For its last event before the summer break, Page Not Found is delighted to invite Hamja Ahsan, in collaboration with PrintRoom in Rotterdam. Hamja will present his publication "SHY RADICALS: THE ANTISYSTEMIC POLITICS OF THE MILITANT INTROVERT", heralded as a subversively funny hymn to introversion.
Drawing together communiqués, covert interviews, oral and underground history of introvert struggles (Introfada), the book is a detailed documentation of the political demands of shy people. Radicalised against the imperial domination of globalised PR projectionism, extrovert poise and loudness, the Shy Radicals and their guerrilla wing the Shy Underground are a vanguard movement intent on trans-rupting consensus extrovert-supremacist politics and assertiveness culture of the twenty first century. Shy Radicals are the Black Panther Party of the introvert class, and this anti-systemic manifesto is a quiet and thoughtful polemic, a satire that uses anti-colonial theory to build a critique of dominant culture and the rising tide of Islamophobia.
Hamja Ahsan is an artist, writer, activist and curator based in London. He was recently awarded the Grand Prize at the Ljubljana biennial 2019 for his current exhibition Aspergistan Referendum based on this book. He was shortlisted for the Liberty human rights award for campaigns on extradition and detention without trial under the War on Terror utilising art and film. His recent writing was anthologised in No Colour Bar: Black Art in Action 1960-1990. He has presented art projects at PS1 MOMA at New York Art book fair, Tate Modern, Gwangju Biennale, Staedelschule in Frankfurt, Shaanakht festival Pakistan and Shilpa Academy, Bangladesh. His practice encompasses all media: conceptual writing, building archives, performance, video, sound and making zines He is founder and co-curator of the DIY Cultures festival of creative activism, zines and independent publishing since 2013.
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.
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.
‘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
This summer Heden will pay attention to her divers and interesting collection.
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’.