ArtSlant - Openings & events en-us 40 Nerhol - Foam - Fotografie Museum - May 8th 10:00 AM - 9:00 PM <p style="text-align: justify;">Foam proudly presents the first international solo exhibition of the Japanese artist duo Nerhol. Nerhol, set up in 2007, is a collaboration between graphic designer Yoshihisa Tanaka (1980) and sculptor Ryuta Iida (1981). Nerhol's most recent series, Misunderstanding Focus, comprises 20 timelapse portraits. By using sculptural methods, the artists reveal the plurarity of the portraits which photography usually obscures. It is an answer to the transcience of today's existence, provoking the constantly dissapearing present.</p> <hr /> <p style="text-align: justify;">Foam organiseert de eerste internationale solotentoonstelling van het succesvolle Japanse kunstenaarsduo Nerhol. Nerhol bestaat sinds 2007 en is een samenwerking tussen grafisch vormgever Yoshihisa Tanaka (1980) en beelhouwer Ryuta Iida (1981). Nerhols nieuwste serie, Misunderstanding Focus, bestaat uit 20 time-lapse portretten. Met behulp van sculpturale technieken, onthullen de kunstenaars een veelvormigheid in de portretten die fotografie gewoonlijk verbergt. Het is een antwoord op de vluchtigheid van ons hedendaagse bestaan, waarin veel dingen al even snel verdwijnen als ontstaan.</p> <p>&nbsp;</p> Wed, 25 Mar 2015 16:31:28 +0000 Marinke van Zandwijk, Karin Dekker, Helene Briels, Marian Bijlenga - Galerie Franzis Engels - May 16th 1:00 PM - 6:00 PM <p>Schaduwen zijn in de kunst vaak onderbelicht. Niet zo in het werk van deze kunstenaars waarin schaduwen een essentieel onderdeel van het werk vormen. Marian Bijlenga laat haar werk voor de muur zweven, bij voorkeur zonder extra belichting, waardoor de zachte schaduwen op de muur een tweede verhaal vertellen. <br />Helene Briels cre&euml;ert een veld aan besloten ruimtes die door de subtiele kleurstellingen een onwaarschijnlijk schaduwspel spelen waarbij elke ruimte verandert als het onder en andere hoek bekeken wordt.<br />Karin Dekker last ruimtelijke objecten van kleine stukjes metaal. Wat een gesloten ruimte lijkt, blijkt een schemerige binnenruimte te bevatten waar het licht niet alle hoeken kan bereiken.<br />Marinke van Zandwijk maakt installaties van mondgeblazen glazen objecten. Door de inval van het licht in haar speelse vormen, ontstaat er een spel van schaduwen waarin hier en daar weer heldere spots oplichten.</p> Fri, 24 Apr 2015 15:52:41 +0000 Krištof Kintera - Galerie Ron Mandos (Amsterdam) - May 16th 5:00 PM - 7:00 PM <p style="text-align: justify;"><strong>Galerie Ron Mandos proudly presents the two solo exhibitions&nbsp;<br /><em>MAYBE IT IS HERE</em>&nbsp;from Kri&scaron;tof Kintera and&nbsp;<a href="" target="_blank"><em>The Usual Suspects</em></a>&nbsp;from Esiri Erheriene-Essi, with new work of both artists. It is the first time Kintera&rsquo;s work will be presented at the gallery.</strong></p> <p style="text-align: justify;"><strong>Kri&scaron;tof Kintera |<em>&nbsp;MAYBE IT IS HERE</em>:</strong><br />There are few artists who are able to make ambiguity so attractive as the latest addition to the gallery Kri&scaron;tof Kintera (1973). For many years now, he has been known as an artist who produces work that even the most art illiterate are able to obtain something from. However, what makes his work special is that despite this obvious catchiness, he is able to make sharp, often intuitive decisions that produce a far more multi-layered experience. This results in poetic images and an ambiguity, notably in his sculptures, in their engagement with the large topics of our times.</p> <p style="text-align: justify;">Kri&scaron;tof Kintera&rsquo;s oeuvre is rooted in the &ldquo;after the wall&rdquo; period of the 90&rsquo;s, a&nbsp;decade of wild capitalisation in Central and Eastern Europe accompanied by aggressive advertising campaigns in the&nbsp;public space. In this period Kintera produced his now famous&nbsp;<em>Appliances</em>&nbsp;series. These beautiful products, sculptures slickly enclosed in commercial packaging and now on show in the&nbsp;<a href="" target="_blank">Kunsthal</a>&nbsp;in Rotterdam, have no other goal than to seduce you, doing nothing other than consuming electricity and laying there, quietly purring. These absurd household appliances clearly illustrate Kintera&acute;s ability to create sculptures that are iconic whilst simultaneously fleeing the safe haven of art by engaging with the materiality of objects and with issues of ecology and (energy) consumption. After his residency at the Rijksakademie van beeldende kunsten in Amsterdam his work has become increasingly communicative and energised; producing pieces that talk, smoke, move, bang and buzz. While his larger installations have shown Kintera&acute;s interest and experience with theatre and stage design.