Today

Pre-Exam show: Note To Self

Graduating students from the Fine Arts department of the Royal Academy of Art, The Hague KABK (class 2019/2020) present their work in a preview exhibition under the title 'Note to Self' before their final graduation in the summer of 2020.

Opening:
Friday 13 December 19:00 - 23:00
Visiting hours:
Saturday 14 December 14:00 - 22:00
Sunday 15 December 14:00 - 20:00

Participating students
Ingrid Adriaans, Maartje Balkestein, Danny Choi, Alexandra Dalavagka, Erlend Evensen, Shar Felicia, Shantell Hassan, Hun Hyeon, Gavin Jankman, Karin Kytökangas, Merel van Bochove, Eva van Essen, Anna Stina Eyjólfsdóttir, Filip Groubnov, Liza Houben, Mirka Kachrimanidou, Erik Kamaletdinov, Anastasia Kiseleva, Narges Mohammadi, Elena Kostenko, Nikolas Magkriotis, Giulietta Pastorino Verastegui, Hannah Reede, Karolina Rupp, Eva Sigurðardóttir, Suyoung Yang, Yeseo Cho, Merel Erperss Rooijaards, Laurence Herfs, Isa van Lier, Alexandra Louka, Christian Roncea, Sona Sahakian, Simon Sjöholm, Inhye Song, Jessi Tabares Dorado, Annemiek van der Wilt, Rosa Zangenberg, Yunwei Zhang, Marianne Nannings.

Banner design by Signe Bagger

Artist: Warffemius
book launch Warffemius – sculpture
The Royal Cult Club

KABK’s Graphic Design department is closing its semester with the exhibition THE ROYAL CULT CLUB. As part of the elective course PlayLab, second- and third-year students took in inspiration during a recent study trip in Iceland.
 
Over the course of this semester, the students and tutors of the graphic design department have engaged in the establishment of THE ROYAL CULT CLUB: A cult that breaks with its negative connotation and seeks to cultivate a spiritual awareness for environmental ‘ineffables’.

A cult that transcends the limitations of individual bodies and minds and explores magic and mysticism as a form of resistance to the paralyzing regime of the calculable, the rational, the measurable.

Pivotal in this process was the research-trip to Iceland, where they entered a dialogue with breath-taking nature, where they left their individuality in warm volcanic waters and, where ultimately, they became one single body in a sweat lodge ritual, chanting seven generations into the past and into the
future.

On a meta-level, and in relation to the designers practice, THE ROYAL CULT CLUB project channels these experiences by means of artistic research and explores the role of visual investigation as well as formal translation, in order to put to practice the visual and substantive limits of the design-field as a
whole.

THE ROYAL CULT CLUB is a place to open up. A place where creative processes, new beliefs, spirited rituals, magical moments and indeed, life itself are shared. The Royal Cult Club is part of the Graphic Design Dept. at KABK and was guided by Roosje Klap, Marthe Prins, and Job Wouters.

Curated by Languid Hands (Imani Robinson and Rabz Lansiquot)
Towards a Black Testimony

In 'Towards a Black Testimony', the London-based artistic and curatorial duo Languid Hands (comprised of Imani Robinson and Rabz Lansiquot) brings together artists, thinkers, writers, listeners and speakers, wanderers and wonderers, to explore the complexity of Black Testimony. In the exhibition space of Stroom Den Haag, Languid Hands will present their new moving image work 'Towards a Black Testimony: Prayer, Protest, Peace' (commissioned by Jerwood Arts, London, UK).

Drawing on archival imagery, Black geographies, and the dying declarations of Black Martyrs, the 40-minute film examines Black Testimony as obscured, ignored and undermined. This work borrows its subtitle - Prayer, Protest, Peace - from the third track on jazz drummer and composer Max Roach's 1960 album We Insist! which features jazz vocalist Abbey Lincoln. Using this composition as the underlying structure for the film itself, Languid Hands presents three chapters or mediations on death and dying and consider the im/possibility of Black Testimony. The script draws from a variety of well and lesser known Black texts, weaving the audience through a performative lecture written and delivered by Imani Robinson and carefully annotated by Rabz Lansiquot's archival exploration.

