ArtSlant - Recently added en-us 40 Lukas Hoffmann, Susan Kooi - Galerie Fons Welters - November 27th - January 16th, 2016 <p style="text-align: justify;">Galerie Fons Welters is proud to invite you to the exhibition 'A chapter for making transformations&rsquo;, as part of&nbsp;<em>rw nw prt m hrw&nbsp;</em>by Lukas Hoffmann and Susan Kooi. The enigmatic title&nbsp;<em>Rw nw prt m hrw</em>&nbsp;is a direct transliteration of the ancient Egyptian Book of the Death, a collection of magical texts and vignettes (written on papyrus or the sarcophagus) in order to help the dead pass through the dangers of the Underworld and attain an afterlife of bliss in the &ldquo;Field of Reeds&rdquo;. The ancient Egyptians held a strong belief in the power of the spoken and written word and those who had access to these magic spells, were believed to be directly endowed with their power. Though certain spells were considered to be essential, one could chose to their liking from a variety of paths in the afterlife.&nbsp;<br /><br /></p> <p style="text-align: justify;">For the second installment of this series of exhibitions, Hoffmann and Kooi focus on one particular chapter, namely the one offering &ldquo;formulas for coming forth into day&rdquo;. Here the deceased is offered different spells to reenter the world of the living during daytime by reincarnating into different creatures, or gods even, each with their own advantages.&nbsp;While turning the front space of the gallery into a passage itself, Hoffmann and Kooi tell a story of metamorphosis through a constellation of works. In for example the video titled 'My name is not say my name&rsquo;, together with the protagonist we enter the darkness, travel through bright colored rivers while he (&ldquo;who comes forth into day&rdquo;) utters his spells to resurrect and reincarnate into a Hawk Divine, a Double Lion or a Lotus flower. The video shifts from magic&nbsp;hieroglyphs, to informative&nbsp;language, gothic special effects and contemporary club dance moves. As the deceased regains his powers and becomes a free spirit in the Field of Reeds, we enter an endless loop of possibilities.&nbsp;<br /><br /></p> <p style="text-align: justify;">In this exhibition the idea of transformation does not rest solely with afterlives and eternal hunting fields; a remove from bodily presence, from singular juxtapositions of the human and the other is suggested as well. Shapeshifting into wishful body-doubles that attract and repel, comfort and unsettle, the exhibition hints towards the multiplicity contained within the same self and offers new positions.</p> <p style="text-align: justify;">[LC]</p> <p style="text-align: justify;"><em><br /><br /></em><em>Lukas Hoffmann and Susan Kooi met at the Rietveld Academy in Amsterdam (where they both graduated in 2012). Hoffmann and Kooi work individually, together and as part of Samet Yilmaz (formerly known as k.i.Beyonce), an artist run space and working collective that &lsquo;developed a way of &lsquo;being in the art world&rsquo;.&nbsp;<br /><br /></em></p> <p style="text-align: justify;"><em>The first installment of&nbsp;</em>rw nw prt m hrw<em>&nbsp;&lsquo;Chapter for knowing all chapters&rsquo; can be viewed here:</em><a href="" target="_blank"><em></em></a><em>&nbsp;</em></p> Wed, 25 Nov 2015 11:23:35 +0000 Folkert de Jong - Galerie Fons Welters - November 27th - January 16th, 2016 <div style="text-align: justify;"> <p>Galerie Fons Welters is proud to invite you to Folkert de Jong&rsquo;s second solo exhibition &lsquo;Court of Justice&rsquo;, opening during Amsterdam Art Weekend 2015. Folkert de Jong&rsquo;s expressive sculptures arise from a strong fascination for the psychological and bodily human condition. As the title of the exhibition already indicates, this time De Jong focuses specifically on elements of justice; from the hierarchical design of courtrooms, to the psychological manipulation of juries, the theatricality surrounding a judgement and the following isolation.&nbsp;</p> <p>But who is summoned to court? And who is to judge? Folkert de Jong&rsquo;s &ldquo;Court of Justice&rdquo; is a peculiar fusion of courtroom and prison; a space in between, primarily resembling a scientific laboratory<strong>.<br /></strong></p> <p>De Jong is known for his idiosyncratic use of insulation materials such as polyurethane and Styrofoam. Recently, he has broadened his material palette. For instance with transparent Plexiglas vitrines, enclosing foam assemblages of body parts and objects, as if preserved in formaldehyde. Although the psychedelic, brightly coloured plastic seems to radiate light; it also hermetically seals off its contents and filters reality. Within these see-through walls, a transcendental experience might take place. While De Jong&rsquo;s &lsquo;reservoirs&rsquo; emphasise this theatrical effect of museum displays and refer to art historical uses of the vitrine, by the surrealists for instance, they also visualise a contemporary urge to conservation and immortality.