Jaume Plensa, (Barcelona, 1955) is a world-renowned sculptor best known for his constructions in the public space resembling the heads of women that are multiple meters tall. With their eyes closed, they have an almost meditative expression. Plensa's much-acclaimed exhibition at the Basilica di San Giorgio Maggiore during the Venice Biennale of 2015 perfectly encapsulated this characteristic atmosphere of reflection and repentance.
Plensa has completed over thirty major projects in cities such as Chicago, Dubai, Liverpool, London, Nice, Tokyo, Toronto, and Vancouver. Plensa has received many awards, including the Medal de Chevalier des Arts et Lettres and the Velázquez Prize for the Arts in 2013. In 2015, his work Duna was shown as part of the ARTZUID route. In 2017 he received The Ten-Year Award for his 2004 Crown Fountain in Chicago’s Millennium Park. The work, which displays videos of the faces of hundreds of Chicago's inhabitants, remains a highlight of his oeuvre. Also famous is his monumental work, Love, one of eleven fountains created for Leeuwarden - Friesland European Capital of Culture 2018. While his sculptures are frequently on display in public places and museums all over the world, they have rarely been seen in the Netherlands.
As a young artist, Plensa was discovered by art collectors Theo and Lida Scholten. They would later go on to found museum Beelden aan Zee in 1994. Plensa is excited for his Dutch debut at BAZ and to be a part of the celebration of the museum's 25th anniversary.
The catalog for this exhibition is written by art critic Anna Tilroe, curator of the Eleven Fountain project, and Jean-Louis Andral, director of the Musée Picasso in Antibes. It delves into Plensa's versatile work from the past quarter of a century.
German photographers and partners Ute Mahler (b. 1949) and Werner Mahler (b. 1950) look at the lives of people. Not at global stars, or at the great glamorous or dramatic moments in a human life; they observe ordinary people living their lives in sleepy suburbs and forgotten working-class neighbourhoods. Through the Mahlers’ lens, these people, these lives become extraordinary. Like the young women they affectionately dubbed the Mona Lisas of the Suburbs, after Da Vinci’s Mona Lisa, in their 2009-2011 series of portraits. But a photograph of a houseplant struggling towards the light through a Venetian blind has an equally extraordinary, almost human quality. The Hague Museum of Photography is showing a selection of the couple’s work produced during careers spanning almost fifty years, from their first solo work in Germany during the GDR period to their more recent collaborative work. Their latest series Kleinstadt (Small Town) features prominently in the exhibition.
Kim? Contemporary Art Center in Riga recently celebrated 10 years of innovations in art and its discourse. To commemorate this event, Kim? and Page Not Found jointly organised a retrospective of Kim? multifarious publishing activities. Opening in presence of Laima Ruduša, executive director of Kim? on Thursday 5 September, at 17:00.
Kim? supports the development of emerging artists, theoreticians, curators, philosophers, translators and thinkers of various spheres aiming to provide a responsive context to their work and to make critical practices accessible to a wider audience. Since 2009, alongside its exhibition program, Kim? has also facilitated select exhibition catalogues, and numerous publications, that give voice to a specific range of essays and texts on art, art theory and criticism, and selected translations.
Over ten years Kim? Contemporary Art Centre has organised 700 events, 188 exhibitions in Latvia, 30 exhibitions abroad, has attracted around 600 000 visitors, and over the last five years made it possible for five artists to take part in international residences hosted by Kim? partner organisations.
In 'Twiemæl Sterben' the world of Oskar von Balz unfolds, a German soldier from the First World War who is brought to life by Cedric ter Bals (1990) in comic-like drawings. Von Balz acts in the historical context of Verdun but also in contemporary Scheveningen, the home town of Cedric ter Bals. The drawings are partly autobiographical and thus the character of Oskar von Balz functions as a kind of alter ego of the artist. In the exhibition the 'Tagebuch Oskar von Balz' (Diary of Oskar von Balz) will be presented, a cartoon album about Oskar von Balz in which a mixture of English, German and Scheveningen dialect is used. The original drawings of the Tagebuch will be exhibited, along with the other drawings about WW I.