Opening events Saturday 26 October 2019, 17:00 - 22:00 hrs and Sunday 27 October 2019, 17:00 - 19:30 hrs.

During an interactive public program at Stroom, Languid Hands has commissioned artists to respond to their work in a series of interventions, discussions and performances, with contributions from Shenece Oretha, Rebecca Bellantoni, Zinzi Minott and Black Quantum Futurism. Languid Hands has also invited Deborah Cameron to facilitate a series of workshops with young People of Color, engaging with themes of Black Testimony in the context of The Hague.

Languid Hands is an artistic and curatorial collaboration between DJ, filmmaker and programmer Rabz Lansiquot, and writer, facilitator and live art practitioner Imani Robinson. They began collaborating together in 2015, through their work with the collective sorryyoufeeluncomfortable (SYFU), exploring Black and queer studies, Black creative practice, Black liberatory praxis and queer methodologies.

Our House, your Home
Languid Hands is the third guest in the experimental program 'Our House, your Home', in which Stroom Den Haag invites international organizations to take over the exhibition space, to do the things they find most urgent, fitting, or challenging.

'Towards a Black Testimony' is made possible through the generous support of the Mondriaan Fund and the City of The Hague.

until 21 Dec
Artist: Ton Kraayeveld
LABYRINTH

The title ‘LABYRINTH’ derives from one of the paintings in this solo exhibition by Ton Kraayeveld. In that eponymous work there are prominently some words relating to the concepts of space and time. Kraayeveld's work refers to an unmistakably retro-futuristic character.

This title does not refer to a classic maze, where the walker is apparently led to a specific point or to the exit. Rather, it should be understood as a metaphor for an imaginary space with unexpected views and vistas, which invites to reflection.

Language and text are explicitly present in some of the works shown. As a viewer you are invited to wander through this anachronistic labyrinth, sometimes as a "Vincent in China", then again to end up with "now-here" or "nowhere".

until 22 Dec
Artist: Dirk Zoete
So Called Human

Dirk Zoete's solo exhibition has been prolonged through 22 december.

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.

until 31 Dec
Curated by Akiem Helmling
Artist: George Spencer-Brown
Laws of Form

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.

until 05 Jan
Curated by Melchior Jaspers & Julia Mullié
Artists: Daniel van Straalen and Wim T. Schippers
7 year old me

The sensitivity towards language, humour and the banality of the everyday are central topics in the exhibition 7 year old me. Nest shows Wim T. Schippers and Daniël van Straalen in a unique collaboration. In a playful, but serious manner, they attach value to seemingly worthless things. By disrupting existing, albeit invisible codes, the artists throw you back onto your own intuition, in which the anti-climax triumphs.

In the run-up to the exhibition, Schippers and Van Straalen are in frequently in contact. They have written, challenged each other and together they have broken their heads about all kinds of questions. 7 year old me shows new and familiar work by both artists.

until 05 Jan
Richard Learoyd

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.

until 11 Jan
Artist: Anouk Kruithof
Transformagic

Transformagic is a solo exhibition by Anouk Kruithof in which she translates her artist's book and also sculptural object ‘Automagic’ into an exhibition at Heden. It concerns a selection of flat photographic images from her book ‘Automagic’. The photos are printed on flexible materials such as paper, PVC and Plexiglas and are combined with three-dimensional found objects. In this way they are transformed into fascinating installations. In the exhibition Transformagic, Kruithof takes the viewer on a journey of discovery into the infinite possibilities of the medium of photography and a trip to wonderful places of her nomadic existence.

until 19 Jan
Curated by Hans D. Christ and Iris Dressler
Symptom Bauhaus

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.

