Today

Lauren Greenfield – Generation Wealth

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.

Artist: Marc Mulders
Marc Mulders – Flowers and Animals

Marc Mulders’ (b. 1958) studio is a barn in the middle of a field of flowers. As he stands painting in the doorway, bees buzz and butterflies flit around his easel. Mulders calls his garden ‘my own private Giverny’, in reference to the famous gardens of Claude Monet, one of his artistic heroes. His impasto, almost abstract, oil paintings follow the natural world he sees around him. ‘In spring and summer I sniff all the aromas. In the autumn I paint with the echo of all those magnificent flowers in my head. And in winter I’m driven by a longing for the new flowers that will grow in my field’, he says.
Gemeentemuseum Den Haag will pay tribute to Mulders with a small retrospective in the Berlage Room to mark his sixtieth birthday.

Curated by Juan Pablo Fajardo
Artist: Emory Douglas
Emory Douglas: The Black Panthers

All power to the people! The battle cry of the Black Panthers resonates in our minds to this day. One of the architects of this political and aesthetic maxim is Emory Douglas, Minister of Culture of the radical movement founded in 1966 Oakland, California.
The party, with a complex mix of influences that range from Marxism and Maoism to principles of self-defence and the fight against racial and class exclusion, developed an ideological manifesto: a ten-point program of social, economic and political tenets. Within the scope of political graphics, the Black Panther’s striking visual universe undoubtedly stands out. From meticulously staged outfits —afros, leather jackets, berets and all-black clothing— to the potent and mindful visual production of their print propaganda, they portrayed a distinct viewpoint that seems both intuitive and calculated at once.
For the first time in Western Europe. This exhibition showcases a significant selection of posters and newspapers from the party’s initial years, featuring among its highlights provocative images of the armed revolution and caricatured depictions of the oppressor, devised to empower the African American community. It also presents a selection of photos and political documents.

Emory Douglas (1943) lives and works in the Bay Area, USA. His work has been shown in numerous exhibitions on the Black Panther Party. He had exhibitions at a.o. the Biennale of Sydney, the African American Art & Cultural Complex, New Museum, New York; San Francisco; the Richmond Art Center, California; Station Museum of Contemporary Art, Houston; and Tate Modern, London.

+ Symposium: 18 + 19 oktober 2018, more info: www.westdenhaag.nl

until 03 Mar
Curated by Feico Hoekstra
Artist: Ossip Zadkine
Zadkine aan Zee

Who isn't familiar with that bronze figure in Rotterdam with a hole in his body? Sometimes he is called ‘Holey Jan’ or ‘Jan with the hands.’ The sculpture is actually called De Verwoeste Stad (The destroyed city) and is considered worldwide as one of the most successful monuments for victims of the Second World War. Its fame is even so great that many people also know the name of the maker: Zadkine. That is special for a sculpture in the public space. But who was Zadkine? And what else did he make? The ‘Zadkine by the Sea’ exhibition provides a comprehensive overview of the oeuvre of this Parisian master of modernism who, together with fellow artists like Picasso, Brancusi and Lipchitz, changed the face of Western sculpture definitively. Special attention is paid to Zadkine’s intimate connection with the Netherlands, where his collectors and clients were often also his friends.

In 2017, museum Beelden aan Zee won the Turing Toekenning II award of €150.000 for its exhibition concept of Zadkine by the Sea.

Ossip Zadkine (1888-1967) is considered among the most important sculptors of the twentieth century. Born in Vitebsk in White Russia, he settled in Paris in 1910. He became acquainted with modern art there and from 1911 started contributing to it himself in stone and wood. Influenced by cubism, he developed his own unique style in the early nineteen-twenties, which would become increasingly dynamic and baroque through the nineteen-thirties. During the Second World War Zadkine remained in exile in the United States, where his reputation only increased. His expressive sculptures from after 1945 show his resilience in endowing the new ideals of the Europe of post-war reconstruction with a unique and new form.

Zadkine was a highly original artist with a clear personal vision which focused on the inextricable bond between man and nature. Through this he represented the role of Orpheus, the mythological poet whose art was able to keep the evil in the world at a distance. It was precisely that meaning which Zadkine, who had endured two world wars, attached to his own art. The exhibition in Beelden aan Zee focuses for the first time on this ideological motivation of the sculptor. Zadkine’s capacity to reinvent himself, time after time, so he could respond to the changing world around him with new forms, distinguishes him as one of the greatest artists of his time.

