! Drawing Now is open by appointment only from 19 July - 22 August !
As an alternative to Drawing Now Paris art fair which has been postponed to March 2021, Martin Assig and Ronald Versloot will show their drawings in the gallery as of 14 June. Paul van der Eerden and Romy Muijrers who would also exhibit in Paris show their collaborative Suite project in November in the gallery.
Martin Assig (1959) presents work from his St. Paul series in which he depicts the basic themes of human existence in a moving and poignant way. Often there is a combination of text and image as in the work of Paul Klee to which the title of the series refers. Ronald Versloot (1964) has been working on a series of pastel drawings in his Berlin studio in the months before and during lock down. In the series he undertakes an inward journey along memories dreams and images. The images can have an atmosphere of paradise lost or estrangement but each one is conceived in a spirit of hope and beauty, which turns things around into a Paradise (re)Found.
Tobias Gerber (1961) made a series of gouaches titeld Aus der schwarzen Kiste (From the Black Trunk) in 2016. In them you look through a keyhole out on a landscape. They are depicted in soft pastel colours but nevertheless contain slightly disturging elements like a fire in the distance or the chimneys of an oil refinery. One of the keyhole gouaches is part of the Unlocked / Reconnected project that draws attention to the reopening of museums and exhibition platforms venues in the Netherlands. more information on www.unlockedreconnected.nl
The fourth artist in Drawing Now is the young Chinese talent Dan Zhu (1985), who creates a magical world in a refined style in which for instance mussels can string together like a stick and walk on the beach proging the sand. In another work you look out of a train window where leaves, flowers, flying creatures and planets pass by as in a dreamed journey in which everything has its meaning.
In our newsletter of 13 May our director Arno van Roosmalen asked the question which exhibition or work of art you would like to revisit and see again - in this new world. And why? "The fact that, because of the radically changed context, we understand and interpret art differently, as new, is proof that we now live in a different world," he wrote. From the responses we received, we have put together a small but remarkable summer presentation in our exhibition space. With works by Marjolein van Haasteren, Lawrence Malstaf, Janice McNab and Richard Sluijs. You can find more information on our website.
Image: Janice McNab, 'Fabienne Last Went Outdoors in 1981'
On 11 July 2020, it is exactly 25 years ago that the Srebrenica genocide took place. In just a few day nationalistic (Bosnian-) Serb (para)militaries killed 8,372 Bosnian Muslim men and boys. At the time, Dutchbat, the Dutch infantry battalion that was part of the United Nations peacekeeping force, was responsible for the protection of the enclave of Srebrenica.
With the national campaign 'Srebrenica is Dutch History' we draw attention to the Srebrenica genocide and its role in Dutch history.
Part of the campaign is a temporary monument on the Plein in The Hague (from 11 July) , an initiative of the collective Bosnian Girl, consisting of Arna Mačkić, Daria Bukvić, Emina Ćerimović and Ena Sendijarević, four Bosnian-Dutch women with a background in architecture, theater, research and policy making and cinema respectively. 25 portrait photographs by Robin de Puy of Bosnian-Dutch women and men of 25 years old are placed in a circle. With their double identity they symbolize the connection between Dutch and Bosnian history. The portraits form a protective shell around the bereaved families, the survivors of the war in all of Bosnia-Herzegovina, Dutchbatters and others involved.
Stroom supports this project with a big window presentation as part of its own long-running program 'See You in The Hague', which explores the identity of The Hague as an International City of Peace and Justice through art.
SHOWCASE is a temporary and ever-changing exhibition to support young artists. Every week, from 12th July until 31st August, Stichting Heden Den Haag (Heden) will show a different artwork by a student of the Koninklijke Academie van Beeldende Kunsten / Royal Academy of Art, The Hague (KABK) in the window of the art space at the busy Denneweg. Students from all departments and all study years are welcome to participate. This rotating exhibition format is not limited to fine arts or photography only, every student from each department is welcome to submit their work, whether this is a performance, fashion design, or 'art and science' project for instance, anything is possible.