Artist: Alejandra Venegas
Frontspace: Alejandra Venegas | Timicho

In the Frontspace Dürst Britt & Mayhew is proud to present Timicho, an exhibition by Mexican artist Alejandra Venegas.

Venegas her work bears witness to an intense relationship with landscape, a contemporary dissolution of the barriers between culture and nature, figurative and abstract representation. Based in the mountains on the outskirts of Mexico City, Venegas establishes a dialogue with the traditional Chinese painting style Shan sui, that literally means ‘mountain’ and ‘water’, through an intuitive and spontaneous practice, imbued with the dynamism and bright palette of Mexican contemporary art. Intense colour and simple geometry: rivers and mountains, waterfalls and creeks, clouds and planets create serene and vivacious landscapes. Working with gouache and wax on carved native woods like ahuehuete, ciricote, huanacaxtle Venegas’ works in this exhibition delicately hover on the boundaries between drawing, painting and sculpture.

Alejandra Venegas Geffroy (1986, Mexico City) studied Visual and Plastic Arts at La Esmeralda in Mexico City. Recent solo exhibitions include "Cavar estanques y amontonar montañas" at Casa Santa Maria de Fundación Casa Wabi. Recent group exhibitions include “Luego, la forma” at Galeria GAM in Mexico City, "Quality Time" at Proxyco Gallery in New York, "Fuera de los muros entre los cuerpo" at Casa de la Cultura San Rafael in Mexico City, ”Courage! Near infra red" curated by Abraham Cruzvillegas at Galeria Rinomina in Paris and "Hacer una isla" with BWSMX at Ruberta in Los Angeles. In 2018 Venegas was a resident artist at Casa Wabi in Oaxaca. In 2014 she was selected for the XVI Biennial Rufino Tamayo and in 2016 for the Biennial UNAM of Visual Arts. In 2013 and 2015 she received the FONCA Jóvenes Creadores scholarship.

Artist: Sybren Renema
Verweile doch! Du bist so schön!

Dürst Britt & Mayhew is proud to present “Verweile doch! Du bist so schön!”, Sybren Renema’s second solo exhibition at the gallery. Renema is interested in all forms of human knowledge-production, with a particular liking for art, history, geographical exploration and the natural sciences. His work is often concerned with narratives of exploration, the sublime landscape and the validity of Romantic clichés in the 21st century. His practice manifests itself in the form of videos, collages, neon-installations, digital prints and sculptures.

“Verweile doch! Du bist so schön!” starts from a fascination for the figure of Johann Wolfgang von Goethe (1749-1832), the Weimar-based writer, statesman and scientist. In his time Goethe reached the status of a cultural superstar with the novel “The Sorrows of Young Werther” and the drama “Faust”. Key-pieces in Renema’s exhibition are a neon-installation based on Goethe’s (pseudo-scientific) Theory of Colours and a fountain that Renema composed of ceramic casts from Goethe’s life mask. Various of the works in the exhibition are the result of recent residencies at the European Ceramic Workcentre (ekwc) in Oisterwijk and BANFF Centre for Arts in Canada.

Sybren Renema (1988) is active as a writer, musician and artist. After receiving his BFA from the Royal Academy of Art in The Hague, he became the youngest MFA student to ever enroll at the Glasgow School of Art. Recent solo exhibitions include “The Burden of the Incommunicable” at FIU | Miami Beach Urban Studios, “Lift off, land Ahoy” at LETO gallery in Warsaw and “Relics” at the Glasgow Project Room. Recent group exhibitions include “Nightfall” at Musée Rath in Geneva, “Palinsestri” at Sharevolution in Genoa, “Im Taumel der Nacht” at Deli Projects in Basel and “Out of Khentii” at the Union of Mongolian Artists in Chingis City. Work by Renema is held in private and public collections, including the Fries Museum in Leeuwarden, the AMC Collection in Amsterdam, the Fundación Proyecto Bachué in Bogota and the art collection of the Dutch Ministry of Foreign Affairs. In 2017 his work was shown in the Antarctic Pavilion as part of the Venice Biennial.

