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.
Dürst Britt & Mayhew is proud to present Austrian artist David Roth‘s first solo exhibition at the gallery.
David Roth’s (1985) artistic practice forms a long-term research into the origins, processes and manifestations of painting. For Roth the process of making and the element of chance involved are as important to notice as the final visual outcome. Therefore a so called end product as for example a painted canvas and side products as for example a palette or a piece of cloth for cleaning brushes, have the same value for him. Every surface with marks and history of the process may turn up in his works. Time and duration are important elements as well and the layering of materials from different periods within one work can either spark dissonance or renewal. Roth’s works continually play with concepts of construction and deconstruction as well as with the performative and sculptural potential painting can possess. This becomes very clear in his series of so called ‘Trestles’, which seem to behave as sculptures, but nevertheless have all the trappings of a painting: a bearer (be it a canvas or pieces of cloth), colour, and even a wooden framework. The trestles which are supporting the loose painted textiles are in fact made of modificated stretcher bars.
'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.
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.
left gallery 'rite of access' is made possible through the financial support of the Mondriaan Fund and the City of The Hague.
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. The exhibition 'I would like to be a dancer to be able to dance with the circumstances' is an overview of Zahar Bondar's final exam work.
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 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.
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
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.
For the third time in recent years, Helder is showing a series of artists who have exhibited in the gallery in this festival-style exhibition. Each brings some of his or her new works onto paper. There is both abstraction and figuration, black and white or color and with an emphasis on the poetry of the work.
The human figures in the work of Dirk Zoete (1969) often have a theatrical appearance, they wear masks or costumes and are usually on a stage-like space. With that he does not show man literally but rather an archetype or interpretation of the human form, that which we call a human being and recognize as such. In the spatial work they are composed of wood, plaster, metal, textile and wool, dead materials that bring a body to life. Their clothing consists of colored wooden plates, the mask-like heads of cardboard on which woolen threads hang like hair, mustache and beard. They are distant cousins of the suprematistic figures of Kazimir Malevich or the ballet costumes of Oskar Schlemmer. At the same time, Dirk Zoete connects with much older traditions of rituals, parades and carnivalesque in which people adorn themselves with costumes and masks to defy reality.
In the exhibition the visitor has to pass through seven of these figures that hang from the ceiling in the front space of the gallery. In the back room on the central wall is a constellation of masks, images and drawings as you could find Dirk Zoete’s studio. On the other walls large and small drawings are shown in which human figures appear in one form or another. As stylized actors or dancers on stage, small pawns in a village or landscape or as decoration captured within the contours of a vase.
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.
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 murals and multiples.
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.
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.
The exhibition Laws of Form celebrates the 50th anniversary of the book of the same name written by English polymath George Spencer-Brown (1923 –2016). The presentation shows the significance of the book for different sciences: sociology, mathematics, logic and philosophy, and explores how it may contribute to new understanding.
Spencer-Brown described himself as a "mathematician, consulting engineer, psychologist, educational consultant and practitioner, consulting psychotherapist, author, and poet". In addition, he was a strong chess player captaining the combined Cambridge and Oxford Universities team, a two-time world record holder as a glider pilot and a sports correspondent for the Daily Express. He led the Cambridge University formation flying team. In other words: a true multi-talent.
When Laws of Form was published in 1969, his peers across the Western world recognized its importance ('a new calculus of great power and simplicity' - Bertrand Russell, ‘a work of genius’ – Stafford Beer in Nature; ‘a Twentieth Century transistorized power-driven equivalent of Occam's razor’ – Heinz von Foerster in The Last Whole Earth Catalog), yet no one felt able to write a comprehensive review of it.
In the most general terms the book has been described as straddling the boundaries between mathematics and philosophy. Echoing the zeitgeist of 1969’s new age spiritualism and the quest for a new consciousness and understanding of reality, Laws of Form was described as a ‘mathematics of consciousness’, defining the most basic element of cognition, i.e. the ability to distinguish, to indicate and to mark.
Up and until today Laws of Form has never been out of print and has retained its enigmatic appeal, continuing to inspire and challenge great thinkers across a wide variety of disciplines.
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.
In collaboration with Fundación MAPFRE, this autumn The Hague Museum of Photography will host a major solo exhibition of work by Richard Learoyd (b. 1966, Nelson, UK). Learoyd produces portraits, landscapes and still lifes that are closely related to painting. He creates his life-size photographs using a camera obscura that he built himself, so there are no negatives. This means that, as in painting, each picture is a unique artwork.
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’.