ArtSlant - Openings & events http://www.artslant.com/ams/Events/show en-us 40 Gioia de Bruijn, Guy Yanai, Jocelyn Lee, Annouk Griffioen, Matt Henry, David Verbeek, Johan Grimonprez, Sanja Marusic - Flatland Gallery - May 7th 4:00 PM - 6:00 PM <p><span style="font-family: courier new,courier; font-size: small;">GARDENING</span></p> <p><span style="font-family: courier new,courier; font-size: small;">Flatland Gallery</span></p> <p><span style="font-family: courier new,courier; font-size: small;">07/05/2016 - 18/06/2016</span></p> <p><span style="font-family: courier new,courier; font-size: small;">&nbsp;</span></p> <p><span style="font-family: courier new,courier; font-size: small;"><em>Gardening was something I learned in my youth when I was unhappy</em>.</span></p> <p><span style="font-family: courier new,courier; font-size: small;">Claude Monet *</span></p> <p><span style="font-family: courier new,courier; font-size: small;">&nbsp;</span></p> <p><span style="font-family: courier new,courier; font-size: small;">Horticultural movements through time have inspired the world of arts in ancient and in modern civilizations, in Eastern and Western societies.</span></p> <p><span style="font-family: courier new,courier; font-size: small;">&nbsp;</span></p> <p><span style="font-family: courier new,courier; font-size: small;">Yet in GARDENING, the garden as a subject is secondary or in some cases literally non existing; what is central is the idea of GARDENING as a way it represents a serious contribution to a good life, close to Aristotle&rsquo;s Eudaimonia which implicates living well or happiness as an active virtuous activity instead of a static goal.</span></p> <p><span style="font-family: courier new,courier; font-size: small;">&nbsp;</span></p> <p><span style="font-family: courier new,courier; font-size: small;">The GARDENING exhibition at FLATLAND GALLERY follows different paths of &lsquo; a good life&rsquo;.</span></p> <p><span style="font-family: courier new,courier; font-size: small;">&nbsp;</span></p> <p><span style="font-family: courier new,courier; font-size: small;">The idea to live well has been supported by Professor David E. Cooper who wrote &lsquo;A Philosophy of Gardens&rsquo; (Oxford University Press) in which he addresses why gardens are of such great significance to so many people. Cooper insists that it is only through the infusion of human activity in working cooperatively with nature to create gardens and then to dwell in them appreciatively that gardens reveal their true meaning.</span></p> <p><span style="font-family: courier new,courier; font-size: small;">&nbsp;</span></p> <p><span style="font-family: courier new,courier; font-size: small;">GARDENING is about a state of rootlessness (enjoying garden parties, swimming in a garden pool, indulging in solitary reverie) and working compulsively on all the things that need our care to grow, such as planning, studying, evaluating and acting sensibly.</span></p> <p><span style="font-family: courier new,courier; font-size: small;">&nbsp;</span></p> <p><span style="font-family: courier new,courier; font-size: small;">GARDENING is a small curated show that looks broadly and deeply at the combinement of the &lsquo;jungle&rsquo; and the &lsquo;lawn&rsquo;.</span></p> <p><span style="font-family: courier new,courier; font-size: small;">&nbsp;</span></p> <p><span style="font-family: courier new,courier; font-size: small;">The garden is an epiphany (moment when you feel that you understand, or become conscious of something that is very important to you) &ndash; (powerful religious experience) of man&rsquo;s relationship to the mystery of existence<em>.</em></span></p> <p><span style="font-size: xx-small; font-family: courier new,courier;">*<strong> Claude Monet, quoted in Ren</strong><strong>&eacute;</strong><strong> Delange, &lsquo;Claude Monet&rsquo;, L&rsquo;Illustration, 4374, 15 January 1927, p.59, in: Catalogue published on the occasion of the exhibition &lsquo;Painting the modern garden: Monet to Matisse&rsquo;. Exhibition organised by the Cleveland Museum of Art and the Royal Academy of Arts, page 17, 2015.</strong></span></p> Thu, 28 Apr 2016 16:42:40 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Olga Balema - Galerie Fons Welters - May 13th 5:00 PM - 7:00 PM <p style="text-align: justify;"><em>Two souls inhabit, oh! my breast &ndash; F.W. Goethe<br /></em></p> <p style="text-align: justify;">Motherland &ndash; mapping out our territory, not forgetting that maps are plans, object spaces made to be seen or read. The breast is one of two prominences found on the upper ventral region of the torso of female and male primates. A prominence is a large, bright, gaseous feature extending outward from the Sun&rsquo;s surface, often in a loop shape. In females, it serves as the mammary gland, which produces and secretes milk and feeds infants &ndash; you are what you eat. The opposition between inside and outside, between eater and eaten, is not reciprocal, but culminates in a process of ingestion that ultimately transforms our identity. Reproduce and keep making more, more for more, more more more sucking, taking everything we need from another human being, pissing on our patches so no one else can lay there, sucking from our mothers and all they can do is stay there, a nipple giving life and then we send it off to daycare.