&nbsp;</p> <p>De Jong even takes it one step further. Central piece in the gallery space is a large Perspex isolation cell, wherein readymade objects have been placed, clearly hinting at Marcel Duchamp. A toilet of stainless steel from a prison cell and a bright orange surgical stretcher chair create a strange and estranging setting together. While the surrounding acrylic glass<strong>&nbsp;</strong>generates distance, time markers and cries, carved from the inside, reveal someone&rsquo;s previous confinement. Here the eccentric, grotesque character of De Jong&rsquo;s earlier work has been replaced by a clinical feeling of oppression.<strong>&nbsp;</strong>How long did time stand still in here? Via a long tube, the cell connects with an adjacent chemical test display, where energy seems to bubble.&nbsp; As in a time machine, there is an alluring, hopeful opening for escape &ndash; a potential teleportation.&nbsp;</p> <p>Next to the constellation of different Perspex vitrines, De Jong shows three long, metal tables, each with six stools directly attached to them. Designed in such a way that there is not a single loose element encouraging violent use, these reproductions of prison dining tables also contain the anonymity of penitentiaries. The identical stools remain unoccupied; the table tops surprisingly function as plinths for three crystal-sculptures, self-consciously displaying themselves. Colourful Bismuth for instance, that spirals down in endless, rectangular passages. What do these gemstones, sparkling yet sharp, embody? Their healing powers are in flat contradiction to the toxic and non-decomposable synthetic materials from which the artist has made them. While De Jong has represented immoral human behaviour in previous works, he now questions the morality of things themselves. Can an object be intrinsically good or bad? Could an item be put to trial?&nbsp;</p> <p>&nbsp;</p> <p>Except for a hologram self-portrait of the artist created from MRI data, the human figure has disappeared for the first time in De Jong&rsquo;s &ldquo;Court of Justice&rdquo;. Now, more than ever, it is up to the visitor to judge.</p> </div> Wed, 25 Nov 2015 11:23:06 +0000 Gluklya - Galerie Akinci - November 27th - January 15th, 2016 <p style="text-align: justify;" align="justify"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">After the recent presentation&nbsp;<em>All the World&rsquo;s Futures</em>&nbsp;at the 56<sup>th</sup>&nbsp;Venice Biennale, where Gluklya exhibited her forty-three&nbsp;<em>Clothes for Demonstration against False Election of Vladimir Putin</em>,&nbsp;<em>2011-2015</em>, AKINCI is proud to present her new&nbsp;<em>Garden of Vigilant Clothes</em>&nbsp;with a vibrant kickoff during Amsterdam Art Weekend.</span><span style="font-family: arial, helvetica, sans-serif; font-size: small;">&nbsp;</span></p> <p style="text-align: justify;" align="justify"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">The multi-layered installation&nbsp;<em>Garden of Vigilant Clothes</em>&nbsp;is a spatial adaptation of Gluklya&rsquo;s performance for the Lopukhin Garden in St. Petersburg, Gluklya&rsquo;s native city. There, citizens have been fighting against the municipal government's plans to privatize the park and build a hotel where now a traditional wooden house&mdash;the former residence of&nbsp;19<sup>th</sup>&nbsp;century philanthropist, humanist and educator&nbsp;Gromov&mdash;still stands.&nbsp;For Gluklya, the park is a place where art and society naturally meet. In the case of the disputed Lopukhin Garden, the nature of protest entwines itself with organic nature, a vital element in Gluklya&rsquo;s&nbsp;<em>Garden of Vigilant Clothes</em>. She quotes Russian scholar and writer Dmitry Likhachev: &ldquo;Nature is social in its own way,&rdquo; and uses this as a starting point for an ongoing research on the&nbsp; interconnection between botanic culture and human culture. In the&nbsp;<em>Garden of Vigilant Clothes</em>, Gluklya transforms this interaction into a symbolic reference for social relations. After all, we influence each other as we are influenced by nature, and as we influence nature on our own terms as well.