Maryanto (Indonesia 1977) creates evocative, black and white paintings, drawings, and installations that undermine the romantic language of traditional landscape painting to examine socio-political structures in the physical spaces that he depicts. Through fable-like and theatrical settings, these landscapes are subjected to the whims of colonisers and capitalists through technological development, industrialisation, pollution of the land and exploitation of its natural resources.
For decades, the so-called White Cube, the immaculate white and sterile exhibition space, was an ideal for museums and galleries to show and celebrate art in an almost sacral way. In Anders dan Anders (Different than Usual), Christie van der Haak (1950) is consciously contradicting this by setting up two u-shaped cabinets in the gallery and covering the walls in her outspoken patterns, which are also applied to the floor in vinyl.
In the cabinets artworks are presented by other artists that she admires and finds interesting. Although diverse, the common thread in the work of these artists is a pronounced depiction and a clearly articulated image. Christie van der Haak sees her contribution as creating conditions, she aims to react to the guest artists’ work in her patterns thus creating a spectacular ensemble.
The invited artists are: Anya Belyat Giunta (F), Katia Borghesi, Harold de Bree, Ellen van Dijk, Diederik Gerlach, Theun Govers, Elise Hageman, Nynke Koster, Marjolijn van der Meij, Jos de l’Orme, David Pedraza, Helene Penninga, Pim Piët, Peter Vos, Reinoud van Vught and Marcel Zalme.
Friedrich Vordemberge-Gildewart (1899 - 1962) was one of the first artists of the twentieth century to create an abstract body of work. He is also remembered in the form of this award – a major European prize designed to encourage young artists. The Vordemberge-Gildewart Award is now back in the Netherlands after an absence of twenty years. Ten artists from the Netherlands and Belgium have been nominated: Salim Bayri, Deborah Bowmann, Bob Eikelboom, Ricardo van Eyk, Eva Giolo, Nadia Guerroui, Sharon van Overmeiren, Emma van der Put, Dan Walwin and Charlott Weise. Their work can be seen at GEM museum of contemporary art from 22 February.
In the early 1970’s Werner Cuvelier (1939, Jabbeke, Belgium) became one of the leading conceptual artists of his generation in Belgium. He came into prominence by producing a series of works – conceptualized as research – that sought to turn into visual form the « objective » data and statistical relationships that underlie the mechanics of cultural production, distribution and exchange. His ultimate goal was not the production of an image per se but, rather, the deconstruction through visual representations of the quantitative relationships behind what he called « the problem of art ».
He developed a unique artistic strategy for the organization, cataloguing and inventory of all kinds of objective data which he employed to reveal the ultimately subjective and arbitrary nature of human events. These data were presented in diagrams, book editions, photographic series or notes.
In the 1980’s, Cuvelier’s work turned towards a more painterly representation of geometric and arithmetical relationships as pure minimalist indexes. In a rich production of drawings, paintings, sculptures and conceptual works, Cuvelier moved away from his research into the mechanisms of the human world focusing, rather, on the conceptual relationships behind such mathematical constructions as the golden ratio or the Fibonacci series.
In his recent works he returns to the ‘real’ world from which he presents the objective data in a pure painterly way which, surprisingly, often reveals their underlying socio-political structures.
Maryanto (1977, Indonesia). A solo exhibition.
Suara Alam - Exclamation of Nature
Maryanto creates evocative, black and white paintings, drawings, and installations that undermine the romantic language of traditional landscape painting to examine socio-political structures in the physical spaces that he depicts. Through fable-like and theatrical settings, these landscapes are subjected to the whims of colonisers and capitalists through technological development, industrialisation, pollution of the land and exploitation of its natural resources.
“I’m searching for the world as it really is.”
Fotomuseum Den Haag presents a major exhibition of work by living legend, Eddy Posthuma de Boer (1931). A contemporary of Ed van der Elsken and Johan van der Keuken, he is one of the most important living representatives of humanist photography in the Netherlands. His great love of travelling has enabled him to record human life in more than eighty countries. He has focused his camera on all aspects of the human condition, zooming in on drama as well as humour. His images has been published in newspapers and magazines such as Het Parool, De Volkskrant, Time, Life , Paris Match, Avenue and Holland Herald, and compiled into numerous photo books.
Due to the corona-crisis Katarina Juričić | solo at Heden has been postponed. We will continue to monitor the situation and will inform you when this exhibition will take place later this year.
Katarina Juričić | solo at Heden
Katarina Juričić (1994, CRO) is an artist and researcher on photography, seeking for new forms to embody photography and explore its physicality. She designs environments in which immaterial substances of light and color gain their physical properties and evoke a familiar experience. Katharina: ‘Orange and Blue brings together materialization of memory and physicality of photography. I recall a very familiar yet sublime experience of Sunrise and Sunset, and use the means of Light, Form and Color to capture the essence of it.’
A.R. Penck (1939-2017) was one of the German artists who, after the Second World War, paved the way for a new artistic mindset. Today he is known above all for his Streichholzmännchen (‘matchstick men’): figures with limbs resembling rakes, generally surrounded by pictograms, numbers and letters. Penck’s crudely rendered visual idiom reflects his distaste for cultural and political systems, but there is also an inquiring and intuitive aspect to it. His work will be explored in an extraordinary retrospective featuring almost two hundred works, including paintings and drawings that have rarely been shown.
In twenty-two rooms, Mattia Denisse brings different stories together. By linking drawings and graphic images to separate words and short texts, the artist creates a world of his own. Colourful and absurd. Each time different connections are made between science, philosophy, personal perception and fantasy. In a series of book covers by an imaginary publisher, site-specific wall drawings, hundreds, sometimes very humorous, drawings and a sound work, Denisse shows the elasticity of his and our imagination.
With Free Emoji, the Alphabetum is investigating the contemporary status of writing after the emergence of emoji. Technically, there is no difference between typing an emoji (like 😀) and the letter A. In both cases, typing refers to a specific meaning which is defined by a unique Unicode code-point. The former causes an emoji graphic to be displayed, the latter, the graphic shape of a letter A. Behind the scenes, the similarities maintain. Each unicode character has its own textual human readable description, so 😀 will be Grinning Face (Unicode U+LF600) and A will be LATIN CAPITAL LETTER A (Unicode U+0041). For any device, they are both graphics, shapes defined by Bézier curves, and possibly colours.
In art, a romantic landscape traditionally evokes melancholy and stimulates the imagination, with dense forests and inhospitable mountains interspersed by serene meadows, all rendered with technical skill, often for maximum effect. Dutch artist Lucassen (b. 1939) put an entirely different twist on the concept in 1965 when he painted a flat image of a palm tree, mountains and a setting sun, and used a Mondrianesque fragment to introduce a strong note of irony. Romantic Landscape with Palm Tree is quintessential Lucassen: defiant, uncompromising and provocative. It was recently donated to Kunstmuseum Den Haag and will shortly feature in Lucassen – The Joy of Painting.
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.