The project 'Fragments of a Conversation with a Counterfeiter' by Diego Tonus and Anonymous contributes to a discussion about the transformation of value. The series of new works exhibited derives from an assumed conversation between the artist Diego Tonus and a forger (Anonymous), revealing controversial thoughts related to contemporary systems that deal with the definition of value. Each artwork is a material translation of this conversation, in which the artist appropriated the forger's ideas, questioning the ‘counter' of counterfeiting. The works 'Private Conversations' and 'Timepiece' presented at Stroom Den Haag both deal with these aspects.
'Private Conversations' consists of seven positioned briefcases that are equipped with technologies that disrupt all analogue and digital audio signals. This installation becomes a platform enabling free discussions and exchange of varying expertise and legalities. The video 'Timepiece' symbolically offers a deconstruction of our system(s) of time, and thereby value. The mechanics of the first watch to travel to the moon are disassembled and hand-mounted, in order to put them back together again. It's a reminder of the way in which economic business models are created around memorable events, and so their relation to time and value are intertwined.
A project in collaboration with Jan van Eyck Academie (Maastricht) and MAMbo Museum (Bologna, Italy).
Part of Stroom's long-term program 'See You in The Hague', a multifaceted narrative about the ambitions and reality of The Hague as International City of Peace and Justice.
Vasyl Cheperanyn and Visual Culture Research Center (VCRC), Kyiv, Ukraine, present the project 'Hybrid Peace', staging installations, screenings, and discussions. 'Hybrid Peace' explores the politicality of truth through visual art and forensic knowledge. The very basic idea of a united Europe was to establish peace on the continent— where there is Europe, there is peace. In the face of technological developments in the geopolitical landscape, an ongoing 'hybrid war' is establishing itself: how can we conceptualize a ‘hybrid peace’?
Over the course of a 7-week period, the project will develop in multiple thematic directions around the concept of hybrid peace. A work-in-progress exhibition will be constructed, unfolding the concept of hybridity and its entanglements in Stroom's exhibition space.
Accompanied by an extensive public program of events. Exhibition with the participation of: Yuriy Hrytsyna, Angelina Kariakina, Oleksiy Radynski, Hito Steyerl, Artur Zmijewski. Curated by Vasyl Cherepanyn.
VCRC is the first guest within the new program 'Our House, Your Home', in which Stroom Den Haag invites international organizations to temporarily take over the exhibition space to do the things they consider to be most urgent, fitting or challenging.
This project is made possible through the generous support of: Mondriaan Fund, The City of The Hague, Prince Claus Fund for Culture and Development.
Galerie Maurits van de Laar has represented artist Marcel van Eeden for 25 years! The first exhibition of Van Eeden was a solo in March 1994 at the former location of the gallery at Westeinde 203 in The Hague.
In order to celebrate this jubilee, the gallery presents an exhibition which is in part a retrospective of works that have been sold by the gallery over the years and partly consists of new works.
The exhibition is accompanied by a small publication with memories of buyers of their first encounter with Van Eeden's work.
Dürst Britt & Mayhew is proud to present 'Le Mal du Pays', Lennart Lahuis' second solo exhibition at the gallery.
The show deals with several manifestations of "European erosion" - both recent and from centuries ago. With works that have been on view in Leeuwarden in Museum Princessehof and the Fries Museum as part of Lennart Lahuis his recent double-solo, new works, two site specific installations and a series of performative sculptures.
May in April, 2018
burnt sikscreenprint and Kozo whisper tissue on handmade cotton fiber paper
230 x 110 cm
British artist Helen Dowling (b. 1982) uses a multitude of images that she has found, downloaded or made herself to create associative worlds that border on abstraction. Her atmospheric films play with rhythm, colour and sound, presenting an alienating view of our universe. From heavenly bodies to wandering humans, images appear in apparently random succession, creating hypnotic stories with no linear plot. The show at GEM will be Dowling’s first solo exhibition in a museum, and it will combine several video works and sculptures to create a total installation.