Artists: Anne Geene and Arjan de Nooy
Anne Geene and Arjan de Nooy – The Universal Photographer

With their humorous, pseudo-scientific work, Anne Geene (b. 1983) and Arjan de Nooy (b. 1965) make their audience look at the world in a new way. They collaborated on the award-winning publication Ornithologie (‘Ornithology’), an alternative bible for birdwatchers. This year Geene’s solo work won the Volkskrant’s art prize and the readers’ prize. The Universal Photographer is about the fictional photographer U. (1955-2010), whom Geene and De Nooy have used to make an ‘encyclopaedia’ of photography. The exhibition of the same name will be on show for the first time this autumn at The Hague Museum of Photography, to coincide with the publication of the book.

until 17 Feb
Artist: Shirin Neshat
Shirin Neshat

Photographic and film artist Shirin Neshat (b. 1957) grew up in Iran, but left at the age of 17 to study art at UC Berkeley in Los Angeles. Her work focuses on the conflict between her own roots and western culture, and the roles of men and women. This autumn her work will be on display at GEM. To Neshat’s delight, the show will run virtually concurrently with Splendour and Bliss. Arts of the Islamic World. From the early series Women of Allah to her more recent films and new photographic work, the selected works will illustrate Neshat’s development since the start of her career.

Anne Forest – I Am With Name

The work of Anne Forest has roots in both classical portrait art and the creepy horror genre. Forest 's work is dark but also lovely, and at the same time static and dreamy. Her imaginative characters stare at the viewer which gave an ominous feeling. They are stripped of their context, but have names. So Forest subtly shows the contrast between the individual character of its creatures and the fictional, universal world in which they all find themselves.

Forest works very detailed, with a lot of attention for texture. With unusual portraits she brings depth to her portraits, which come to life. The sleek, graphic lines ensure a clear division of the surface, where the depicted character demands all attention from the viewer. In her recent work, Forest challenges herself further by cutting foam carriers herself. These headlines are strongly reminiscent of traditional masks, but - like all the people portrayed by Forest - they have something unhuman. You could see them as dream-creatures. The strength of Forest lies in leaving these possibilities open, she herself gives no explanation about her work. This is precisely what makes it possible for the viewer to lose themselves in the dark dream world of Anne Forest.

Artist: Giovanni Palmieri
I often have nightmares of going back to my home country

Giovanni Palmieri (Paraguay 1993) graduated this summer from the photography department of the Royal Academy of Art The Hague. For his graduation project, Palmieri researched the mythological stories from Paraguay. The spirits who oppressed families and prescribed the rules to them. Tau, Kerana, and their seven cursed children. In his work, he tries to free himself from this by looking for the human side of these mythological creatures. He transforms them into an understanding of human behavior and explores the unknown answers of life.

Artist: Dave de Leeuw
Solo exhibition Dave de Leeuw | ‘Mumbling the phrases’

Hoorn & Reniers dedicates its last solo exhibition of 2018 to the works of Dave de Leeuw (Heerlen, 1981) who graduated from the Maastricht academy of fine arts in 2008. His oeuvre was first brought to the attention of the artloving public by former museum director Wim van Krimpen and consists of paintings, drawings, sculptures and occasionally videoinstallations. De Leeuw’s autobiographical works portray isolated individuals who oscillate between melancholy and humour, sensuality and loneliness and treat of his place in the world and the immense depth of existence.

Artist: Julie Béna
ROSE PANTOPON AND THE WHEEL OF FORTUNE

For her first solo exhibition in The Netherlands, Julie Béna will work on the next step of her ongoing project ‘Have you seen Pantopon Rose?’: a project based on theatre, antiquity, mythology, writing and nightlife. The main performer, Rose Pantopon, is inspired by the character that appears just once in one of the last chapters of Naked Lunch (a novel by American writer William S. Burroughs), when an old junky asks the question: “Have you seen Pantopon Rose?”.
The project builds on the following quest: Who is Rose? Feeding itself from Greek tragedy, theatre, and personal stories of having grown up amidst a theater company and night-clubs to support her studies, the artist brings fantasy, color, music, narration, gestures, objects, and the absurd together in this project.

