions leads to new inventions, critical research and a poetic contemplation of our environment. In the midst of art and design, in the specially designed exhibition for Festival Designkwartier, Uptime is dedicated to makers who question current systems of thought and who allow collective truths to falter, because the future demands radically different systems.
In a series of lectures, interviews and interventions, designers and artists enter into discussions with scientists. After each programme component there is room for questions and debate.
Friday June 1st: 17.30 - 20.00 hrs
Saturday 2nd and Sunday June 3rd: 14.00 - 20.00 hrs
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.
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.
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.
Afra Eisma, Robbin Heyker, Maja Klaassens, Bernice Nauta, Sepus Noordmans, Nishiko, Iede Reckman, Suzie van Staaveren and Marieke van ’t Zet
More information soon!
From Sunday 17 until Wednesday 20 June, the exhibition EXPOSED, powered by Keep an Eye Foundation, will be on view at the Electriciteitsfabriek in The Hague, showcasing works by our Textile design graduating students Yani Chuang, Marijn van der Eyden, Grace Jao and Joana Schneider.
Visitors are invited to experience installations from the graduating collections alongside textile works by 2nd and 3rd year students of the Textile and Fashion department of the Royal Academy of Art, The Hague.
The department will also present its annual Fashion Show at the Electriciteitsfabriek on Saturday 16 June 2018. The EXPOSED exhibition will be open to visitors attending the Fashion Show event and can be visited before and after both shows.
Exhibition is open daily from 12:00 - 18:00 h.
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.
For the duration of The Hague Contemporary Weekend, and to celebrate his Gesamtkunstwerk in Page Not Found, Thórsson will take over the whole street where this foundation is located. He will judiciously place works — his signature ceramics and paintings — in each vitrine of the Boekhorststraat, be it of a restaurant, a second-hand shop, or a hairdresser. For the passerby, Helgi's work might stand out incongruously in its vitrine, especially given its strong, humorous personality. But shop after shop, these works form a community — the community of the odd ones. This installation hints at the social bonds in this street, and celebrates its heterogeneity, in a colorful and generous gesture that characterizes Helgi's practice.
Helgi Thórsson (1975, IS, lives and works in Antwerpen) studied Sonology at The Royal Conservatory of The Hague, received his BFA from the Gerrit Rietveld Academy in Amsterdam in 2002 and an MFA from the Sandberg Institute in Amsterdam in 2004. He has been the recipient of multiple awards and scholarships including Scholarship Fund of the Berlage, Gerrit Rietveld Prize Winner 2002, the 2002 AIAS Competition Winner in Seoul, South Korea, a Nomination KunstRAI Prize in 2003, and the 2008 Children's Choice Award. Recent solo shows include “Back to school”, Listamenn, Reykjavík (IS); “Bellissimo Thorsson”, 1646, Den Haag (NL); “Villa Bergström”, Candyland, Stockholm (SE); “Benelux verkstat”, Kling og Bang, Reykjavík (IS). Helgi is both a visual artist and a sound artist. He is member and co-founder of the experimental music group Stilluppsteypa, member of the Icelandic electronic super group Evil Madness, and half of duo Alien UFO with Runar Magnusson. Helgi has performed in Iceland, Poland, Sweden, Holland, Germany, Spain, Belgium and the United States.
From Friday 6 July through Thursday 12 July the Royal Academy of Art, The Hague (KABK) will host its annual Graduation Festival, with nearly 200 bachelor and master students showcasing their graduation projects.
Open daily from 11:00 - 20:00
check the full programme online at www.kabk.nl
Festive opening and award ceremony on Friday 6 July 16:00 - 22:00
Recent works by artists of the gallery.
In 'Le départ du voilier' the subject of the paintings are almost completely cut out. The remaining seascapes become a memory on the cusp of recall. All that remains of the original painting is a trace, and though this trace is borrowed from the painting, it has become another nature entirely: it is that trace stripped of its iconicity.
Ships are a recurrent feature in the work of Tamara Dees. She is more interested in what happens alongside the nautical world. How big are ships, actually, and what happens when you let them disappear of if you use them for a quite unintended purpose? In two other works of the show, the subject of the paintings is completely covered with leaf gold. By doing so, Dees transforms the transmission of the original painting completely. She conserves her found treasure with care, by letting it disappear under the valuable leafs.