</p> <p style="text-align: justify;">Destruction as being born into being denying the pleasure the explosion destruction of the female motherhood hurling her into a female being emotion and hormone seeping through the skin finding its ways to excrete through tears and urine blood and milk milk being sucked in by the baby taking in its mother taking more and more and more until it&rsquo;s sick and you&rsquo;re left with nothing the soul clamps as the baby sucks and grows bigger and bigger into this beautiful being that walks all other animals walk when they are born we crawl we lie we suck we stare at our mothers hoping they can comfort us feed us hold us and you do because the feeling of doing nothing about this being is even more of a nothing but the world turns out to be a contradiction the ugliness the freedom the bicycles and the girls that get on them the ease the discomfort only makes you hold your baby harder and allow it to suck some more whilst watching a woman with tassels shake her titties for a man to ejaculate on to explode whilst the milk drips from your nipple and the baby sleeps in your arms breathing softly destruction as coming into being double standards for honoring and debasing women for their reproductive powers conceptualizing the earth as a mother Mother Earth Mother Nature Mother Land Mother Tongue fear worship abuse.</p> <p style="text-align: justify;">The sucking stops and man is nowhere to be seen the bicycle girls move so fast and patience wears thin but the hair still grows &ndash; we end up eating ourselves and our children producing more to keep the wolf from the door.</p> <p style="text-align: justify;">Taking it too far and then wanting to disappear, hanging there, crossing borders and drowning on the representation of the in-between, claiming space, claiming land having power, do nothing but emphasize the conditions of micro-worlds of territories, skull as compass: all the secret fluids and internal memory-oceans aligned by force of desire, you can taste it.</p> <p style="text-align: justify;"><br />[Juliette Blightman]</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Olga Balema (b. 1984, Lviv, Ukraine) holds an MFA from University of California Los Angeles and has had residencies at Rijksakademie van beeldende kunsten and Skowhegan School of Painting and Sculpture. Recent exhibitions include: One reenters the garden by becoming a vegetable, Kunstverein N&uuml;rnberg, Albrecht D&uuml;rer Gesellschaft, Nuremberg (2015); Cannibals, Croy Nielsen, Berlin; Listening, i.c.w. Anne de Vries, Michael Thibault, Los Angeles (2015); Warm Bodies i.c.w. Jonathan Baldock, Kunstvereniging Diepenheim; Her Curves, High Art Gallery, Paris; Body of Work, Galerie Fons Welters; What Enters, 1646, The Hague.</em></p> <p style="text-align: justify;"><em>Furthermore, her work was featured in I Am Still Alive &ndash; On the Materialities of Life, Moderna Museet, Stockholm (2016); By the Bearer in whose Name it is Issued, Center for Style, Melbourne; Function Follows Vision, Vision Follows Reality, Kunsthalle Wien, Vienna; Surround Audience, Triennial, New Museum, New York (2015); Puddle, pothole, portal, Sculpture Center, New York (2014); Doom: Surface Control, Le Magasin Grenoble; New Dawn, Silberkuppe, Berlin; Nature after Nature, Fridericianum, Kassel. Geographies of Contamination, David Roberts Foundation, London, (2014).</em></p> <p style="text-align: justify;"><em>Currently, her solo exhibition: Early Man, One for all series is on view at the Swiss Institute, New York.</em></p> Mon, 02 May 2016 06:06:42 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Job Koelewijn - Galerie Fons Welters - May 13th 5:00 PM - 7:00 PM Mon, 02 May 2016 06:07:52 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Ron van der Ende - Galerie Ron Mandos (Amsterdam) - May 21st 5:00 PM - 7:00 PM Sat, 30 Apr 2016 16:49:54 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Bouke de Vries - Galerie Ron Mandos (Amsterdam) - May 21st 5:00 PM - 7:00 PM Sat, 30 Apr 2016 16:50:08 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Bik van der Pol - Witte de With Center for Contemporary Art - May 26th 5:00 PM - 7:00 PM <p style="text-align: justify;">What is hidden, forgotten, cast away, or overlooked in the day-to-day operations of a cultural institution? How does one make tangible the container of knowledge that envelops the factual succession of exhibitions and publications? Can artists become active and responsible co-creators of institutions, their politics, and representations?