Artist: Jan Van Den Dobbelsteen
The limits of borderlines marginality margins and peripheries

From 17 November until 26 January 2020 PARTS Project presents the work of interdisciplinary artist Jan Van Den Dobbelsteen. He will present the installation ‘The limits of borderlines marginality margins and peripheries’, created especially for the context and space of PARTS Project. Point of departure is his position as an artist: in medias res. The work is part of his all-encompassing search for the essence of things, spaces, and sounds. In this search, a linear narrative lacks as each question raises another.

The rich and unique oeuvre of Jan Van Den Dobbelsteen (Aalst-Waalre, 1954) spans four decades. At the core of his work lie his metaphysical ideas about the hidden powers in all matter. In his search for the fundamental, he does not limit himself to certain materials, mediums, or disciplines. His body of work includes a.o. music, paintings, sound experiments, video art, and architecture.

On the occasion of the exhibition Jan Van Den Dobbelsteen releases a 10 inch record as a limited edition on his own label, Cosmic Volume. It will accompany the project publication.

Artist: Emma Talbot
Sounders of the Depths

From drawings and sculptures to textile and sound: the faceless women created by Emma Talbot (b. 1969) take many forms. Talbot’s multimedia work explores human existence as a dreamlike, sometimes oppressive experience somewhere between the conscious and the subconscious, the everyday and the mythical. Poetry, light materials, flowing lines and decorative patterns are all distinctive elements of her work. Sounders of the Depths at GEM is Talbot’s first solo museum show outside her native United Kingdom.

until 16 Feb
Artist: Tehching Hsieh
Time — Life

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’.

Artist: Richard Niessen
The Typotectural Suite

From towers built from language to a readable city, and from letters as a map to a brick alphabet, in 'The Typotectural Suite' (an important 'space' in The Palace of Typographic Masonry) language solidifies into immutable structures, playful boxes of blocks and habitable capitals that are registered in a spatial library.

Artist: Rob van Koningsbruggen
Rob van Koningsbruggen – Paintings 2003 – 2019

Rob van Koningsbruggen (b. 1948, The Hague) has had a major museum exhibition every decade since the 1970s. The last one – a grand retrospective – was at Gemeentemuseum Den Haag in 2002. This autumn, in collaboration with the artist, the Gemeentemuseum will be presenting an exhibition covering the period 2003-2019.

‘Nowadays Rob van Koningsbruggen occupies a lonely position in the Dutch art world, as his paintings scale unique heights in terms of their colour and form’, says director Benno Tempel. Many of the paintings in the exhibition will be on display for the first time. ‘Every time you look at Van Koningsbruggen’s paintings is a memorable experience. At first you’re taken aback, then they get under your skin, and you can’t get them out of your mind.’

Van Koningsbruggen uses lots of colour in his abstract paintings, which features shapes like circles, rectangles and funnels. He generally works on several paintings at the same time. ‘I make a painting, and then I see a shape emerge’, he says. ‘I transfer the shape to another canvas and continue there. Then I leave the other painting for six months. Sometimes I’m working on ten paintings at once. They’re patients, you know, you have to make them better. And then I suddenly have a colour on my brush and I look at the other painting and think: yeah. So I play the paintings off against each other.’

Van Koningsbruggen became famous in the 1970s with his slide paintings, which he made by applying paint to the canvas and then sliding a second canvas over it. His recent work partly refers back to these earlier works.