</span></p> <p style="text-align: justify;" align="justify"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">Balancing on the borders of art and humanism, public and private space, Gluklya considers both art and nature as a boundless environment for imagination and experiment, offering a potential to im‐ prove society. Together with students from the Padea School in St. Petersburg, she visualized her ideas by mounting long, vine‐like tubes from the windows of willing neighbors. The tubes, debouch‐ ing into a receiver and held against the student&rsquo;s ears, gave a glimpse of sound coming from the apartments, directly connecting the public space with the private space. Later, when the neighbors came down to the garden, they could enjoy witnessing a version of their own life through the filter of an artist&rsquo;s imagination. </span></p> <p style="text-align: justify;" align="justify"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">For<em> Garden of Vigilant Clothes</em>, a similar act on smaller scale took place in Amsterdam. Curious neighbors living in apartments directly surrounding the gallery, allowed Gluklya to run the long tubes from the exhibition space up to their windows. A few of them agreed to give a small interview on camera, revealing something of their personal thoughts on art and society. One of the neighbors, Gluklya&rsquo;s &ldquo;bravest citizen,&rdquo; even donated his red sweater to her artistic process, which she trans‐ formed into an object for the exhibition itself. Coming down into the gallery, neighbors can witness their living environment merging with Gluklya&rsquo;s artistic intervention. At the same time, visitors be‐ come aware of the neighborhood directly surrounding the exhibition. As an echo to the Lopukhin Garden miles away, the gallery space itself becomes a garden of vigilance.</span></p> <p align="left"><span style="color: #404040; font-family: Calibri; font-size: large;">Special opening hours &amp; highlights:</span></p> <p style="text-align: justify;" align="left"><span style="color: #404040; font-family: Calibri;"><strong>Opening Friday 27 November 5 - 8 pm</strong><br />Performance and informal debate between Mirjam Westen &amp; Gluklya</span></p> <p style="text-align: justify;" align="left"><span style="color: #404040; font-family: Calibri;"><strong>Saturday 28 November</strong><br />open 12 - 8 pm<br /><br /><strong>Sunday 29 November 12 - 6 pm</strong><br />Robert-Jan Muller introduces Gluklya's book&nbsp;<em>Factory of Found Clothes</em><br />from 1 - 3 pm</span></p> <p style="text-align: justify;" align="left"><span style="color: #404040; font-family: Calibri;">Introductions and credits:</span></p> <div style="text-align: justify;"><span style="font-family: Calibri;">Mirjam Westen is senior curator of contemporary art at Museum Arnhem as well as critic and editor in the field of contemporary art, gender and global art.</span></div> <div style="text-align: justify;"><span style="font-family: Calibri;"><br />Robert-Jan Muller is art historian, critic and chairman of Association Internationale des Critiques d&rsquo;Art (AICA).</span></div> <div> <div style="text-align: justify;"><br /><span style="font-family: Calibri;">'Garden of Vigilant Clothes' by Gluklya, a multi-layered installation at AKINCI, is a spatial adaptation based on a performance in St. Petersburg, commissioned by TOK and curated by Anna Bitkina for a public art project &lsquo;Critical Mass&rsquo;.</span></div> </div> Tue, 24 Nov 2015 15:28:33 +0000 Mario Testino - Ed van der Elsken Archives - November 27th - March 5th, 2016 Tue, 24 Nov 2015 09:40:07 +0000 Rezi Van Lankveld - Annet Gelink Gallery - November 27th - January 28th, 2016 <p style="text-align: justify;">Annet Gelink Gallery is delighted to present <em>Si tu sors, je sors</em>, the first solo exhibition of Dutch painter Rezi van Lankveld (1973, Almelo, NL) with the gallery. Van Lankveld starts at Annet Gelink Gallery with a series of striking fresh paintings that display a new evolution in the artist's work. Exchanging her style of fluid colors with the occasional use of brushstrokes, Van Lankveld here presents a series of paintings in a vivid array of painterly elements. &nbsp;</p> <p style="text-align: justify;">Rezi van Lankveld's new body of work consists of singular and autonomous entities and it is neither a depiction of the world nor an illustration of a story. The motivation behind these paintings is the excitement and expectation of the unknown. &nbsp;Each of them consist of several layers of paint that are being applied and removed continuously, adding and taking away at the same time, in order to build form and image that have to come to recognition. The liquidity of paint is used as the medium of constant improvisation: allowing the paint to flow and create something unexpected, which makes each painting a new experience. &nbsp;</p> <p style="text-align: justify;">Figures are always present in Van Lankveld's paintings, as without a figure the painting would not exist. That they are ambiguous, not obvious at the first glance, is intentional: most important is first to see the painting as such. Finally, the picture bears a figure, which is its subject. Depicting the figure in a way that it allows the subject and the painting to become one.&nbsp;</p> <p style="text-align: justify;"><em>Brown Sun (2015</em>), a painting about a new life, depicts a figure in a dress with white light falling on it, stepping towards the brown sun. This female character stands on top of two other figures depicted in yellow: a man holding his hand in front of the woman's mouth as though he gives her something to eat.