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.
A solo exhibition by Tanja Ritterbex.
How to live in times when self-appointed gurus, online influencers and sly commercials teach you happiness? When the most ordered book-genre online is on self-help? Could art offer any consolation?
In sixty video works, Tanja Ritterbex investigates the role of the opinionated influencer. Ritterbex takes her own life as a starting point, set in Curaçao where she is currently residing, at The Instituto Bueno Bista. ‘Free the Eyeball’ offers an insight into the seemingly random world in which self-tanning tutorials alternate with a serious attempt to find online affection.
In the next gallery exhibition, Heden wants to give a homage to the artist from The Hague. A selection of artists which are very special and important to the art climate in The Hague takes part in this exhibition. In this way Heden presents a cross-section of the visual arts spectrum in The Hague. Artists from various generations - from emerging to proven talent - show a work that marks a special place for them in their oeuvre, that has never been shown before, or is a personal favorite of them. Based on this artist's choice, we create an interplay between the works, with a variety of disciplines: from monumental paintings to modest photography, to fleeting sketches and experimental video works.
Mickey Yang , Suzie van Staaveren , Annemarie Slobbe, Juliaan Andeweg, Bob Eikelboom, Anne Geene, Robbin Heyker, Nynke Koster, Ton van Kints, Christie van der Haak, Wieteke Heldens, Andrea Freckmann, Marcel van Eeden and lots of others.
'Generate' is a show dedicated to three painters of different ages: Erik Pape (1942, Roosendaal), Dieter Mammel (1965 Reutlingen, Germany) and Tobias Lengkeek (1991, Rotterdam). For the most part of his career Erik Pape's subject has been Paris, changing his focus from Canal St. Martin, basins of the Tuilleries to Notre Dame and Eiffel Tower, images in which he sought to overcome the cliche and revive as a subject. He now paints objects from everyday life observed around the Place Stalingrad. Dieter Mammel paints in a typical technique using ink on raw canvas which is made wet, so that the colour runs out and branches whimsically. His current paintings deal with the awe inspiring beauty of the polar landscape that is threatened by the effects of global warming. As in a Casper David Friedrich painting man is present as a tiny, humble figure but at the same time the cause of it's possible desctruction. Tobias Lengkeek attempts to capture time in his canvases: damaged or discarded objects were once new, by painting them he tries to catch their previous history. Other paintings show buildings or structures that are in a state of transition, being renovated or demolished.
On the occasion of the exhibition a publication is issued of Erik Pape's pantings from 2017 onwards about the everyday life scene on the Place Stalingrad, titled "Things that struck me"
Durst Britt & Mayhew are exhibiting the first solo show by Dutch artist Willem Hussem (1900-1974) since the gallery started to represent Hussem's estate. The show will bring together works from several decades in which Hussem was active as a painter, sculptor and poet.
Oil on linen
130 x 200cm
During the summer months, Hoorn & Reniers organize a group exhibition with small works by its international and Dutch artists showing the state of the contemporary figurative art in Western Europe.
‘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
The work of the German artist duo Korpys / Löffler is surrounded by 'suspense'. In the collection of films, photographs and light images there is a continuous tension. Beautiful, grainy shots show reports of events from recent history and meticulously depict striking places. Full of symbolism and references to feature films, we recognize the images, but are not always able to bring them home precisely. For their first presentation in the Netherlands, Korpys / Löffler have found the perfect setting in the former American embassy.
This summer, Itamar Gilboa’s ultimate and contemporary self-portrait, Body of Work, is coming to the museum Beelden aan Zee.
For Body of Work, Gilboa was completely 'dissected.' He underwent MRI, FMRI and CT scans. He used cutting-edge technology to make exact copies of, among other things, his eyes, skull, spine, heart, liver and kidney,s and then reproduced them in shiny chrome. He also had scans made of his brain activity while he sculptured and talked about his project. As an ultimate attempt to capture creativity, Gilboa also transformed an active part of his brain into printed sculptures.
For Itamar Gilboa (Tel Aviv, 1973), the person always acts as a starting point in his work. He uses himself and his behavior as a metaphor for large, diverse themes such as migration, violence or consumption behavior, often using figures and other data obtained from research. Using various media such as sculpture, video, drawings and paintings, he translates the results into intriguing works of art. He himself is not central, however, but instead the people and networks that he thoroughly examines. He regards his work as 'social sculptures’ with a message.
His work has previously been shown in Amsterdam, Tel Aviv, Chicago, London and Beijing, and comes this summer to museum Beelden aan Zee.
Body of Work is made possible in part by the generous support of Siemens Healthineers, Stratasys, Anatomy, Scannexus, Rivas Hospitals, Radboud UMC, Tel Aviv University and AMRA.
For New Dutch Views, Marwan Bassiouni (b 1985, Switzerland) travelled the polders, industrial estates, villages, town centres and suburbs of the Netherlands, photographing the landscape from the windows of mosques. Rugs with oriental and Islamic motifs, walls WITH colourful floral patterns, plus radiators, Venetian blinds and suspended ceilings frame the unmistakably Dutch view. Bassiouni’s sharply focused images show a society where several cultures exist alongside and with each other. New Dutch Views is a symbolic portrait of Bassiouni’s double cultural background, and it highlights the fact that a new Western Islamic identity is emerging.