Béna works on environments that draw inspiration from the world of literature film, theatre and popular culture.
She invents dream like states that blends her imagination with a pop culture sensibility. Béna’s work instigates
mystery and doubt and her emphasis on irrationality remains one of the biggest strengths in her work. She approaches her own subject through characters in the videos, performances, sculptures and rhythmical poetry.
Despite the fact that she studied at the Gerrit Rietveld Academie, this will be her first solo exhibition in The Netherlands.

until 23 Dec
Artists: Joseph Montgomery and Willem Hussem
Joe

Joseph Montgomery’s second solo exhibition at the gallery is comprised of shim paintings. Whereas in previous exhibitions his work has combined both soft collage and the hard edges of the shim painting, this exhibition is only built upon the base structure of wedge combinations. This includes an animation in which the protagonist is also constructed from wedges.

Shims are thin pieces of construction material typically used to fill in a gap or as a leveling device and are often made of cedar, a rot resistant type of lumber. They are used in two places in Montgomery’s work, the “shim painting” and the “shim doll”, both of which are composed of articulations of the modular unit. Thus the shim forms the basis of an expressive visual language through repetition and difference. They are present in the application suites shimindex.com and dollindex.com as two tools that allow the artist to compose a doll or painting by displaying all possible iterations given a set of limitations.

The title “Joe” comes from the fact that the artist is called by two names. He is Joe informally and Joseph formally. Similarly, a painting can be named twice or three or four times. Montgomery’s use of multiple aesthetics to construct paintings names painting both as a friendly practice and a strange practice. The play between informal and formal occurs in this new body of work’s use of mirror as a painting material. Collaged within the shims by occupying the interstitial space between the wedges, the reflective surface renders the figure ground relationships ambiguous while giving the decorative nature of the material a more psychological purpose. In the fragmentation of the architecture around the object and the reflection of the viewer’s body in portions, the shim + mirror combination announces a protagonist who is mutable relative to perspective. Similarly, a set of three monochromes appear solid from afar. At an intimate distance, bundled wedges and rectangles undulate under the skin of paint.

In the animation, the shim doll bathes. Based on the Bonnard painting Nude in the Bath (1936), the doll continuously labours to rest amidst two other characters, reflection in the fluid and shadow in the depths.

front space: Willem Hussem (1900 – 1974)
As a prelude to his solo exhibition at Dürst Britt & Mayhew in the spring of 2019 we will show a small selection of works by renowned Dutch artist Willem Hussem (1900-1974) in the front space of the gallery.

As an artist Willem Hussem continually experimented and produced highly diverse works of art, including painting, drawing and sculpture. A constant aspiration towards simplicity and purity underlies his entire oeuvre. This aspiration is closely connected with his need for clear systems of thought. It was in Hegel’s philosophy and Zen Bhuddism that he found the intellectual basis for the universalistic outlook on the world that would determine his thought and work.

Throughout his life Hussem was in search of a manner of working that tied in with his philosophical views. In poetry, he found this in short lyrics, while in art he initially found it in a style that steered a middle path between expressionism and constructivism, and finally in geometrical abstraction.

In 1960 Willem Hussem represented The Netherlands at the Venice Biennial. During his lifetime he had solo exhibitions at Gemeentemuseum in Den Haag, Museum Het Princessehof in Leeuwarden and Stedelijk Museum in Schiedam and participated in major group exhibitions in Museum Boijmans van Beuningen in Rotterdam, Van Abbemuseum in Eindhoven and Stedelijk Museum in Amsterdam. He also exhibited twice at the Carnegie International in Pittsburgh, US.
After Hussem’s death in 1974, the ‘Hussem Committee’, which consisted of influential artists, art historians and museum directors, kept his legacy alive. Retrospectives were mounted at Museum Boijmans van Beuningen in Rotterdam, Centraal Museum in Utrecht and most recently at Museum Belvedere in Oranjewoud.

Hussem’s work is held in many private and public collections, including Centraal Museum, Utrecht, Gemeentemuseum, Den Haag, Museum Boijmans van Beuningen, Rotterdam and Stedelijk Museum, Amsterdam.