&nbsp;</p> <p style="text-align: justify;">Simultaneously a shift has taken place in his choice of materials. The materials of Kintera&acute;s sculptures maintain their physical presence and identity while now being penetrated by other objects. Thus an ever-growing number of inferior materials gain weight and character in his work.&nbsp;Seductive as ever, his colourful and playful current works path the way for further ambiguity, doubt and even darkness, such as his piece entitled&nbsp;<em>Devil,</em>&nbsp;theatrically installed in the bunker of the Kunsthal. Kri&scaron;tof Kintera seems increasingly interested in formlessness on the periphery of the man-made world. Dirty socks coated in silver plates; lumps of dirty city snow that slowly melt into a puddle of water; polyurethane blobs that engulf a pair of sun-glasses and other everyday objects that in this way gain the character of an Ensoresque mask.</p> <p style="text-align: justify;">In his artist&rsquo;s world, fragile trees move nervously, affected by the global issues of our time; a fly buzzing inside an upside-down bucket continuously chases you around the gallery space as if stating that its problems &lsquo;are bigger than ours&rsquo;. An amused smile further on in exhibition introduces the notion that perhaps the fly&acute;s problems might be our own. Aren&acute;t we, while busy buzzing around, not also trapped in a dirty bucket of a world that keeps morphing in order to every so often implode into a formless matter?&nbsp;In spite of these assertions, Kintera&rsquo;s work is far from simple nihilistic commentary.&nbsp;He avoids this through playful, creative and direct communication with the audience, as well as paradoxical and ambiguous elements in the work. He imprints a never before seen image onto the retina, leaving you with a lot to talk and think about.</p> <p style="text-align: justify;">&nbsp;</p> Mon, 20 Apr 2015 19:07:05 +0000 Esiri Erheriene-Essi - Galerie Ron Mandos (Amsterdam) - May 16th 5:00 PM - 7:00 PM <p style="text-align: justify;"><strong>Galerie Ron Mandos proudly presents the two solo exhibitions&nbsp;<br /><a href="" target="_blank"><em>MAYBE IT IS HERE</em></a>&nbsp;from Kri&scaron;tof Kintera and&nbsp;<em>The Usual Suspects</em>&nbsp;from Esiri Erheriene-Essi, with new work of both artists. It is the first time Kintera&rsquo;s work will be presented at the gallery.</strong></p> <p style="text-align: justify;"><strong>Esiri Erheriene-Essi |&nbsp;</strong><em><strong>The Usual Suspects:</strong></em></p> <p style="text-align: justify;">Similar general comments could be asserted about the work of Esiri Erheriene-Essi (1982) and this is also the reason why her recent paintings supplement the sculptures of Kintera in this exhibition. Her works focus the gaze through seemingly innocent subjects decomposed and fractured into brightly coloured painterly forms.</p> <p style="text-align: justify;">From a distance there appears to be one clear image, taken from the recent past, recalling the Apartheid period, racial struggle and improved Black empowerment in the growing presence of Afro-American artists in the 1960&rsquo;s pop industry. However, once one focuses more closely on the canvas, the dominant and often iconic image dissolves into an expressive composition of colour strokes. The flat surface serves as a type of archive of a certain period, often unsettling, that give face, depth and period background to the dominant image. She further links this past with the present by means of a well-chosen title.</p> Mon, 20 Apr 2015 19:07:58 +0000 Noemie Goudal - Foam - Fotografie Museum - May 29th 10:00 AM - 9:00 PM <p style="text-align: justify;"><strong>Foam presents the first solo museum exhibition by No&eacute;mie Goudal (Paris, 1984). As one of the great talents of a new generation of French photographers, in recent years she has developed a distinctive visual language with which she is uniquely positioned within the field of contemporary photography. She was among the selected Foam Talents in 2012, which resulted in the publication of her portfolio in&nbsp;<a title="Issue #32 / Talent" href="" target="_blank">Foam Magazine #32</a>. Foam has since been closely following her impressive and consistent development.</strong></p> <p style="text-align: justify;">By using a mixture of photography, film and installation she examines the visual and spatial perception of two- and three-dimensional relationships within the image. She combines her layered photographs of serene, pure, mysterious landscapes with (elements of) modernistic architecture that have an archaic quality. The landscapes act as a kind of theatrical setting and are characterized by a surreal aesthetic caused in part by spatial interventions within the sites where the photographic works are produced. The resulting works evoke a sense of alienation and tension due to the incongruous spatial perspectives within the image that, nevertheless, only subtly reveal themselves.