Artist: Koen Taselaar
Opinionated Aquarium

Page Not Found is excited to invite you to Koen Taselaar's first solo exhibition in The Hague. “Opinionated Aquarium” illustrates the diversity and width of Taselaar’s practice, which playfully embraces tapestry, sculpture, illustration and printed matter.

Page Not Found got first acquainted with Taselaar’s work through his riso publications Dyslectic Melody and Myslectic Delody. His publishing work equally functions as a co-actor and continuation to his ceramics, drawing or other visual output, his ideas seem to flow effortlessly into various forms and materials. Sometimes, they are literally woven into complex compositions, as in the case of his recent immersion into tapestry making. Page Not Found is delighted to invite you to discover Koen Taselaar's playful visual cosmos.

Note: Due to the current distancing measures, attendance is limited during The Hague Contemporary Art Weekend. Please book your free ticket for Friday 11 and Saturday 12 here.

Artists: Charlotte Schleiffert and Susanna Inglada
Susanna Inglada, Charlotte Schleiffert

Charlotte Schleiffert (1967) and Susanna Inglada (1983) both quite recently participated in a residency abroad that gave their work a new impulse. In the spring of 2019, Charlotte Schleiffert made a series of drawings directly from nature at the Parisian Jardin des Plantes, which she later colored in at her studio. Nature thus took center stage, while human beings – usually so prominently featured in her work – were now at best present as statues in the park. During the past months, Susanna Inglada stayed at the Accademia di Spagna in Rome directly before and during lockdown, where she studied the classics and baroque art. During this residency, her use of color became more abundant. Apart from that she mainly researched the roles women are attributed in art; at one end she is a saint and mother, while at the other she is a victim of sexual abuse. The balance of power and the position of women play an important role in the work of both Inglada and Schleiffert.

In the exhibition, Charlotte Schleiffert shows a series of smaller nature drawings that also include references to art history. Also shown are two large works on paper, one featuring a woman with a bird’s head, and one featuring a costume built up from sea animals and plastic waste: an almost animistic contemporary approach to our relationship with nature. Apart from a number of portraits, Susanna Inglada shows a large work on paper that is built up from a jumble of hands and arms. Here the groping hands from Bernini’s The Rape of Proserpina or Apollo and Daphne at the Villa Borghese, do not seem that far away.

until 04 Oct
Artist: Jaakko Pallasvuo
Radical Angels

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?

until 11 Oct
Artists: Jan van Munster and Willy De Sauter
uit het atelier

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.

‘Wolpertinger’ |  ‘Haagse Heritage’ | ‘Vroeger boven Heden’ (3 exhibitions)

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.

Artist: Jack Segbars
Author, Platform and Spectator

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

Artist: Navid Nuur
Navid Nuur – I am because of you
Curated by Cees Hendrikse
Artists: Diet Sayler and Ewerdt Hilgemann
Disruption as part of the deal – Ewerdt Hilgemann & Diet Sayler in dialogue

'Disruption as part of the deal' brings together two artists who have been manipulating strictly geometric shapes for decades: Diet Sayler (1939, Romania) and Ewerdt Hilgemann (1938, Germany). In the 1980s, both artists discovered a form and method that appealed to them in such a way that it still provides the basis for their art to this day.
In order to understand the almost obsessive occupation with their chosen form and method, it is useful to know that both artists are artistically children of the 1960s. In the 1960s, the legacy of concrete art from the first half of the twentieth century was extended and enriched.
But unlike concrete art from the beginning of the twentieth century, Hilgemann and Sayler do not strive for a universal language in which harmony between opposites is achieved, but rather their work seems to shout that harmony does not exist. Disruption is part of the deal. At a time when our system is being thoroughly tested and disrupted, this is a topical and recognizable message that can touch on what many people feel and experience.

Curated by Manon Braat
Artists: Brook Andrew, Claudia Martínez Garay, Femke Herregraven, Ghana ThinkTank, Marianne Nicolson, Müge Yilmaz, Nástio Mosquito, Raul Balai, Simphiwe Ndzube and others
A Fair Share of Utopia

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 Nest:
Brook Andrew
Raul Balai
Simphiwe Ndzube
Müge Yilmaz

At CBK Zuidoost:
Claudia Martínez Garay
Femke Herregraven
Ghana ThinkTank
Nástio Mosquito
Marianne Nicolson

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.

Design: buurmen

Curated by Ian Lynam
Artists: Chris Ro, Gail Swanlund, Ian Lynam, Laura Rossi Garcia, Matthew Monk and Randy Nakamura
Alphabetum VII: Writing Writing

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’.

until 06 Dec
Curated by Marie-José Sondeijker
Artist: Gregor Schneider
Tote Räume

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.

Artist: Cesare Pietroiusti
A Variable Number of Things

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.

01 Oct – 19:00 – 22:00
Artist: The Reading Room
Reading Room: Reading Interventions

Page Not Found and The Reading Room are delighted to invite you to participate in their new program. The Reading Room is a series of reading sessions revolving around short texts provided by invited guests — contemporary researchers, cultural theorists, philosophers and artists — who join the session to provide insight and context to the topics at hand. The Reading Room is curated by Sissel Marie Tonn, Jonathan Reus and Flora Reznik.