Amidst an inevitable degree of bewilderment at fairs brought about by seeing so many works simultaneously, one installation struck 1646's attention immediately. It was breathing pleasure, lightness, humour and it contained an intriguing combination of elements: an animation of a camel, a mural of a coastal city with a camel on it, and drawings of buildings with camel features. Bossa Nova was the title of the work and it radiated a sunniness that alleviated the intensity of the moment. We decided to look further into the work of Luís Lazáro Matos.
Similar to the experience we had as kids when the main character of an illustrated book is transported to a fantasy world, the immersive installations of Luís reproduced a comparable sensorial astonishment in 1646. They experience his installations feel as expanded paintings. Color, composition, contrast, depth and texture of the canvas are transformed into three dimensional spaces ruled by the same principles. Principles that Luís seem to master with ease, enjoyment and sensuality. 1646 further notes, when speaking to the artist, the ease and pleasure with which his avid curiosity combines facts that have always fascinated him with synchronicities of everyday life. ‘I’m completely obsessed by exoplanets at the moment,’ was the promising sentence of their last Skype call.
A duo exhibition by Inez Smit (paintings) and Otto Egberts (paintings).
The work of Otto Egberts comes from a deep source, such as conscience from which one draws its infinity. The limitations of the canvas force Egberts to visual interventions on the given physical formats.
Inez Smit builds an endless space with subtle demarcations. Thin coloured lines and fine-spun relief are a combined result of her inner explorations.
In this duo exhibition 'Space and Infinity' a special project by the artists Jan van der Pol and José den Hartog is presented in parallel on the gallery floor, titled "Ieder de helft". Together they painted a series of ceramic plates, each one on one half the plate.
Genesis is the first large retrospective of sculptor Carel Visser (1928-2015) in the Netherlands. Visser is undoubtedly one of the most important Dutch sculptors of the twentieth century. Museum Beelden aan Zee is honoured to open this exhibition to the public in the spring of 2019. His work is represented not only in the most important museum collections in the Netherlands but also abroad at the Tate and MoMA.
This retrospective provides a balanced overview of the work that Visser produced over a period of more than 60 years. While his sculptures are the focal point of the exhibition, ample attention is paid to his drawings, collages, graphics, utensils and jewelry, as they are all considered to be closely related components of his oeuvre.
Hoorn & Reniers presents the first solo exhibition of Swedish artist Emeli Theander (Göteborg, 1984) in the Netherlands. Theander studied under professor Valérie Favre and graduated in 2006 from the Academy of Arts in Berlin, where she lives and works. Theander has exhibited solo shows in Berlin, Leipzig, Stuttgart, Seoul and Brussels.
Gemeentemuseum Den Haag and The Hague Museum of Photography are to honour one of the Netherlands’ most famous photographers, Erwin Olaf (b. 1959), with a double exhibition. Olaf, whose recent portraits of the royal family drew widespread admiration, will turn sixty in 2019 – a good moment to stage a major retrospective. The Hague Museum of Photography will focus on Olaf’s love of his craft and his transition from analogue photojournalist to digital image-maker and storyteller. Olaf will himself bring together some twenty photographs by famous photographers of the past who have been a vital source of inspiration to him. Gemeentemuseum Den Haag will show non-commissioned work by Olaf from 2000 to his most recent series, including the work he produced in Shanghai and another series never before seen on public display. Olaf will be showing his photography in the form of installations, in combination with film, sound and sculpture. ‘We will be setting up the galleries in such a way that the exhibition is a journey through my head,’ says Olaf. ‘Visitors will be able to wander through my mind.’
Jean-Pierre Brisset, Raymond Roussel and Marcel Duchamp belong to a family of inventors who have explored the realms of meaning, language and representation by means of linguistic and artistic procedures, technical devices and (pseudo- or para-)scientific methods.
Roussel famously created a writing method – his „procédé“ – which in its most simple form consisted of a painstaking construction of two almost identical phrases, which have entirely different meanings – an equation of facts to be solved by filling the gap of meaning between the sentences with a coherent narration. Brisset asserted the amphibious origins of human languages by developing his own system of homophonic puns, unearthing a forgotten language behind our everyday words. The work of Marcel Duchamp can be regarded as a synthesis of Brisset and Roussel with his obsessive interest in puns and minimal – „infra-thin“ – differences (between male and female, between the third and the fourth dimension, between objects of everyday life and objects of art etc.), his fascination with chess and his experimentation with optical devices.