Marwan Bassiouni, son of an Italian-American mother and an Egyptian father, graduated from the Royal Academy of Art in The Hague in 2018. He was awarded the prestigious W. Eugene Smith Student Grant, and has won the Ron Mando Photo Talent Award and the SBK Sprouts Young Talent Award.
Gerco de Ruijter began his photographic explorations by attaching his camera to a kite. The landscapes he photographed turned into astonishing abstract images that evoke associations with the paintings of Art Brut and Piet Mondrian. He found that the American landscape, which he explored in the same way, is still dominated by the Jefferson Grid, the system introduced under President Jefferson by which, from the 18th century onwards, the colonised land was divided into identical plots. Due to the curvature of the earth the geometric grid has to be adjusted every few miles. It is these ‘grid corrections’ that De Ruijter depicts, not in traditional photographic formats but as a form of intervention that follows the road network. Grid Corrections tracks the line from east to west, created a single continuous work in which form and image enter into a dialogue.
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.
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.
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’.
In June, Page Not Found brings illustrative arts into focus, for their strong affinities with publishing, and their influence as a rich field of experimentation, which permeates graphic design and contemporary art. The third event of this focus will see the launch of the latest issue of Lagon Revue, entitled Marécage, in the presence of its art directors, Alexis Beauclair and Sammy Stein. They will also present their latest individual works.
Lagon is a prospective comic book magazine exploring new forms of graphic narration. It hosts what has been designated as a new school of abstract formalism: The magazine has been the echo chamber of a group of young illustrators, who favour sequences of drawings with a geometric and minimalist style, with little or no narrative, but for the unfolding of a process. The magazine is bilingual (French and English) and takes a new name with each new issue. To produce this issue, different printing techniques were used (risograph, offset, and silkscreen), and the resulting prints, assembled.
Alexis Beauclair (b. 1986) is a French drawing artist. His work includes drawings, comics and commissioned illustrations for such publications as The New York Times, New Yorker and Bloomberg Businessweek. He self-publishes his drawing zines and mini-comics in his risograph print studio, Papier Machine, co-founded with Bettina Henni in 2012. He has also produced comics, children’s books and illustrated books with publishers. His “Vanishing Perspective” collection of comics was published in United States by 2dcloud in 2018. His work on comics is focused on minimalism, questioning reading and the comics’ medium, while trying to refine and reveal the pure mechanics of the comic form. He is also co-editor of the international comics anthology “Lagon,” founded in 2014.
Sammy Stein is a French artist and publisher. His books, published by Editions Matière (FR), Calipso (COL) or by himself, combine narrative experiences and graphic minimalism. His publications, installations and ephemera sculptures — in which books often play a central role — have been shown in the Musée d'Art Moderne de la ville de Paris (FR), Printed Matter (USA), the French Institute of Tokyo (JP), Essential Store (JP), among others, and various international book fairs (New York Art Book Fair (USA), Tokyo Art Book Fair (JP), Safari (EN), Festival International de la Bande Dessinée d’Angoulême (FR)). He regularly collaborates with international magazines and institutions such as MACVAL (FR). He is the co-founder of magazines Collection (interviews with contemporary artists, cartoonists, graphic designer) and Lagon (contemporary and prospective comics).
Group show with recent works of artists of the gallery
On Friday 5 July the Royal Academy of Art, The Hague (KABK) celebrates the opening of the annual Graduation Festival, with over 200 bachelor and master students showcasing their graduation projects. Discover their work and meet these young contemporary artists.
Image & concept: Sander Puhl, alumnus KABK Graphic Design 2015
Jan van der Pol, teacher painting and printmaking at The Royal Academy of Arts 1985-2011, chose four of his finest alumni for this special joint exhibition during The Hague Contemporary Art Weekend.
At the occasion of The Hague Contemporary Art Weekend, Page Not Found is delighted to host celebrated artist Navid Nuur, for a talk about his publishing practice.
The way in which Navid Nuur (born in 1976 in Tehran, Iran) relates to material, the space around him and his observations therein, can almost be regarded as devout. The attention for detail and the careful fine-tuning of the various elements of a work or exhibition make the audience part of an 'inner' world. In Nuur’s work — although very conceptual at first sight — a very personal visual problem becomes the central question. What Nuur has in common with the conceptual artists from the sixties is the relation between concept and form. Form for him however, is not necessarily the result of the idea, but materializes through a subjective program of requirements or rules in which intuition has the upper hand. He applies concepts that often relate to a temporary in-between state that places his work between the audience and an often abstract phenomenon, such as light, energy, air, or 'rest space'. Nuur's form-language and meaning are therefore principally purely process-oriented. His work belongs to the public collections of the Centre Pompidou (Paris), the Stedelijk Museum (Amsterdam), the Bonnefantenmuseum (Maastricht) and the S.M.A.K (Gent), among others.
Philosophical breakfast in the solo exhibition of Tanja Ritterbex: Free the Eyeball.