</p> <p style="text-align: justify;">Following Witte de With&rsquo;s 25th year anniversary, Rotterdam-based artist duo Bik Van der Pol is invited by Witte de With Director Defne Ayas to highlight what might otherwise become lost in both the history of the institution as well as art&rsquo;s history in the city of Rotterdam. Paying close attention to the socio-economic and political context in which the institution was created, and departing from the belief that cultural institutions and their legacies are as much made up of stories, ephemeral objects, and subtle traces, Bik Van der Pol&rsquo;s process can be likened to a long term forensic investigation that examines, tests and actively exposes that which lies concealed in the folds of history.</p> <p style="text-align: justify;">Titled <em>WERE IT AS IF</em>, the collaboration between Bik Van der Pol and Witte de With, which commenced in June 2015, unfolds during the exhibition period, and is carried out in close dialogue with many agents (among them staff members and artists), who plunge into the institute&rsquo;s rich exhibition history collaboratively, reenergizing the work of artists&rsquo; such as John Ahearn, Jef Geys, Ken Lum, Antoni Muntadas, Eugenio Dittborn, Eleanor Bond, John Knight, and Allan Sekula. Equating seemingly-in-the-fringes-material &ndash; leftovers, support structures, plans, notes, stories, and witness reports &ndash; to the level of artworks, and so exploring the viability of approaching &lsquo;archival document&rsquo; as &lsquo;art&rsquo;, and &lsquo;art&rsquo; as &lsquo;source material&rsquo;, the artists revive histories preserved in the documentation of exhibitions at Witte de With, such as <em>L&rsquo;oeuvre a-t-elle lieu?</em> (1994), <em>The Rotterdam Project</em> (1998), <em>Hortus Conclusus/Breeze of AIR</em> (2001), <em>Tracer</em> (2004), and <em>Melanchotopia</em> (2011).</p> <p style="text-align: justify;">This particular search, however, does not stem from a seemingly omnipresent nostalgic desire to revisit the 1990s but is sparked instead by an understanding that much remains active yet unnoticed in the layers of the institute&rsquo;s past. Stories and (un-)realized artistic and social projects are brought to light as Bik Van der Pol extend the premises of the investigation beyond the white walls of the institute itself, turning to the cities&rsquo; forgotten or disappeared crevices which have stood as departure points for artists working at Witte de With, such as the Perron Nul (Platform Zero) (1987 &ndash; 1994), a former methadone distribution center and safe haven for drug-users near Rotterdam train station, as well as the closed down &lsquo;tippelzone&rsquo; (streetwalking area) at the Keileweg (1994 &ndash; 2005), where the divergent worlds of sex workers, protesting citizens, and artist initiatives &ndash; including Kaus Australis and Kunst &amp; Complex &ndash; clashed repeatedly.</p> <p style="text-align: justify;">In Bik Van der Pol&rsquo;s words, <em>&ldquo;to resist memory loss and to avoid falling into the trap of repetition, conservatism or even fundamentalism, people&rsquo;s activities (which after all make and determine history) must first be consumed and digested. In this way, progression and change can truly be generated and made possible.&rdquo;</em> To this Director Defne Ayas adds, <em>&ldquo;This examination is an attempt on our part to create a mental space for examining the potential of a cultural institution &ndash; to (re)perceive itself, to reclaim, reconstitute and recalibrate her connection to the context in which she was created. Our partnership with Bik Van der Pol insists on the rich history of Rotterdam not only as a hub of logistics and trade but also as an intellectual hub, while embracing the urgency to respond to the current momentum that brands Rotterdam as the &ldquo;destination city&rdquo; for art and architecture. It is our aim to make available our rich source material for new types of research and visual and textual production as to rewire possibilities through the informed eyes of artists.&rdquo;</em></p> <p style="text-align: justify;">For the duration of the exhibition, Witte de With invites several guests to give a &ldquo;reading&rdquo; of the exhibition.</p> <p style="text-align: justify;">Director: Defne Ayas<br /> Lead Curator: Samuel Saelemakers<br /> Curatorial assistant: Frederike Sperling<br /> Special thanks to Deputy Director Paul van Gennip as &nbsp;parrhesiast</p> <p style="text-align: justify;"><strong>Support</strong><br /> Our collaboration with&nbsp;Bik Van der Pol is supported by the Mondriaan Fund.</p> Tue, 05 Apr 2016 17:18:34 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list