This exhibition presents Bauhaus furniture, Bauhaus related artists and artists inspired by Bauhaus.
In collaboration with Van den Bruinhorst gallery and Madelon Eekels
Originally a member of the Arte Povera movement, Italian artist Alighiero Boetti (1940–1994) soon parted from this movement, making his own way in the arts. From the 1970s he became famous for his whimsical, colourful embroideries which he had made in Afghanistan. The works appear to express a mysterious system featuring series of numbers, letter and word play, and maps. Thanks to a large donation of these arazzi (as they are known) from the period 1979-1993 by former gallery owner and collector Tanya Rumpff, the Gemeentemuseum now has a magnificent selection of Boetti’s versatile body of work. The new acquisitions will be on display in the Projects Gallery.
The theme of the exhibition of works by Saša Tkačenko (1979) and Vladimir Miladinović (1981) is truth, interpretation and nostalgia. Both artists were born in the former Yugoslavia and each have their own way of reflecting on their roots and painful recent history. Parts Project shows works by both artists from private collections from Belgrade, Serbia. A country where appreciation for contemporary art sometimes seems hard to find.
Tkačenko and Miladinović are both responding to something that is non-existent. Tkačenko binds his wounds by reaching out to the distant past and uses memories of a beautiful, pre-war Yugoslavia. Miladinović, on the other hand, dives into the harsh reality of the war and examines the impact of media manipulation.
Miladinović’s drawings emphasise the ambiguity that probably applies to every war that has been fought anywhere. No matter how hard people try to return to their normal life and look to the future, the past continues to occupy the present. The earth may be tainted but it still forms the basis for moving forward while wanting to forget as well as remember what lies behind us and secretly surrounds us at the same time.
The materials and design used by Tkačenko help convey, in an almost propagandist way, a yearning for a time that is, was and ever will be non-existent. This longing for the unattainable, the search for a time or place where you belong, creates a unique, highly individual symbolism that is focused on melancholy.
‘I am a woodturner, wood is my medium. I control it, it feels wonderful and smells fabulous. Unfortunately, wood also has two properties I am not fond of: colour and structure. It bothers me because it distracts from the form.’
Maria van Kesteren (b. 1933), the grande dame of woodturning, does not actually like wood. She is bothered by the appearance of the material, but she needs it to make the forms she wants to make. She is also constrained by her technique: a woodturner cannot escape the circle. For more than forty years Van Kesteren developed new variations within these functional constraints. Now 85 years old, she is no longer physically capable of making new work. The exhibition at Gemeentemuseum Den Haag will therefore be a fitting tribute to an idiosyncratic designer. It will feature works from her own collection, from private collections and from the generous gift that the museum received from the Altena Boswinkel Collection.
‘Clay is a material you have to listen to’, artist Koen Taselaar discovered during his residency at ceramics centre Europees Keramisch Werkcentrum (EKWC), where renowned artists and promising new talents can experiment with clay to their heart’s desire. The EKWC is celebrating its fiftieth anniversary this year, and Gemeentemuseum Den Haag is showing installations by seven Dutch artists whose time at the centre had a major impact on their work. Dick Verdult, Gijs Assmann, Jennifer Tee, Helen Frik, Koen Taselaar, Maartje Korstanje and Thijs Jaeger all embarked on an adventure with ceramics, based on their own autonomous artistic practice
What is time? What is art? And how do we, human beings, relate to life? These are questions that occupy all of us, and weirdly enough we hardly ever dwell upon them. Performance artist Tehching Hsieh has devoted his life to the visualization of the intangible. For him, art is formed by life itself. ‘Art is not a career, not a profession, art is my life.’
For the world-famous Marina Abramović, the artist Tehching Hsieh is an example and ‘the master’. West is very proud to be able to present his work in the Netherlands for the first time. In a few offices on the ground floor of the former American embassy, his work will be exhibited continuously for a whole year. In April, Tehching Hsieh will come to The Hague for a personal lecture and some ‘Encounters’.