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.
Dutch composer, musical theatre maker and visual artist Dick Raaijmakers (1930 - 2013) is regarded as a major innovator. His multi-faceted oeuvre spans a period of some fifty years, starting with the first electronic pop song ever: his 1957 Song of the Second Moon. The many installations, musical and theatre performances and other sonic experiments that followed were always far ahead of their time. Soundwaves showcases Raaijmakers’ work alongside that of a younger generation of artists who merge sound and images in novel ways.
In 1967 Dick Raaijmakers launched the concept of the Ideophone: a loudspeaker that becomes an active ‘speaker’ and composes its own music. Between 1968 and 1970 he continued to elaborate the concept, eventually creating large installations that were all entitled Ideophone (a combination of ‘idea’ and ‘phone’, meaning a speech sound or sound unit in isolation). This exhibition presents Ideophone III, an installation comprising four large loudspeakers. Metal plates suspended in front of the centres of these ‘speakers’ are alternately kicked away in a perpetual cycle of movement.
The exhibition associates this piece by Raaijmakers with works by a new generation of artists fascinated by sound: Barbara Ellison, Matthias König, Yota Morimoto and Bram Vreven.
The Stokroos Foundation, which works in collaboration with a number of Dutch museums, attaches great importance to a high quality of craftsmanship and depth of concept. Every year the Foundation and museum Beelden aan Zee unite to form a jury that selects an emerging artist who works in three dimensions and who has recently completed their studies at the academy. Included in this year’s jury were André Kruysen, Hans van Bentem and Willem Noyons.
Growing up as an only child I feel that in some way our family dogs became my siblings. We in turn cared for one another, bridging the language gap through less civilized means of communication. Caring for the weak and broken, giving attention to the vulnerable, I found connections to something deeper in both myself and the things around me. The figure of what I have called the “pneumanima”, my reoccurring sculptural body, becomes an ever changing symbol of the immaterial, the poetic in nature and the spirit of the human soul and psyche. The pneumanima is a simple form that can be transformed to describe states of existence. Besides the form I use a growing canon of symbolic materials, both to create meaning and a single thread between the works. Each of these materials hold an aesthetic value but even more so an allegorical one. With the installation of my work I like to play with the energy, weight and relationship between objects and space to create a visceral narrative. Each work is an intuitive puzzle piece of a whole body, whether in concept or physical presence. For me the artistic process is as an act of creation that parallels ontological understanding with craftsmanship. Ultimately, I am interested in the importance of the imagination as a symbolic reflection of our experience of life, the meeting of our inner and outer worlds, which is where I believe we give significance to things.
Saskia Tannemaat manages to capture the mystery in portraits about desire, happiness and pleasure. For these portraits she uses a mix of materials and techniques. She draws the contouring lines using charcoal, fills the objects with black ink and covers them with paper cloth or Chinese Joss paper. Saskia Tannemaat engages with the world surrounding her, through personal questions and a strong visual language. In her portraits, Saskia doesn’t strive to match reality. Tannemaat portrays people who don’t fit into our idea of our current society. They create their own path and thereby destination. She manages to capture the mystery in portraits about desire, happiness and pleasure.
Nøtel Corporation is proud to present our first virtual reality advertisement for the Nøtel, our flagship range of zerø-star™ hotels that embody the concept of fully-automated luxury. Designed by world-leading architects to accommodate today's global nomads, you can rest assured that your secrecy and security is of the utmost importance. Why not indulge in the intelligent sound system at the piano bar, or bathe in the glow of our thermal spa?
- Lawrence Lek, Nøtel Corporation CEO
Stroom Den Haag proudly presents 'Nøtel (The Hague)', the first solo show in the Netherlands by Lawrence Lek. It is an immersive multimedia installation in which the exhibition space is transformed into a marketing suite for the Nøtel Corporation; a fictious hotel chain which promotes a fully automated luxury lifestyle. Designed by world-famous architects, Nøtel offers a safe haven for future elites who no longer require permanent housing but would rather stay in a range of temporary housing where safety and privacy are key. Lek invites us through this science-fiction scenario to speculate on the nature of work, technology, and government-citizen relations.
In Nøtel, the hotel as an ur-type of modern life is taken to its natural conclusion. Lek imagines that temporary accommodation form the future of architectural developments, such as the ones presented by platforms like Uber and Airbnb. Nøtel is an exhibition about the future of living, artificial intelligence, the city, and the sense of belonging.
Lek's fascination for international geopolitical force fields and the intertwinement of governments and commercial tech businesses are augmented in the future scenarios of Nøtel. Lek, educated as an architect, makes digital universes which spill into reality, aided by virtual reality simulations and 3D animations. The exhibitions sketches a hyper-luxurious future in which domestic labour is no longer performed by people (zerø-star™). In the site specific 'Nøtel (The Hague)' military architectural upgrades are combined with high-tech surveillance and cyber security. Through this, Lek reveals The Hague's ambitions not only as the International City of Peace and Justice, as it brands itself, but as a city of Peace, Justice, and Security, exemplified by the government-sponsored weapons and security interest group The Hague Security Delta.