For this 36th session, Rebekka Kiesewetter joins The Reading Room in an effort to navigate Hamid Dabashi’s text “Can Europeans Read?” (2015). Reading will be understood as an interventionist, performative and collaborative way of engaging with a text. The questions Dabashi raises will be looked upon, his ideas around the urgency of thinking “beyond postcoloniality” and his claim that Europeans will indeed be unable to read anything besides themselves until they “join the rest of humanity in their common quest for a level remapping of the world” discussed. The ability to read will become a form of political engagement.

Taking Dabashi’s text as a point of departure, Johanna Drucker’s concept of “performative materiality” that considers reading as a “constitutive act (...) that makes the text” will be enacted. Through the participants' engagement — that takes the form of a workshop — the text will lose its status as a fixed, static and authoritative entity, and become open(-ended), inherently relational, multi-temporal, and generative. Along with Fred Moten and Stefano Harney, text is treated as a social space: “To say that [text is] a social space is to say that stuff is going on: people, things, are meeting there and interacting, rubbing of one another, brushing against one another – and you enter into that social space, to try to be part of it”.

Rebekka Kiesewetter studied art history, economics and modern history at the University of Zurich). She worked as a writer, editor and curator. She has been a Visiting Professor and Guest Lecturer at the FHNW Academy of Art and Design, Basel, the University of the Arts Bern, and the Political Arts Experimentation Program (SPEAP) at Sciences Po (FR), among other institutions. Also, she is a founding member of DA Institut, a member and former co-director of Depot Basel. Currently she is a writing and thesis tutor at the Sandberg Academy Amsterdam and is doing her PhD at the Centre for Postdigital Cultures, Coventry University (UK). Her work evolves on the intersections of experimental publishing, art, design, and the humanities. Her research interests are radical Open Access publishing, experimental publishing, the material, relational and performative dimension of publishing and publications, the philosophical and political dimensions of openness and accessibility, and feminist and intersectional critiques of knowledge production.

Note from the curators
Seating for this event is limited. Please reserve a spot here. We will provide you with a copy of the texts once your ticket is booked. As this is a discussion, you are expected to have read the provided texts before attending. Due to the current pandemic situation, we ask you to bring your own snacks and observe physical distance. We will provide masks. After the event, you are welcome to stay around for an informal chat/drink with us.

Artists: Christian van der Kooy, Esther Hovers, Johan Nieuwenhuize, Miguel Peres dos Santos, Milene van Arendonk, Nadine Stijns and Sandra Uittenbogaart
OPENING: Capturing Corona. The lockdown in photos

Over the past months the Hague photographers Milene van Arendonk, Esther Hovers, Christian van der Kooy, Johan Nieuwenhuize, Miguel Peres dos Santos, Nadine Stijns and Sandra Uittenbogaart captured the impact of the coronavirus on public space. This resulted in a collection of unusual and exceptional photographs. Sometimes you will recognize the location where the picture was taken, but more often the emphasis is on feelings and emotions. For the opening of the exhibition 'Capturing Corona. The lockdown in photos' you are required to book a time slot (due to the strict corona measures). Starting times are: 15, 16, 17 and 18 hrs. There is a maximum of 30 people per time slot. So be quick and book your ticket now. Go to

Invitation design: Welmer Keesmaat | photo: © Christian van der Kooy ('Godetiaweg - Den Haag - 18:34 - 09 mei 2020')

Artists: Christian van der Kooy, Esther Hovers, Johan Nieuwenhuize, Miguel Peres dos Santos, Milene van Arendonk, Nadine Stijns and Sandra Uittenbogaart
Capturing Corona. The lockdown in photos

In general, historical events are engraved in our collective memory through music, iconic images from films and photographs. Since last spring we find ourselves in a unique moment in history. We all felt it, but it was not always visible. It is precisely this special moment in time that calls for an artistic interpretation. Over the past months the Hague photographers Milene van Arendonk, Esther Hovers, Christian van der Kooy, Johan Nieuwenhuize, Miguel Peres dos Santos, Nadine Stijns and Sandra Uittenbogaart captured the impact of the corona virus on public space. This resulted in a collection of unusual and exceptional photographs. Sometimes you will recognize the location where the picture was taken, but more often the emphasis is on feelings and emotions.

The exhibition 'Capturing Corona. The lockdown in photos' is a collaboration between Stroom Den Haag, The Hague Historic Museum and Haags Gemeentearchief (Municipal Archives) where the visual material will become part of the collection. Special thanks to the Mondriaan Fund and The City of The Hague. Invitation design: Welmer Keesmaat (photo: Christian van der Kooy).

10 Oct – 13:00 – 18:00
Vernissage Andrea Freckmann, Peter Vos

In the work of Andrea Freckmann (1970) and Peter Vos (1975) animals play an important role. Andrea Freckmann paints dogs and birds in her bold and accurate style, which she places in a homely environment. Peter Vos on the other hand isolates his moths and birds against a neutral background. A certain geometric stylization strengthens the posture of the animals and accentuates their character.

Artists: Andrea Freckmann and Peter Vos
Andrea Freckmann, Peter Vos

In the work of Andrea Freckmann (1970) and Peter Vos (1975) animals play an important role. Andrea Freckmann paints dogs and birds in her bold and accurate style, which she places in a homely environment. Peter Vos on the other hand isolates his moths and birds against a neutral background. A certain geometric stylization strengthens the posture of the animals and accentuates their character.

10 Oct 15 Nov
Artist: Agnes Scherer
The Salty Testament

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.