A presentation by Katerina Konarovská in the former Ondertussen space, that will change and grow over time. 'Escape Room' refers to the game in which people have to solve a riddle or assignment within a certain time limit in order to escape from an enclosed space. Konarovská offers an alternative version, in the shape of an artistic ‘living space', reminiscent of our personal living environment - the space to which each of us was forced to withdraw in recent times, the space that defined our freedom of movement, forced us to stay still but also offered protection. During the run of the presentation Katerina will invite four other artists from The Hague to work (together) in the space and to show work.
From mid-February, the artist Cesare Pietroiusti will succeed the Taiwanese artist Tehching Hsieh with the second one-year-long exhibition. This exceptional exhibition model is reserved for prominent artists with a distinctly exemplary role. Just like in the work of Hsieh, Pietroiusti is not focused on art as an object, but on life itself as a form of art. Since 1977, Pietroiusti has built up a very impressive oeuvre with a continuous flow of presentations. At West he will show a monthly changing selection of his works in the ‘corner offices’ of the former American embassy. Varying from early works and ‘artworks to be ashamed of’ to works that have never been shown or are new.
By means of a video-interview project with artists, curators, theorists and organizers, Jack Segbars explores the question of authorship within contemporary art production. Through critical reception, and the way in which it is presented, begets its meaning, relevance and form. This means that the wider chain of production can be seen as co-authors. What possibilities arise by understanding authorship as communal e ort between the di erent positions of artist, curator, critique and the platform of presentation as site of production? And what can be its political relevance within the current conditions of artistic production?
Participants: Maziar Afrassiabi, Mohammad Salemy, Charles Esche, Rachel O’Reilliy, Armen Avanessian, Lietje Bauwens and Sami Khatib
Jack Segbars is a researcher within the PhDArts programme of Leiden University. Photo: Guido van Nispen
West Den Haag is thrilled to announce Tote Räume, Gregor Schneider‘s first solo exhibition in the Netherlands. Acknowledged as a groundbreaking artistic proposition, Schneider’s work can be regarded also as prophetic in a time of mandatory social distancing since it is based on mechanisms of physical isolation. Unfolding a sequence of rooms, sculptures, human figures, photos and videos spanning four decades of radical art making, the exhibition is arranged in response to, and exchange with, the original function of its building as the U.S. Embassy in the Netherlands from 1959 until 2018.
A clear example to this exchange is the ‘Interrogation Room’ – a pristine room replicating one of the prison cell modules in Guantánamo Bay Detention Camp, the U.S. detention facility located on Cuba’s southeastern coast. When incorporated into the setting of West Den Haag ‘Interrogation Room’ exceeds the boundaries of the aesthetic field and acquires the status of a real authoritarian space, outlining the exercise of power over the visitors and the potential violation of their bodily sovereignty.
Also included in the current sequence is ‘Cold Storage Cell’, which joins ‘Interrogation Room’ to politically contextualize Schneider’s continuous experiments in sensory deprivation and practices of stealth interrogation and clean torture, intermittently conducted throughout his entire oeuvre.
With the display of ‘Cryo-Tank Phoenix 3’ Schneider’s conception of sealed-off spaces extends beyond the political-jurisdictional framework provided by West Den Haag and obtains a metaphysical sense, turning every site in which it emerges into an intermediary zone situated between life and death, between this world and the world to come. A separate section in the exhibition is dedicated to ‘Geburtshaus Goebbels’, which involves the actual building in Mönchengladbach-Rheydt where Joseph Goebbels—the Reich Minister of Propaganda in Nazi Germany—was born. In ‘Geburtshaus Goebbels’ Schneider traces the roots of Nazi history almost literally, uncovering the physical foundations of Goebbels’ birthplace—the origins of his origins. Within Schneider’s universe ‘Geburtshaus Goebbels’ is also a follower of ‘Haus u r’, the artist’s own site of origin, standing a short distance away from it. ‘Haus u r’ is the name Schneider gave to the abandoned residential building, which he occupied from 1985 until 2001, all the while ceaselessly reconstructing its inner structure as an idiosyncratic typology of visceral rooms built inside the house’s preexisting rooms (with windows in front of windows, walls in front of walls, etc.). Being realized through a process of self-consuming duplication—whereby each room is also the concealed room into which it was inserted, and the space—the difference—between them—makes ‘Haus u r’ an enduring experience of cognitive dissonance in relation to which presence and absence, construction and elimination, are no longer distinguishable from one another.