London - The Hague
Nøtel is a joint commission by Stroom The Hague and arebyte Gallery, London. In collaboration with electronic musician Kode9 (Steve Goodman), Lek has developed two different installations specific to their local contexts. In the exhibition at Arebyte - from 19 July until 1 September 2018 - Lek addresses the drastic changes developing in London around real estate speculation, financial markets and social mobility in the Brexit era.
Special thanks to:
'Nøtel (The Hague)' is made possible through generous support by the Creative Industries Fund NL, the Mondriaan Fund, and the City of The Hague.
Schilderkunst is nog steeds boeiend en levendig in dit digitale tijdperk. En waarom? Omdat materie in de schilderkunst heel direct en tastbaar is. Kijk eens naar de structuur van de verflagen die aangebracht worden op de drager, en de zintuigen worden getriggerd. Ook het reukzintuig brengt je dichter bij de daad van de schilder zelf. Dat maakt een schilderij zo fascinerend en levendig. In kunstkringen wordt schilderkunst gezien als voorloper van de fotografie.
De fotografie werd in het begin van de 19e eeuw uitgevonden door de Fransman Joseph Nicéphore Niépce met zijn ‘camera obscura’. De eerste digitale fotocamera kwam in de jaren ’80 en tien jaar later werd het donkere ontwikkel lab overbodig door de opkomst van Adobe Photoshop. Alles is continue onderhevig aan verandering. De mens onderzoekt het en probeert zich aan die nieuwe omgeving aan te passen. Niets zal eeuwig hetzelfde blijven. En de mens zal altijd vragen blijven stellen.
In de fotografie is een cruciale rol weggelegd voor het kijken en ervaren van het beeld. Fotograaf en filmer Shigeo Arikawa (1982, JPN) onderzoekt de waarneming van het beeld. Of met andere woorden: hoe zien we dat het beeld ‘waar’ is? Hij manipuleert zijn foto’s en speelt met illusie. Arikawa stelt ons bewustzijn op de proef. Kijken we goed genoeg naar wat we zien? Zijn we in staat tot waarnemen zonder continue beïnvloed te worden door onze persoonlijke geschiedenis of vooroordelen? Hoe zeker zijn we over wat we zien? Arikawa creëert beelden die niet zo vanzelfsprekend zijn.
Alles is echter mogelijk in de schilderijen van Bas Wiegmink (1977, NLD). De natuur krijgt de kracht om te evolueren. Vegetatie ondergaat genetische veranderingen. De lucht reflecteert in fantastische kleuren, de aarde straalt. Sporen van de mensheid getuigen van een zekere ‘beschaving’. De boodschap zou kunnen zijn: ‘wees niet bang voor de toekomst, want we overleven het wel’.
Wiegmink schildert met veel contrasten in een uitbundig romantisch kleurenpalet, soms zelfs fluorescerend. De filmische en dromerige manier van schilderen maakt het kijken interessant. Bomen en planten groeien wild tussen gebouwen door. De uitbundige flora heeft alle ruimte ingenomen, soms zie je ook resten van menselijk leven. Dit contrast verraadt de dubbelzinnigheid van de werkelijkheid: een waarschuwing of juist een optimistisch Arcadië.
Kunrad presents at Heden a collection of sound artworks, resulting from his research experiments with paper. The origin of the work is sound, other elements which are present while making this work, he approaches in their role as amplifiers of sound. Object, implementer, method, environment, time and receiver play a role in an experience that he calls SISE (Structural Immersive Sound Experience).
Kunrad graduated this summer in the Master ArtScience at the Royal Academy of Art and the Royal Conservatory in The Hague. With his graduation he won the Heden Start Prize 2018, which is awarded annually to a talented alumnus of the KABK.
IS WORDT WAS
Ton van Kints
1 + 1
Beide kunstenaars tonen recent en nieuw werk.
In his imaginative paintings Casper Verborg (Lobith, 1981) places characters in a theatrical setting wherein archetypes like death, life, faith, the fool and the mother provide various suggestions to the viewer for creating his own story. In 2016 Casper Verborg won the Sieger White Award, resulting in the monography ’the pink elephant’. In 2017 Verborg had a solo exhibition in Museum Arnhem.
Chris Bestebreurtje and Petra Kuipers are proud to present the exhibition 'One Thing Plus Another Thing or One Thing Minus Another Thing. That’s How Stories Begin'. It represents the first act of a Satellite Programme compiled from the artworks selected from various private collections they have brought together under the Tlön Projects moniker. The Satellite Pro- gramme’s launch will take place in The Hague and consists of two acts.
The exhibition 'One Thing Plus Another Thing or One Thing Minus Another Thing. That’s How Stories Begin' curated by Chris Bestebreurtje, Petra Kuipers and Sam Steverlynck brings together works by 15 artists who express themselves in a wide variety of media. The second act, 'Archipelago – A problem (On Exactitude in Science)' was compiled by Niekolaas Johannes Lekkerkerk and will be on show from 4 November to 23 December 2018.