Rob van Koningsbruggen studied at the Royal Academy of Art and the Vrije Academie in The Hague. His body of work consists of paintings, drawings and knitted art.

until 01 Mar
Curated by Joost Bergman
Artists: Adriaan Rees and Zoro Feigl
The White Album

Sculptor Adriaan Rees (b. Amsterdam, 1957) splits his time between Amsterdam, The Netherlands and Jingdezhen, China. Rees’ portfolio includes a variety of materials and techniques. He has worked in ceramics, bronze, plaster, glass, textiles and stone, as well as photographs, films, installations and individual objects. From the very beginning, Rees has worked on major works of art designed for public spaces. Cooperation has always played a prominent role in the large-scale sculptural projects that he has directed for municipalities and provinces worldwide.

Rees first studied to be a physiotherapist, preparing his with an excellent background in human anatomy. In 1992, however, he completed a course at the Gerrit Rietveld Academy in Amsterdam. Rees has remained a staple of the artistic community, appearing in museums, galleries and the public space, ever since. Projects in Dutch cities such as Amsterdam, Leiderdorp and Gouda are interspersed with solo exhibitions at the Frans Hals Museum, the Stedelijk Museum Kampen and the Princessehof in Leeuwarden, as well as shows in Japan and Korea.

Around the year 2000, Rees focused his attention on the culture and art techniques of the East. In Japan, he studied at the prestigious Tokenomori Institute for Ceramic Studies (Shigaraki) and in the INAX Lab (Tokoname). Because of this, he is very skilled in Japanese ceramics and well acquainted with their production techniques. Rees' predilection for the East is not limited to Japan. He spends almost half of his year in his studio in Jingdezhen, the center of the Chinese porcelain industry. In China, as in Japan, the age-old tradition of ceramics is still alive and kicking. This has made a lasting impression on Rees, who uses much of the same technology and materials.

Ceramics are ideally suited for the outdoor space. Adriaan Rees truly uses ceramics as a sculptor's material; producing sculpture and larger objects. These works can function in the public space as works of art, decorative art, or as monuments.

The White Album consists of several sections that can be seen in the Cabinet and the surrounding spaces. There are three chapters: the white section, the head section, and the Wanderlust section. These parts are most interesting when taken all together, rather than in a singular context, and examined in terms of art history and topicality. It begins in the centrally located Cabinet, which is completely white. The images and space are white. This world of gaseous whiteness refers to the Gipsotecca in the museum as well as the white plaster sculptures so popular in the salons of the nineteenth century.

On the North Patio, there is a presentation of wall plinths with figures of heads. The Dutch have a word for these sorts of interestingly exaggerated facial expressions associated with costumed stock characters: 'tronies'. These sculptures are portraits of emotion and feeling. These works are in some cases abstract or curious in shape, in bright colors or earth tones, or capture something of the difficult to define world of emotions that is present in us. In addition, two large sculptures made especially for this exhibition will be featured in the open space.

The corridors are filled with images related to Wanderlust, that old feeling of unrest, the desire to discover the world and the “unheimische” that still occupies an important place in our culture. Rees draws from German Romanticism and the oeuvre of famous painter Caspar David Friedrich to discuss large themes and issues, such as our place in nature or feelings of belonging somewhere. By living permanently both in the Netherlands and in China, Rees knows what it means to feel at home and displaced in several worlds. This discourse is reflected in his oeuvre, manifesting as an ongoing investigation into culture and nature, into feelings of 'being at home' and continuing to travel, and, of course, an investigation into one’s own origin and sources.

For Adriaan Rees, it is important to keep thinking about his role as a sculptor for the space in which he finds himself. His conceptualization is larger than the Netherlands alone or his Chinese studio and extends beyond having his sculptures occupy a space in a museum. World traveler Rees experiences and contemplates the issues of globalization and the clash of civilizations in his works. With this exhibition, he asks visitors if it is possible to develop a very specific voice within the international discourse on art as a citizen of the world.