Just as Cedric ter Bals focuses exclusively on the character Oskar von Balz, Philip Akkerman (1957) has devoted himself throughout his career solely to his own portrait. This choice for one subject and its consistent implementation connects both artists. Conversely, you could also see the character Oskar von Balz as a fictional self-portrait of Cedric ter Bals. The drawings and paintings are presented in a setting that refers to the First World War, with fragments of brick walls, straw bags, observation post and a huge grenade and war prostitute painted on the shop window of the gallery.
Everything is possible in the paintings of Bas Wiegmink (1977). Nature gets the power to evolve. Vegetation undergoes genetic changes. The sky reflects in fantastic colours, the earth radiates. Human traces testify to a certain 'civilization'. The message could be: 'do not be afraid of the future, because we will survive'.
Nevertheless, nature always seems to survive unstirred. This survival force, including that of man himself, inspires Wiegmink. To him, painting is the way in which he can best express himself, his dream in an act. Without any hint of melancholy in the work, everything seems so obvious. Here his admiration for architecture coincides with that for the forces of nature.
After D.D. Trans (pseudonym Frank Tuytschaever 1963) made his debut in the Netherlands during Art Rotterdam, he now makes his first solo exhibition at Galerie Ramakers. From 8 September till 6 October, the Belgian visual artist will present an overview of his transformation from everyday objects into light-hearted artworks. The subtle changes that D.D. Trans applies evoke suggestions that stem from the Belgian tradition of surrealism, accompanied by humor and poetry.
After a 10-year break from the art circuit, D.D trans has been displaying old and new work together in his exhibitions since 2014, without hierarchy or distinction. His minimalist work is often called poetic, although there is always a dark side to it. According to him, the dark side has grown in recent years, although the viewer will not immediately notice it if you look at his latest works. Because it now looks much fresher than before and plastic material is often used as a kind of clay that you can work and melt. Coincidentally, today there is aversion to the use of plastic, a material that is carelessly thrown away. "If that is no longer available, my work reminds me of a certain period that it was still available".
1646 proudly presents Tova Mozard (b. 1978, lives and works in Stockholm and Los Angeles), showing new work in her first exhibition in The Netherlands. Mozard’s videos shift between the staged and the documentary as she focuses on the fringes of conventional life, eccentric characters and surreal, constructed spaces that blur this line between truth and fiction. Her portraiture is intrusive, while parts also keep us at a distance and it is characterised by curiosity for personalities and the slow unravelling of a narrative.
His Highness in a Ditch contrasts boyhood with masculinity and childlike playfulness with archetypical figures of authority. One work shows a man digging a hole in the earth while he reflects on his life. In another, two men in police uniforms, twins, aimlessly wander through the Californian wilderness.
Mozard holds an MFA from Malmö Art Academy and has studied photography at University of California, Los Angeles. Solo exhibitions include Kulturhuset, Stockholm, Hasselblad Center, Gothenburg, and Botkyrka Konsthall, Stockholm, Gävle Konstcentrum.
Krijn Giezen (1939-2011) explored the relationship between humans and nature in Fluxus-like interventions, recipes, assemblages, tapestries and objects. In 1978 he represented the Netherlands at the Venice Biennale, where he stood in a hut handing out herring he had caught and smoked himself. Perhaps his best-known work, Look Out Attention, is in the Kröller-Müller Museum’s sculpture park. Anyone who climbs this impressive 300-step staircase ends up above the trees of the surrounding Veluwe national park. With his progressive ideas about recycling and traditional skills, Giezen was a pioneer of Dutch land art and conceptual art. The exhibition will highlight the topicality of Geizen’s versatile body of work, in combination with the work of four contemporary artists: Semâ Bekirović, Chaim van Luit, Paul Geelen en Bram de Jonghe.