In the context of the exhibition a series of performances will be staged specifically for the occasion. Additionally to the project ‘Tote Räume’ West will organise an international symposium in November of this year. With the working title: ‘Gregor Schneider: Kunst im Kopf’.
Gregor Schneider (Germany, 1969) is cosidered one of the most influential artists of the last three decades. Since the end of the 1990s Schneider has been presenting solo exhibitions in leading museums around the world, including, among many others, Musée d'Art Moderne de Paris, Museun of Contemporary Art, Los Angeles, Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Museo d’Arte Contemporena Roma. In 2001 Schneider won the Golden Lion award in the Venice Biennale of Art, and from then on his work is the subject of worldwide discussions and controversies. Schneider’s practice is an intersection between architecture, sculpture, and performance, intervening in the fabric of material, social and historical reality.
Writing Writing explores the connotative and the denotative through writing (e.g: literature) and writing (e.g.: composition). The presentation will include six new presentations by designers, writers, artists and critics, conjuring lyrical/poetic form both in text and how it is concocted. Writing Writing is conceived by Ian Lynam, who is working at the intersection of graphic design, design education and design research, and who is faculty at the Temple University Japan, Vermont College of Fine Arts USA, and CalArts USA.
With Ian Lynam, Matthew Monk, Randy Nakamura, Chris Ro, Laura Rossi Garcia and Gail Swanlund
The Alphabetum is an artistic space which explore the formative and formal aspect of (written) language and to show their underlying contingency. One emerges of the other: a letter is a letter, because it looks like a letter; and when something looks like a letter, it becomes a letter. Due to the self-evidence of written language and letters, we mostly overlook this important connection. This can even happen to people who deal with letters on a professional level. Typographers and type designers are primarily focused on the letterforms whereas writers do not see the forms of the letters they use to make their words visible. Despite the fact that we are all dealing with letters on a daily basis, we hardly notice the letters which are manifesting the languages in which we exist.
The Alphabetum aims to sensitise its audience to the phenomena of signs and written language through exhibition projects and events, to reveal the essential meanings of our ‘culture of writing’.
PIP expo presents GRIP, a one day exhibition with spatial experiment, performances and installations. In The Grey Space in the Middle, PIP expo presents works by:
Lucas van Eeden
Loui Meeuwissen (i.c.w. Anouk van Klaveren)
Schoch & de het boaz
PIP expo is curated by Laura Snijders and Jeannette Slütter
With special thanks to Stroom Den Haag
Exhibition@Nest and CBK Zuidoost
‘If you would die today and reincarnate one generation later, in what world would you want to be born, regardless of where or who you are?’ This is the question posed to the artists of ‘A Fair Share of Utopia’ and inspired them to create new works for Nest and CBK Zuidoost.
At CBK Zuidoost:
Claudia Martínez Garay
Guest curator: Manon Braat
Can you put your own interests aside and really fight for a better world in the interest of future generations, or is it easier if you imagine yourself to be part of that unknown future? In her essay ”What if We’re All Coming Back?” in The New York Times of October 2018, human rights lawyer Michelle Alexander tries to imagine the world you would end up in if you were to reincarnate at a random place and under random circumstances.
Her essay is at basis of the exhibition. Out of this thought experiment, to imagine a fundamentally different, sustainable and more humane organization of society, the artists speculate about an unknown future of which they themselves are part. Through this exercise in imagination, the exhibition offers proposals for alternative ways of dealing with each other and with the earth.
The exhibition ‘A Fair Share of Utopia’ is accompanied by the publication ‘Wat Niet Is Maar Kan Zijn’, in which ten writers and nine artists explore the possibility of putting their own interests aside for a better world for future generations. They speculate about an unknown future of which they themselves are part. The book is published by publisher Jurgen Maas in collaboration with online art platform Mister Motley.
With contributions from the artists and essays by: Michelle Alexander, René ten Bos, Dean Bowen, Sander Donkers, Clarice Gargard, Sisonke Msimang, Rashid Novaire, Vamba Sherif, Jan van de Venis and Louwrien Wijers.
Opening Thursday 3rd of September, CBK Zuidoost
Opening Friday 4th of September, Nest
A Fair Share of Utopia is an initiative of Nest in collaboration with CBK Zuidoost Amsterdam.