This background conversation provides a framework for the current exhibition at Parts Project with a person involved (presentator Leila Prnjavorac fled from former Yugoslavia to The Netherlands in 1993) and Silvia Bakker the curator of the exhibition. First of all to explain the complicated situation to the public and also to ask how, in the absence of public debate about important issues in our societies, an artist can take a role and raise it? Should an artist use his position to talk about a subject that is often repressed or even declared taboo in societies on the territory of the former Yugoslavia, and in the Netherlands?
Presentation: Your Truth, Interpretation and Nostalgia
Artists: Saša Tkachenco & Vladimir Miladinović
During the second edition of The Hague Contemporary Art Weekend, 1646 presents three video works of Mary Reid Kelley.
Mary Reid Kelley combines painting, performance, and a distinctive wordplay-rich poetry in her polemical, graphically stylized videos. Performing as a First World War soldier, a grisette in revolutionary Paris, or the Minotaur, she resurrects characters that embody particular facets of ideas in time. Her historically specific tableaux enclose dilemmas of mortality, sex, and estrangement, navigated by the characters in punning dialogue that traps them between tragic and comic meanings.
1646 presents the following works:
Priapus Agonistes (2013) condenses elements of Greek drama and mythology with details of the church volleyball tournament that the artist remembers from her childhood. The Minotaur is re-imagined as a lost daughter in a labyrinth in a gymnasium basement, her sacrifices coming in the form of members of the losing volleyball team. Like Jorge Luis Borges’ portrait of the Minotaur as antihero in The House of Asterion, the Minotaur of Priapus Agonistes is hopelessly lost in an environment of repetitive space, using the murdered sacrifices as landmarks to help her navigate a path to the lavatory.
Swinburne’s Pasiphae (2014) follows Priapus Agonistes (2013) in an ongoing trilogy that explores the mythological Minotaur’s tragic family tree. For the first time Reid Kelley adapts an existing text, using Victorian poet Algernon Charles Swinburne’s dramatic fragment Pasiphae to tell the unlikely story of the Minotaur’s conception. Unpublished during Swinburne’s lifetime, probably due to its shocking sexual theme, the poem stages an interaction between master artisan Daedalus and the Minotaur’s mother, the bewitched Minoan Queen Pasiphae, who is cursed with an insatiable wish to mate with a beautiful bull. Symbolising, respectively, reckless creative power and the torment of unfulfilled desire, Daedalus and Pasiphae indelibly dramatise the complex collaboration of artist and audience.
The Thong of Dionysus (2015) ends Mary Reid Kelley and Patrick Kelley’s long-running exploration of self-deception, betrayal, and family. The delusions of love are central to this last film. Sent into the Labyrinth to destroy the monstrous Minotaur, the hero Priapus falls in love with her, and dies. The marriage of Ariadne to the wine god Dionysus, celebrated by Titian, takes a darker interpretation here. Dionysus and his supporting cast of Maenads advocate throughout the film for the dissolution of the self in wine and revelry. Voicing and acting every character herself in a feat of transformation and endurance, the culmination of the trilogy marks the end of Mary Reid Kelley’s significant update to these ancient themes.
Page Not Found is proud to conclude The Hague Contemporary Art Weekend with the screening of this documentary by Fabrizio Terranova, giving a clever and insightful glimpse into the thought of a major contemporary figure.
Donna Haraway is a prominent scholar in the field of science and technology, a feminist, and a science-fiction enthusiast who works at building a bridge between science and fiction. She became known in the 1980s through her work on gender, identity, and technology, which broke with the prevailing trends and opened the door to a frank and cheerful trans species feminism. Haraway is a gifted storyteller who paints a rebellious and hopeful universe teeming with critters and trans species, in an era of disasters. Brussels filmmaker Fabrizio Terranova visited Donna Haraway at her home in California, living with her – almost literally, for a few weeks, and there produced a quirky film portrait. Terranova allowed Haraway to speak in her own environment, using attractive staging that emphasised the playful, cerebral sensitivity of the scientist. The result is a rare, candid, intellectual portrait of a highly original thinker.
Hoorn & Reniers introduce the Flemish artist Pieter Jan Martyn. In a small side exhibition, entitled 'The Tulip Connection', the paintings and carpets created by Martyn show his fascination for history and investigative journalism.
In the second edition of The Hague's Contemporary Art Weekend, Hoorn & Reniers introduce the Flemish artist Pieter Jan Martyn. In a small side exhibition, entitled 'The Tulip Connection', the paintings and carpets created by Martyn show his fascination for history and investigative journalism.
The main exhibition space will be dedicated to the gallery's annual group show, entitled 'It's a small world', exhibiting small works by the gallery's international and Dutch artists.
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.
During the summer of 2019, the gallery presents selected works from the Helder collection. All regular clients, as well as the occasional visitor, shall be surprised to discover known or unseen artworks, each available at a seductive price.
Only by appointment, alternatively, you can try the bell if the door is closed.
This summer Heden will pay attention to her divers and interesting collection.
galerie Ramakers will be closed from 28 july till 31st august