In September and October, renowned Berlin artist Peter Feiler will show his latest paintings and drawings in his second solo exhibition with Hoorn and Reniers.
Dürst Britt & Mayhew is proud to present Austrian artist David Roth‘s first solo exhibition at the gallery.
David Roth’s (1985) artistic practice forms a long-term research into the origins, processes and manifestations of painting. For Roth the process of making and the element of chance involved are as important to notice as the final visual outcome. Therefore a so called end product as for example a painted canvas and side products as for example a palette or a piece of cloth for cleaning brushes, have the same value for him. Every surface with marks and history of the process may turn up in his works. Time and duration are important elements as well and the layering of materials from different periods within one work can either spark dissonance or renewal. Roth’s works continually play with concepts of construction and deconstruction as well as with the performative and sculptural potential painting can possess. This becomes very clear in his series of so called ‘Trestles’, which seem to behave as sculptures, but nevertheless have all the trappings of a painting: a bearer (be it a canvas or pieces of cloth), colour, and even a wooden framework. The trestles which are supporting the loose painted textiles are in fact made of modificated stretcher bars.
'rite of access', a showroom filled with downloadable digital art, opens at art center Stroom Den Haag. 'rite of access' is initiated by left gallery, an online platform that produces and sells digital art. In response to the invitation by Stroom, this virtual platform will take residence in the physical space of an art institution in order to radically shake up current ideas about access to art.
Although the access to the physical space of Stroom is free, the digital works will only be activated when they are purchased. The works vary from a flight simulator and screensavers to apps and VR.
Within 'rite or access' 'soft' transactions'' are also possible to temporarily unlock the works, such as ‘liking' left gallery on Facebook or Twitter, or signing up for the Stroom newsletter. In that sense 'rite of access' works as a physical paywall: it applies the revenue models of contemporary media to contemporary art.
Associated artists: William Habib Kherbek, Margarethe Kollmer, Ryan Kuo, Dorine van Meel, Viktor Timofeev, Adriana Ramic, Harm van den Dorpel, Laurel Schwulst, Micah Schippa, Aarati Akkapedi, Simon Denny and more.
left gallery 'rite of access' is made possible through the financial support of the Mondriaan Fund and the City of The Hague.
Heden opens the new season with an exhibition from the winner of the Heden Start Award 2019: Zahar Bondar. This artist from Latvia recently graduated from KABK. The exhibition 'I would like to be a dancer to be able to dance with the circumstances' is an overview of Zahar Bondar's final exam work.
Zahar Bondar arouses curiosity with his personal and mysterious sculptures. It is impossible to ignore the acrobatic, dynamic figures; they are already looming in the doorway and demand their place in the room. Seemingly effortless Bondar transforms the space into an intriguing total installation. The placement of the sculptures in the room contributes to the very individual aesthetic that Bondar is able to create, and which refers to his background in the circus. Behind an alcove one can see a space that resembles a backstage setting or dressing room, and in the brightly coloured theatre lamps you find an inverted, almost alluring figure. This theatrical setting stimulates the senses, but also creates friction, as if the figures are doomed to an existence in the spotlights.
Bondar turns coarse, hard, classical materials such as metal, concrete, wood, plaster and bronze, into compositions that are light and graceful. The soft, supple, shimmering fabrics that fall loosely around the rough bodies provide an exciting contrast and invite the viewer to a closer inspection. The search for balance can be felt in Bondar's work, the former tightrope walker balances between extremes in his choice of materials, compositions and spatial interventions.