&nbsp;</p> <p style="text-align: justify;">Hence, these works are projections of the painter's inner world that draws the viewer into an imaginary realm. Each composition is densely inhabited with anthropomorphous figures arising from the layers of paint. They engage the viewer in an intimate and condensed dialogue. Focused and detailed, the paintings directly appeal to the senses and imagination of the onlooker: &nbsp;they compel one to recall concealed memories. &nbsp;The visual effects trigger that part of us that creates a complex feeling instead of a tale, without the viewer being aware of the initial inspiration behind the painting. &nbsp;In other words, the viewer's subconscious automatically engages with the artist's suggestion of a certain existential mood.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Rezi van Lankveld&nbsp;(1973, Almelo, NL)&nbsp;studied at the Jan van Eyck Academie and at the Gerrit Rietveld Academie. She had, amongst others, exhibitions at Spatiu Intact, Cluj-Napoca (2014), the Approach, London (2013), Centro per l'arte contemporanea Luigi Pecci, Prato (2013), De Nederlandse Bank, Amsterdam (2013),&nbsp;Petzel Gallery, New York (2010 and 2007), Contemporary Art Museum, St. Louis (2009),&nbsp;Museum van Loon, Amsterdam (2006/2007), GEM Museum Voor Actuele Kunst, Den Haag (2006/2007),&nbsp;Museum Kunst palast, Dusseldorf (2005),&nbsp;Kestnergesellschaft, Hannover (2008), Gemeentemuseum Den Haag (2001), Hedah, Maastrischt (2000).&nbsp;Her work is part of the collection of the&nbsp;Stedelijk Museum Amsterdam, Amsterdam; The Rabobank Art Collection, Utrecht; The Art Collection of the University of Chicago Booth School of Business, Chicago; Zabludowicz Collection, London and New York. Van Lankveld won the prestigious prize: The&nbsp;Royal Award for Modern Painting (2001).</p> Mon, 23 Nov 2015 17:55:49 +0000 Sarah Pichlkostner - Annet Gelink Gallery - November 27th - January 16th, 2016 <p style="text-align: justify;">Annet Gelink Gallery proudly presents&nbsp;<em>M: I have two rooms</em><strong><em>;&nbsp;</em></strong><em>L: I have seen from different windows&nbsp;</em>Sarah Pichlkostner's (1988, Salzburg) first exhibition in the Bakery. In this installation the viewer faces contrasting aesthetics: softness and fragility mix with sharpness and edginess.</p> <p style="text-align: justify;">Pichlkostner has been researching the behavior of materials in her body of work for several years. Her working method always begins with examination and analysis of the materials used for her art works. For the first time in her career, Pichlkostner, here, experiments with the inclusion of water and light as equal partners to the other everyday materials used in this site-specific installation.</p> <p style="text-align: justify;">These objects extend further than their material limits, such as form and dimension, they are considered as characters. The specific manifestation of an object can only be fully grasped when taking into account the effects of the particular implications of production, material, perception, exhibition space and social behavior on us. At the same time, we have an effect on these elements as well as being effected by them. Within a certain setting or environment, they engage in a dialogue with the space, each other and the viewer. These objects, placed together in one space, are connected through this given surrounding: they are interrelated and inhabit the space to a level where one has to ask, is it the viewer looking at the objects or rather the other way around?</p> <p style="text-align: justify;">The title,&nbsp;<em>M: I have two rooms</em><strong><em>;&nbsp;</em></strong><em>L: I have seen from different windows,</em>&nbsp;refers to this dialogue between multiple characters from different time and space. Their engagement with each other creates an in-betweenness in time. Focusing on the representation of time (the need of time), space, self-optimalization, productivity, self-reflection and empathy created by objects, Pichlkostner determines the materials and methods of fabricating a setting. For example, here, water and light have an influence on the characters (every object in the room): they both add to and modify the character of the elements of the installation by which the viewer's experience is changing as well.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Sarah Pichlkostner (1988, Salzburg, AT) lives and works in Amsterdam, The Netherlands. Her work has recently had her solo shows at Bar de Bois in Vienna (2014) and at the Royal Academy of Fine Arts, Vienna (2013). This year she has participated in group exhibitions at Josh Lilley Gallery, UK and at the Traklhaus in Salzburg. Furthermore, in 2014 Pichlkostner has received the prestigious grant of de Ateliers in Amsterdam.</p> Mon, 23 Nov 2015 17:52:25 +0000