The exhibition is at both institutions accompanied by an extensive context programme.
Keep an eye on the agenda from Nest and CBK Zuidoost for more information.
From 5 September to 12 October 'Stichting Heden Den Haag' will be exhibiting three exhibitions simultaneously.
1. With the exhibition 'Wolpertinger' Thijs Jaeger, Rik Laging and Joeri Woudstra want to investigate and question the current state and the influence of capitalism on the efficiency of our lives.
2. 'Haagse Heritage'
With the group exhibition ‘Haagse Heritage’ Heden pays homage to artists from The Hague and shows a wide range of contemporary artists that have a connection with this city.
3. 'Vroeger boven Heden'
JW Kaldenbach and Amber Jansen captured the history of Heden’s upstairs apartment in a beautiful and enchanting series of photos and sculptures.
Willy de Sauter toont niet alleen recent werk, maar een ook aantal werken uit de jaren 70.
Jan van Munster laat een van zijn highlights uit de jaren 90 zien.
Willy de Sauter toont recent werk, maar ook een aantal highlights uit de jaren 70.
Jan van Munster toont een van zijn fascinerende gietijzeren werken uit de jaren 90. Energy Field
During lockdown, Susanna Inglada (1983) was an artist in residence at the Accademia di Spagna in Rome. Here she made a series of new works on paper: Faces and Crowds: collaged portraits and accumulations of arms and hands. What strikes is her use of color has become more pronounced during her residency in Rome. Charlotte Schleiffert (1967) once was Inglada's teacher at the Willem de Kooning Academy. Her drawings have a similar intensity and vehemence as Inglada's theatrical work on paper.
Jaakko Pallasvuo takes on the historical lineage of hierarchies, originally meaning “sacred power”, in his collaborative project Radical Angels. Namely, he explores angels and divine ministries as the blueprint for contemporary hierarchy, bureaucracy and administration. In a time when the balance between authority and expertise is proven to be increasingly unreliable, Pallasvuo invites us to question who has the mandate, and who even gave to them in the first place. How can the mystic authority of angelic ministries inform us on the diffuse nature of government sovereignty?
In our series 'Uncertainty Seminars': a special edition about 'Care', curated by artist organizer Jules Rochielle Sievert. The two-day event takes place both on location at Stroom (limited seating) and online through streaming. The on site moderator is: Marc Allen Herbst.
We will examine how artists become engaged in activating or supporting systems of mutual care, dignity and respect. The sessions function as a platform for our guest artists and their performative actions, for conversations, workshops, and community building sessions. The time we spend together - offline as well as online - will offer all participants a generative space to reflect and build dialogue around interlocking themes of solidarity, resistance, and connection around topics such as care, mutual aid, housing insecurity, citizenship, gender, co-dependency, inequality, alienation and belonging.
Guests present: Foundation We Are, Louwrien Wijers and Egon Hanfstingl, Marc Allen Herbst and Ali Schwartz, We Sell Reality, Maartje Fliervoet, Martín La Roche Contreras and Arefeh Riahi, Karina Zavidova, Natasha Falkov, Matthijs de Bruijne and Cecilia Vallejos
Online only: L'Merchie Frazier, Gloretta Baynes, Ngoc Tran Vu, Sean Desiree and Bryanna Bradley and Trans Boxing.
Graphic and spatial design: The Rodina
Agnes Scherer will present her solo-exhibition, The Salty Testament - Part 1: Melancholy of the Apostles, from October 10th at 1646 - Museum Night 2020.
The narrative installation Melancholy of the Apostles mobilizes sculpture, painting and video to recount and simultaneously prefigure The Salty Testament.
Scherer presents a theatrical dance piece that reimagines the narrative of the New Testament under water. This drastic and somewhat absurd relocation serves to reconsider bit-by-bit the biblical content down to its details. As with the Rose of Jericho, the “irrigation” of the narrative encourages it to unfurl into a liberated, more florid version of itself.
Step into a horizontal abyss inhabited by a mysterious triton, the Christ of the Seven Seas. With his charisma he targets a group of pearl divers who, with each new dive, follow him further down into the depts. The further they follow him, the lower on oxygen they are as they observe the wonders and revelations presented by their fishy Master and it becomes increasingly difficult to tell if what they experience is real.