The work of KP Brehmer (1938-1997) is not easy to categorise. His oeuvre includes paintings, prints, drawings and films that look like diagrams, statistical graphics, abstract art and also advertising posters. But the austere visual idiom of this German artist always masks a sharp sense of irony as he comments on the art world, the media landscape and society. More than twenty years after his death, his observations remain surprisingly apposite. The Gemeentemuseum is to present the first major retrospective of KP Brehmer’s work in the Netherlands, in collaboration with the Neues Museum in Nuremberg, Hamburger Kunsthalle and Arter Istanbul.
The exhibition MYBODY.COM reflects on the body as a battlefield of power structures. To what extent does physical freedom exist within systems such as capitalism, fascism, communism, (post)colonialism and present-day neoliberalism? Bodies are like maps, mentally charged with meaning and history. On the outside they show visible traces of prosperity or poverty, of stress, oppression or excellence. Is the body private property or a marketable product for economic purposes? Or a pawn that is played on the chessboard of great rulers?
MYBODY.COM is an international group exhibition about the body as a portal, product and projection of larger political structures.
The exhibition is accompanied by an extensive contextual program developed in collaboration with: Hidden Gym, Fit For Free, Royal Academy of Art The Hague (KABK), TodaysArt & Mister Motley.
Photo: CC BY 2.0 (cropped and saturated): Filip Bossuyt
Rozevingerige data is the artist’s first extensive exhibition since 2004’s Exquisite Enclave Exquise at Museum de Paviljoens in Almere. The project ushers in a new phase in his work. With the aid of an iPad and iPhone and his resumption of the use of a studio in 2016, his digital and analogue image production have converged. Through combining a screen that responds to the slightest of touches with the unforgiving material properties of graphite, ink, paint, paper and canvas, Kleerebezem explores new expressive pathways.
Using a touchscreen as an interface for software that converts pen strokes into digital code and enables their manipulation has permitted Kleerebezem to rediscover the fundamental expressive power of line, field and colour. The frictionless digital liberation of his artistic hand has unleashed an unrestrained lyricism and a hybrid use of media in his recent work, which mixes digital and analogue methods. The artist will work in the exhibition space this summer, producing new drawings, paintings, photography and graphic work. On Instagram and the project website, he will reflect on the process of creation and on the context of the media he uses.
The digital format also affords new channels for distribution and reception of the work, e.g., on Instagram and in the artist’s own online publications. Between 1998 and 2005, Kleerebezem published everything he produced, without exception, in “Notes, Quotes, Provocations and Other Fair Use”, one of the first Dutch blogs. In the recent work, analogue and digital processes engage each other. The poetic title Rozevingerige data alludes to Homer’s “rosy-fingered dawn” and celebrates brave new realities and worlds, artistic ones in particular. While data and algorithms call forth spectres, especially with regard to the use of big data, in many cultural and social environments – and certainly in artistic practice – they also inspire new imagery with a structure and eloquence all its own.
Kleerebezem’s images draw freely on both direct and highly mediated experiences of reality. The ways in which we observe, register, measure and represent the world, in media that are increasingly computerised, determine how we see it and ourselves. In Jouke Kleerebezem’s work, perception continually disintegrates, to be recombined through improvisation, in not necessarily reliable, always temporary wholes.
In 1981-1982 Ben Akkerman (1920-2010) painted a monochrome, diamond-shaped canvas in yellow. From close it is possible to see how he applied the paint layer by layer. From 6 July this work will be on display in Gemeentemuseum Den Haag’s Project Gallery, among some thirty other paintings and drawings by Akkerman. In this exhibition the museum will present a small retrospective of the work of this Dutch artist, and symbolically bid farewell to the yellow diamond in its current logo, ahead of its change of name to Kunstmuseum Den Haag this autumn.
The circle has always been an important starting point for Barbara Nanning (b. 1957). Her forms and structures derive from a circular motion that she allows to solidify in glass or ceramics. She has been creating objects and installations in this way for precisely 40 years this year. Featuring twenty pieces by Nanning, the exhibition will illustrate her unique visual idiom that links the organic and the inorganic.
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’.