In the story Tlön, Uqbar, Orbis Tertius (1940), Argentinian author Jorge Louis Borges describes Tlön, a fictional planet where things fade away, and even disappear, as soon as they are forgotten and no longer observed. The same could be said about works of art gathering dust in dark depots. No longer admired by an audience whether it be in a living room or a museum, they die of neglect. Which is why Chris Bestebreurtje and Petra Kuipers came up with the plan to combine works from multiple private collections into a single, imaginary one which they would subse- quently archive and open to curators. Tlön is therefore the best name for this project.
The title 'One Thing Plus Another Thing or One Thing Minus Another Thing. That’s How Stories Begin' was derived from the film 'Le Rapport Darty' by Jean-Luc Godard and Anne-Marie Miéville, as it proves the perfect description of this exhibition, and Tlön’s methods in general: new meanings are elicited by combining or conversely leaving out disparate elements or works of art.
Film still 'Le Rapport Darty' by Jean-Luc Godard and Anne-Marie Miéville, 1989
From September to December 2018, Tlön Projects will temporarily be housed at the Parts Project venue for the launch of its satellite program by means of two exhibitions. For more information about the program of Tlön Projects please see www.tlonprojects.org
Parts Project will take a slightly different position in The Hague’s art scene. In addition to self-initiated projects, there will be room for close collaboration with like-minded initiatives to realize their own projects. From January 2019 onwards, Parts Project resumes its programming in new directions.
Last year Karin van Dam (1959) travelled with Canadian/Taiwanese artist Ed Pien (1958) through Canada where they visited an underground labyrinth of tunnels at the miningtown Lethbridge. At another location they descended into a large pit where they became fascinated by the microstructures and pathways insects had made in the earthen walls. Karin van Dam often depicts underground and urban structures made by man. In the drawings and work on paper that result from the Canadian journey her focus shifts to natural forms and their underlying geometrical structure.
Ed Pien shows drawings made with oceanwater on black paper that leaves behind white saltcrystals after evaporating. He complements this random pattern with white ink to create cavern-like spaces where ghostly creatures appear.
To start the new season Dürst Britt & Mayhew presents a duo-exhibition with new paintings and drawings by Jacqueline de Jong and Wieske Wester. Both from a different generation, they give their own specific twist to classical genres such as the food-still life and landscape painting. Besides new work, De Jong will also show works from the '80 and '60.
Language is the only homeland is an exhibition about the relationship between language and cultural identity. The title is a quotation from the Polish writer Czeslaw Milosz (1911-2004), which means that language, perhaps even more so than geographical location, has the ability to make someone feel at home somewhere. What does the language that someone speaks say about someone's identity? Does the language a person speaks determine the way that person interprets the world around them? Language is the only homeland examines the social, cultural and political implications of language - language that someone chooses to speak, is forced to speak or is unable to speak.
The artists look at contemporary traces of colonial domination and globalization and migration in relation to the (loss or retention of) language and cultural identity.
Hist-i-o-ry/ L’affare del secolo, het nieuwe werk dat Hamid El Kanbouhi in 1646 zal ontwikkelen, draait om begrippen zoals familie, afkomst, mens, product, omstandigheden, handelingen, talent, beleid en structuur.
Hist-i-o-ry/ L’affare del secolo zal een performatieve installatie worden, waarin de kunstenaar probeert fysieke en geografische verbondenheid en bewustwording te verbeelden. El Kanbouhi probeert een humane uitweg te vinden voor de zin van continuïteit en het investeren zonder morele oordelen,
De vraag en de zoektocht waarop El Kanbouhi zijn objecten en performance wil baseren is: hoeveel generaties heeft een mens nodig om zich van het gezamenlijk en persoonlijk geschiedenis los te maken en is een partijdig mens een product?
De performatieve installatie zal uiteraard geen antwoord geven op deze vragen, maar biedt een verzameling van symbolen en hints uit de kunstenaars bagage.
De focus van de installatie zal gericht worden op het meten van de interpretatie van de bezoeker en zijn interactie met de performer, de ruimte en het object.
What are you really like? And what do gold handbags, gleaming sports cars, glittering jewellery, luxury villas and ‘killer bodies’ have to do with it? For some people, these things are so important to their identity that they go so far as to hire a flashy car in order to show it off on Instagram, in imitation of Kim Kardashian, Paris Hilton and accounts like Rich Kids of London. American photographer and filmmaker Lauren Greenfield (b. 1966) has been concerned with the subject of ‘wealth’ for 25 years, portraying both the ‘rich and famous’ and those who do everything in their power to project the same image. The Hague Museum of Photography will be showing Generation Wealth, the first major retrospective of Greenfield’s work. With over 200 photographs and several short films, Generation Wealth promises to be an impressive account of some people’s burning desire to appear wealthy at any price.