Curated by Joost Bergman
Artist: Niki de Saint Phalle
Niki de Saint Phalle by the Sea

Who is not familiar with Nana, the world-famous, colorful women figures who happily go about dancing and jumping as pure expressions of energy. Nana is timeless. But who or what does Nana represent, really? It is Niki De Saint Phalle’s personal version of Eve? Or maybe of Venus? Or is it actually a personal interpretation of all women in the world, past and present? With Nana, Niki De Saint Phalle has, in any case, created an iconic image of women.

Museum Beelden aan Zee has been showing the Nanas in all their diversity since 1965. From the early textile-covered figures of papier maché to the sometimes huge polyester sculptures from the later years. Nanas, in short, come in all shapes, colors, sizes and materials.

until 01 Mar
Barbara Nanning

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.

Curated by Mirek Rhemrev
Artist: Klaas Gubbels
Finally by the Sea

During his entire working life Klaas Gubbels has remained loyal to just a few objects from still life: the table, chair and coffee pot (or kettle, as he calls it). These are simply everyday objects, nothing special at all. But in Gubbels’ oeuvrethey are special, in the way in which they are depicted. For some time, Gubbels has worked on still lifes that were intentionally everyday, almost boring. In repeatedly painting simple shapes the manner in which they were painted became very important. That’s when he really is painting. Which colour should he use, what happenstance comes into being on the canvas? If this does occur, he hopes to be able to recognize it and make use of it. When at work he often surprises himself, and certainly when he is assembling his objects: there is suddenly something that inspires him.

The artist has used the coffee pot so often in his work that it has almost become a character or personage. This character is portrayed very clearly in the pictures that Klaas Gubbels makes of the coffee pot or kettle. It is sometimes spiky, unwieldy, unsteady, robust, arrogant or romantic. Apart from paintings of his regular subjects, throughout the years Gubbels has also made great use of objets trouvésas his subjects. For most of his life he has been able to rely on the flea market as a source of objects that provide him with inspiration. These are depicted in paintings, often depicted on a table. This table is just as important to the picture as its other components.

The treasures of art history have not left Gubbels unmoved. In both his paintings and his sculptures can be found ‘odes’ to well-known national and international artists, such as Paul Cézanne, Jan Schoonhoven, Günther Uecker, Jan Roeland, K. Schippers and Cor Vaandrager. He creates odes not only to artists, but also to his friends, such as Cherry Duyns and, last but certainly not least, to his wife Heleen, often in the form of a heart-shaped coffee pot.

This year Klaas Gubbels has reached the age of 85, and is celebrating this milestone in museum Beelden aan Zee with a retrospective of the works he has created over a period of more than half a century. To be seen in the exhibition are works in glass, cardboard, plaster, bronze, wood, and steel, plus sculptures of assembledobjets trouvés, from those that can be held in the hand to monumental sculptures displayed on the patio.

Artist: Jeroen Eisinga
Jeroen Eisinga – The Social Ladder

Artist Jeroen Eisinga (b. 1966) is ambitious, not easily satisfied and is constantly pushing boundaries. In his now iconic film Springtime (2011) he was covered in a swarm of around 150,000 bees. Every one of his productions is highly labour-intensive. His body of work is not large, therefore, but it is impressive nonetheless. His films have been shown at international festivals and arts venues, and now form part of a number of museum and private collections.

Jeroen Eisinga – The Social Ladder in Kunstmuseum Den Haag’s Projects Gallery, Eisinga will combine five films from the 1990s: 40-44-PG (1993), Grauzone (1995), The Most Important Moment of My Life (1995), Night Porter (1993) and The Social Ladder (1996 - 2019). This last film, from which the title of both the exhibition and the publication are taken, has never been screened publicly before. Besides the five films, visitors will also be given a glimpse of the research and preparations that are part of Eisinga’s making process. Sketchbooks containing 25 years of preparatory research will be on display. Some of them are like artworks in themselves.

Jeroen Eisinga is winner of Ouborg Prize 2019, The Hague’s art prize which is awarded jointly by the city council, Kunstmuseum Den Haag and Stroom Den Haag