The exhibition Symptom Bauhaus explores the correlations between consumer and military technology, aerial image and aerial warfare, and between the concepts of 'Nieuwe Bouwen' and the expansionist fantasies of the modernist project, a modernism whose framework was shaped by two world wars heralding a new world order, which Henry R. Luce called 'The American Century' in a 1941 issue of Life Magazine. In this sense, the territorial, political, economic, technological, visual, and communicative networked systems were already established in the United States during the First World War in connection with Fordism and the 'free economy', to which Western Europe aligned itself after 1945. The exhibition is conceived as a series of constellations that interrelate historical and contemporary documents and materials from various contexts. With works by Daniel G. Andújar, John Barker / László Vancsa, Herbert Bayer, Ella Bergmann-Michel, Fernando Bryce, Muriel Cooper, Die neue Linie, Charles and Ray Eames, George Grosz, John Heartfield, Jan Peter Hammer, Helmut Heienbüttel, Alexander Kluge, Les Groupes, Medvedkin / Colette Magny, El Lissitzky, Mona Mahall / Asli Serbest, László Moholy-Nagy, Ernst Neufert, Joost Schmidt, Lisa Rave, Herman Sörgel and others.
The Unicode Standard 12.1, published in May 2019, encodes more than 137.000 typographic characters covering exactly 150 of the world’s writing systems. It is a major achievement of mankind that all these thousands and thousands of letters are working seamlessly together in any text document and are available on any modern smartphone or computer today.
But what about the ‘Missing Scripts’? There are more than 100 scripts remaining to be encoded in future versions of the Unicode Standard. In this new artistic research project the focus is on the lesser known and even obscure writing systems of mankind and their liaison to culture, art and linguistics.
Johannes Bergerhausen and Ilka Helmig will create a new site specific installation, in the Alphabetum, with more than 70 reference glyphs representing the 70 ‘Missing Scripts’ with new video’, printed matter and a new publication.
Art The Hague, the contemporary art fair, will surprise art lovers and collectors in 2019 with a variety of work by both international artists and young artists who left the academy not so long ago. With a strong selection of 46 Dutch and Belgian galleries for contemporary art, the regular "line up" of Art The Hague is worthwhile. In addition to renowned galleries such as Galerie Ramakers, Livingstone Gallery and Galerie Maurits van de Laar, young galleries such as Assembled by Root and Lauwer Art are also partaking in the fair. The art platform Wilford X from Belgium comes with an installation by international artist Koen Vanmechelen. The program of Art The Hague includes the sales exhibition ATH ‘woman in the art’ ('vrouw in de kunst') , Business Collections (curator Ad Himmelreich), Young Collectors Day & Museum Night, talk shows about contemporary art and special tours.
Opening times Art The Hague:
Wednesday 2 October: 16:00 - 22:00 hrs
Thursday 3 October : 14:00 - 21:00 hrs
Friday 4 October : 14:00 - 21:00 hrs
Saturday 5 October : 11:00 - 20:00 hrs
Sunday 6 October : 11:00 - 18:00 hrs
You can find the detailed program of Art The Hague en an overview of the participating galleries on www.artthehague.nl.
A child of the liberating power of the printing press, born into a new republic emerging wealthy from the 80 years war, Spinoza was an exemplary early modernist: irreverent, fiercely rational, politically daring.
With: Moira Gatens (AU), Beth Lord (CA), Katja Diefenbach (DE), Mogens Laerke (DK), Andrea Sangiacomo (IT) and Torkild Thanem, moderated by Baruch Gottlieb
Spinoza came to be the most prominent of the ‘free-thinkers’ a community of intellectuals which, inspired by Descartes, recently released from the oppressive theocracy of the Spanish Empire, felt entitled to subject the world anew to the full assault of human reason. The sciences, unhindered were to be released towards the full fruition of humanity's potentials. Many of us live in republics informed by the values of the young Netherlands' free-thinkers, places where civil freedoms, of speech and of thought are promoted alongside freedom of religious belief and respect for the rule of law.
