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 try the bell if the door is closed.
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
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.
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.
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.
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.
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.
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’.
On Thursday 29 August we bring a toast to the newest addition to The Sculpture Gallery: 'De dematerialisatie van de vijf geboden in de vijf zintuigen' (The dematerialization of the five commandments in the five senses) by Tirzo Martha (Curaçao, 1965). This year, Tirzo Martha has been chosen unanimously as the winner of the 11th Wilhelminaring - the oeuvre prize for Dutch sculpture.
15.30 hrs: Walk in
16.00 hrs: Program, live interview with Tirzo Martha
16.45 hrs: Colorful parade through the city center
17.00 hrs: Unveiling of sculpture
More information on www.stroom.nl.
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.
Hoorn & Reniers kindly invite you to the opening of the second solo exhibition of renowned Berlin artist Peter Feiler.
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.
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.
Opening of 'Twiemael Sterben' - Cedric ter Bals and Philip Akkerman. Cedric ter Bals's 'Tagebuch Oskar von Balz' will be presented on this occasion. The exhibition will be opened by correspondent Vincent 't Sas. During the opening there will be herring, Schnaps and music by DJ Trümmer. Also you can shoot at specially made portrait sketches by Cedric ter Bals and Philip Akkerman and after hitting take home with you: € 10,- per drawing to be paid in cash.
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 context programme developed in collaboration with various gyms in The Hague. Keep an eye on the agenda for more information.
Photo: CC BY 2.0 (cropped and saturated): Filip Bossuyt
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
Stroom opens the new cultural season with 'rite of access', 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. left gallery is one of the front-runners in the use of bitcoin and blockchain technology to produce and to sell art works.
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.
'rite of access' is made possible through the financial support of the Mondriaan Fund and the City of The Hague.
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.
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'
'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.
left gallery 'rite of access' is made possible through the financial support of the Mondriaan Fund and the City of The Hague.
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.
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.
'Uncertainty Seminars' are hybrid events at Stroom Den Haag, embracing doubt and hesitation as cultural strategy.
'Uncertainty Seminars: Other Than Art's Sake'* teases out the multiform positions that artists may inhabit and, vice versa, in what ways other domains seek refuge under the wide umbrella of arts. How can 'the arts' learn from different practices, from activism and branding to journalism, in a mindful way? How may the experimental, empathic exchange and non-linear thinking from art practices, be applied in the wider society?
Program in two parts:
Friday 13 September: 19.30 - 22.00 hrs
Saturday 14 September: 15:00 - 20:00 hrs (incl. simple meal)
Dena Yago (artist, K-Hole co-founder and creative strategy consultant), Christian Nyampeta (artist), Yamuna Forzani queer community worker and designer), Stijn Verhoeff (artist and climate activist), left gallery (online platform), Susan Ploetz (artist, somatic consultant and live action role play designer) and many more.
* The title Other Than Art's Sake refers to a film by Peter Kennedy from 1973-1974, which proposed an alternative model for art - art for social change rather than art for art's sake. This film will be screened during this edition of Uncertainty Seminars.
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.
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 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.
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
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.