Curated by Niekolaas Johannes Lekkerkerk
Artists: Anna Betbeze, Benoît Maire, Cevdet Erek, Daniel Gustav Cramer, Dominique Gonzales Foerster, Etienne Chambaud, Francisco Tropa, Gabriel Kuri, Irene Kopelman, Jean Painleve, Jochen Lempert, Joëlle Tuerlinkx, Jorinde Voigt, Karl Blossfeldt, Michael E. Smith, Nicolas Lamas, Oscar Santillán and others
Act II  ‘Archipelago — A Problem (On Exactitude in Science)’

The exhibition 'Archipelago — A Problem (On Exactitude in Science)' centres around a fictitious, mental archipelago where a group of mathematicians, geologists, cartographers and other scientists try to index the measurable facets and phenomenological manifestations that they uncover during their research expedition. As the unprecedented landscape is subject to constant change and fluctuations, the advanced instruments with which the research group is equipped prove to be unsuited to recording and documenting their observations and findings accurately. The scientific languages they employed elsewhere do not appear to correspond in any way to their somewhat predetermined, stable patterns of expectation, preconceived knowledges and epistemological registers: the diversity of living conditions and environments found within the archipelago appears so diverse and unstable that every island seems to require its own individual linguistic and scientific approach. To this end they decide to develop a new compendium entitled 'The Sea Island Mathematical Manual' in order to do justice to a world of constant change using a series of –to use philosopher Donna Haraway’s words–SFs (science fact, science fiction, speculative fabulation, so far).

Curated by Niekolaas Johannes Lekkerkerk

From September to December 2018, Tlön Projects will temporarily be housed at the Parts Project venue for the launch of its satellite programme 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.

until 22 Dec
Artists: Aaron van Erp, Amir Tirandaz, Anselm Kiefer, Jasper de Beijer, Jose Maria Sicilia, Raquel Maulwurf, Roger Wardin, Ruri Matsumoto, Simon Schrikker and others

The End of War (11/11/1918, Armistice WW I) with works by Raquel Maulwurf, Anselm Kiefer, Jose Maria Sicilia, Amir Tirandaz, Aaron van Erp, Simon Schrikker, Jürgen Brodwolf, Ruri Matsumoto, Roger Wardin, Daniele Galliano, Ryan Mendoza, Kcho, Theo Eissens, Jasper de Beijer, Ottmar Hörl.

Curated by Roel Arkesteijn
Artist: Nishiko
Nishiko: Repairing Earthquake Project

As part of a series of presentations highlighting promising visual artists, this fall Stroom Den Haag will feature an exhibition of the 'Repairing Earthquake Project', the magnum opus of the Hague-based artist Nishiko (Kagoshima, Japan, 1981). After the earthquake and the subsequent tsunami in March 2011, she visited the Tohoku district in Japan, searching for remaining objects and collecting eye-witness accounts that enable us to experience the aftermath of the disaster first hand. During the project Nishiko repairs and reconstructs the battered objects with great care and tenderness. With their scars they are visual reminders of these historical events. The repaired objects were further granted a second life, as the artist had them adopted by foster parents. The exhibition at Stroom will present the 'Repairing Earthquake Project' for the first time in its entirety.

The exhibition at Stroom not only aims to present the impressive 'Repairing Earthquake Project' to a wider audience. Nishiko's project also enables us to experience a human tragedy. Simultaneously the project bears witness to an ecological crisis. The fact that the sea level is rising dramatically due to man-made climate change, as well as the presence of plastic garbage patches in the Great Pacific, gives the project even more urgency. The 'Repairing Earthquake Project' not only dwells on the earthquake and tsunami in Japan in 2011, it also reflects upon our common future.

The exhibition and the Stroom School side program will be compiled by guest curator Roel Arkesteijn. He is a curator and author interested in forms of artistic engagement, activism, and art for social change. Since 2008 he has been curator of contemporary art at Museum Het Domein (currently: Museum De Domijnen) in Sittard.

Special thanks to:
The exhibition is made possible through generous support by the Prins Bernhard Cultuurfonds, the Mondriaan Fund and the City of The Hague.

Artist: Elka Oudenampsen
Elka Oudenampsen – SOLO

Colours, shapes, overlap in compositions and patterns, as a reflection from her inner landscape. Painter Elka Oudenampsen (1967) brings something to life. Examining what colour does, what the eye observes. Contrasts deliver new experiences and put everything in a different perspective. Her energy arises in the making, searching for a spatial collage, to a controlled final image. In her earlier work you can still see fragments from reality. More recent canvases are painted in a range of colours and delimited in forms.

These shapes are also placed over each other, or opposite and cut across, vertically or horizontally. This creates a spatial experience. The image is often caught in a stationary motion. Sometimes you see clear marks of paint, regular, taut and accurate. The composition of one work is even more complex than that of the other.