This symposium will investigate the contours of what we might mean by freedom today, freedom for whom, for what? Is it enough to merely be permitted the freedom to think, or does this imply that we may also act in accordance with our thoughts. At this time of structural crisis it may be time to reformulate the trade off between individual and civic freedom.
1646 invites everyone to our Background Evening with Tova Mozard, during Museumnacht Den Haag. Mozard will show a performance, which can also be described as a ‘super short play’, based on the films in the exhibition. Her performances bear resemblance to both film and theater techniques, allowing an encounter with the characters from her films.
During each exhibition, 1646 asks the artist to develop the content for a Background Evening. The Background Evenings nurture a direct interaction between the audience and the artists in an event based on discussion and exchange.
For more information on the exhibition visit our website: www.1646.nl or FB/IG: @sixteenfortysix
In collaboration with Fundación MAPFRE, this autumn The Hague Museum of Photography will host a major solo exhibition of work by Richard Learoyd (b. 1966, Nelson, UK). Learoyd produces portraits, landscapes and still lifes that are closely related to painting. He creates his life-size photographs using a camera obscura that he built himself, so there are no negatives. This means that, as in painting, each picture is a unique artwork.
Breathing Piece can be described as a performative installation in which a new form of transmission is presented.
The effect of emotions – within the framework of the theatre and the framework of music – is approached, connected and exposed in an unusual and radical way.
Within this performative installation, these two worlds – in their differences and similarities in the approach to emotionality – come together, in an attempt to reinforce each other’s emotional pretensions towards the spectator/listener in a radical and innovative way.
Take a deeeep breath, babe.
Everything will be fine.
Don’t you worry.
Concept, play and composition: Anthony van Gog and Maarten Heijnens
Conductor: Michael Rein
Prior to the performance a guided tour will be held in the exhibition MYBODY.COM at Nest
Guided tour MYBODY.COM at Nest, 14.00 h
Performance Breathing Piece at Zaal 3, 15.00.00 h
Tickets via Zaal 3
For its 25th anniversary Galerie Ramakers displays 6 wall paintings by renowned artists from her stable. A spectacular transformation of the art space. Artist Yumiko Yoneda shows an installation of her 'blob' works. This time no autonomous works on the wall or in the space, but a combination of art and architecture.
Rob van Koningsbruggen (b. 1948, The Hague) has had a major museum exhibition every decade since the 1970s. The last one – a grand retrospective – was at Gemeentemuseum Den Haag in 2002. This autumn, in collaboration with the artist, we will be presenting an exhibition covering the period 2003-2019.
‘Nowadays Rob van Koningsbruggen occupies a lonely position in the Dutch art world, as his paintings scale unique heights in terms of their colour and form’, says director Benno Tempel. Many of the paintings in the exhibition will be on display for the first time. ‘Every time you look at Van Koningsbruggen’s paintings is a memorable experience. At first you’re taken aback, then they get under your skin, and you can’t get them out of your mind.’
Van Koningsbruggen uses lots of colour in his abstract paintings, which features shapes like circles, rectangles and funnels. He generally works on several paintings at the same time. ‘I make a painting, and then I see a shape emerge’, he says. ‘I transfer the shape to another canvas and continue there. Then I leave the other painting for six months. Sometimes I’m working on ten paintings at once. They’re patients, you know, you have to make them better. And then I suddenly have a colour on my brush and I look at the other painting and think: yeah. So I play the paintings off against each other.’
Van Koningsbruggen became famous in the 1970s with his slide paintings, which he made by applying paint to the canvas and then sliding a second canvas over it. His recent work partly refers back to these earlier works.
Rob van Koningsbruggen studied at the Royal Academy of Art and the Vrije Academie in The Hague. His body of work consists of paintings, drawings and knitted art.