<br /><br /><em>The Geometrical Determination of the Sunrise</em>&nbsp;is initiated by The New Art Gallery Walsall, UK and has been produced in collaboration with Foam.</p> <p style="text-align: justify;"><em>With the support of l'Ambassade de France aux Pays-Bas.</em></p> <hr /> <p style="text-align: justify;"><strong>Foam presenteert de eerste museale solopresentatie van No&eacute;mie Goudal (Parijs, 1984). Als &eacute;&eacute;n van de grote talenten van een nieuwe generatie Franse fotografen, ontwikkelde ze de afgelopen jaren een eigenzinnige beeldtaal waarmee zij zich op een unieke manier positioneert binnen het veld van de hedendaagse fotografie. Zij behoorde tot&nbsp; de geselecteerde Foam Talents in 2012 wat resulteerde in de publicatie van haar portfolio in&nbsp;<a href="" target="_blank">Foam Magazine #32</a>. Sindsdien heeft Foam haar krachtige en consistente ontwikkeling op de voet gevolgd.</strong></p> <p style="text-align: justify;">In haar werk combineert ze fotografie, film en installatie waarmee ze de visuele en ruimtelijke beleving onderzoekt van&nbsp; twee- en driedimensionale verhoudingen in het beeld. Haar gelaagde foto's van verstilde, pure en mysterieuze landschappen combineert ze met (elementen van) modernistische architectuur die een archa&iuml;sch karakter hebben. De landschappen doen dienst als een soort theatrale setting en worden gekenmerkt door een&nbsp; onwerkelijke esthetiek die mede wordt veroorzaakt door ruimtelijke ingrepen op de fysieke plek waar de fotowerken tot stand komen. De uiteindelijke werken zijn vervreemdend en roepen spanning op door de niet kloppende ruimtelijke verhoudingen in het beeld, die zich slechts op zeer subtiele wijze onthullen.<br /><br /><em>The Geometrical Determination of the Sunrise</em>&nbsp;is een initiatief van The New Art Gallery Walsall, UK en tot stand gekomen in samenwerking met Foam.</p> <p>&nbsp;</p> Wed, 25 Mar 2015 16:33:41 +0000 Group Show - Stedelijk Museum - July 4th 10:00 AM - 6:00 PM <p style="text-align: justify;">Fire, light, movement, space, demonstrations and performances.&nbsp;The Stedelijk proudly presents an historic survey of the innovative avant-garde group ZERO. With work by herman de vries, Armando, Henk Peeters, Jan Schoonhoven, Jan Henderikse, Piero Manzoni, Lucio Fontana, Yves Klein, Jean Tinguely, Yayoi Kusama and others. </p> <p style="text-align: justify;">In the 1950s and 60s, the ZERO movement experimented with the most innovative materials and media. Facing the aftermath of war and the harsh realities of reconstruction, the artists of this international movement dedicated themselves to building a new future for art. In 1962, the Stedelijk opened its doors for the first museum presentation of the international ZERO network (<em>Nul, </em>1962). Three years later, the museum staged a more comprehensive exhibition (<em>Nul 1965),</em> an exhibition seen by many as a highpoint in the history of the network. Now, exactly 50 years after this second ZERO exhibition, the Stedelijk proudly presents&nbsp;an historic survey of this innovative avant-garde group.&nbsp;&nbsp; </p> <hr /> <p style="text-align: justify;">Vuur, licht, beweging, ruimte, demonstraties en performances: het Stedelijk presenteert met trots&nbsp;een historisch overzicht van de innovatieve avant-gardisten ZERO. Met werk van onder meer Herman de Vries, Armando, Henk Peeters, Jan Schoonhoven, Jan Henderikse, Piero Manzoni, Lucio Fontana, Yves Klein, Jean Tinguely en Yayoi Kusama. </p> <p style="text-align: justify;">In de jaren 50 en 60 van de twintigste eeuw experimenteerde de kunstenaarsgroep ZERO met de meest innovatieve materialen en media. Na de zware oorlogsjaren en de schrale periode van wederopbouw, wilden de aan dit internationale netwerk verbonden kunstenaars de kunst een nieuwe toekomst geven. Het Stedelijk opende in 1962 zijn deuren voor de eerste museale presentatie van het internationale ZERO netwerk (<em>Nul,&nbsp;</em>1962). Drie jaar later gaf het nogmaals de ruimte voor een uitgebreider overzicht (<em>Nul 1965);</em>&nbsp;een tentoonstelling die door velen wordt gezien als een van de hoogtepunten in de geschiedenis van het netwerk. Het Stedelijk is er nu dan ook trots op om, precies 50 jaar na deze tweede ZERO tentoonstelling<em>,&nbsp;</em>een historisch overzicht van deze innovatieve avant-gardisten te presenteren.&nbsp; - See more at: </p> Wed, 14 Jan 2015 08:36:12 +0000