In a painting of Elka Oudenampsen there are no traces of political engagement or social views. However a strong drive is to be discerned. Trough proper research canvases are produced in all sizes and colours. It is her energy flow that determines the end result. Autonomy of a visual language is the goal that Oudenampsen strives for. All produced by the pure experience of looking.

until 23 Dec
Artists: Andrea Freckmann, Cedric ter Bals, Christie van der Haak, Diederik Gerlach, Dieter Mammel, Dirk Zoete, ed pien, Elmar Trenkwalder, Elsbeth Ciesluk, Erik Pape, Eva Spierenburg, Frank Van den Broeck, Heidi Linck, Henri Jacobs, Jan Brokof, Justin Wijers, Karin van Dam, Kim Hospers, marcel van eeden, Marjolijn van der Meij, Martin Assig, Martin Fenne, Nare Eloyan, Nour-Eddine Jarram, Robbie Cornelissen, Robert Nicol, Robine Clignett, Ronald Versloot, sebastiaan schlicher, Seekee Chung, Shary Boyle, Stan Klamer, Susanna Inglada, Tobias Gerber, Tobias Lengkeek and Zeger Reyers
Ristretto

In the group show Ristretto the artists of the gallery each show one or two small works. Ristretto includes long time represented artists like Robine Clignett, Marcel van Eeden and Diederik Gerlach but also new names as Shary Boyle and young talents like Tobias Lengkeek, Susanna Inglada and Cedric ter Bals. The show gives an actual overview of the gallery, with drawing at its core where Sebastiaan Schlicher newly developed a new variety with his video synthesis in which he draws by means of an electronic signal. Textwork by Elsbeth Ciesluk, recent glasswork by Christie van der Haak, ceramics by Elmar Trenkwalder and textile work by Martin Fenne show the diversity and width of the gallery program, completed by new paintings of Erik Pape, Andrea Freckmann, Tobias Lengkeek and Ronald Versloot.

Curated by Roel Arkesteijn
Artist: Nishiko
Opening – Nishiko: Repairing Earthquake Project

The opening of the exhibition 'Repairing Earthquake Project', the magnum opus of the Hague-based artist Nishiko (Kagoshima, Japan, 1981). After the earthquake and the subsequent tsunami in 2011, she visited the Tohoku district in Japan, searching for remaining objects and collecting eyewitness accounts that enable us to experience the aftermath of the disaster first hand. During the project Nishiko repairs and reconstructs the battered objects with great care and tenderness. Their scars are visual reminders of these historical events. The repaired objects were further granted a second life, as the artist had them adopted by foster parents. The exhibition at Stroom not only aims to present the impressive 'Repairing Earthquake Project' to a wider audience. Nishiko's project also enables us to experience a human tragedy. Simultaneously the project bears witness to an ecological crisis. The fact that the sea level is rising dramatically due to man-made climate change, as well as the presence of plastic garbage patches in the Pacific Ocean, gives the project even more urgency. The 'Repairing Earthquake Project' not only dwells on the earthquake and tsunami in Japan in 2011, it also reflects upon our common future.

until 16:00 – 17:00
Opening ‘Ristretto’

Opening of the groupshow Ristretto with Martin Assig, Cedric ter Bals, Shary Boyle, Frank Van den Broeck, Jan Brokof, Seekee Chung, Elsbeth Ciesluk, Robine Clignett, Robbie Cornelissen, Karin van Dam, Marcel van Eeden, Nare Eloyan, Martin Fenne, Andrea Freckmann, Tobias Gerber, Diederik Gerlach, Christie van der Haak, Kim Hospers, Susanna Inglada, Henri Jacobs, Nour-Eddine Jarram, Stan Klamer, Tobias Lengkeek, Heidi Linck, Dieter Mammel, Marjolijn van der Meij, Robert Nicol, Erik Pape, Ed Pien, Zeger Reyers, Sebastiaan Schlicher, Eva Spierenburg, Elmar Trenkwalder, Ronald Versloot, Justin Wijers, Dirk Zoete.

Artist: Elka Oudenampsen
Opening solo exhibition Elka Oudenampsen

Since the Philip Morris Art Prize was awarded to her in 1999, Elka Oudenampsen (1967) has been painting steadily, balancing between figuration and abstraction. Her former 'characters' disappeared in a forest of geometric 'landscapes', in which elementary forms such as the cylinder, the oval and the rectangle are strongly present. It is sometimes simply two-dimensional and at the same time spatially dynamic, while all colours make your eyes tremble. No, colours are only a means to achieve something, but not the goal in itself. Composition is also her playing field, no more and no less. She arranges and defines the world she sees. In this solo exhibition the painter Oudenampsen shows her journey as a process that does not end.