ArtSlant - Recently added http://www.artslant.com/ams/Events/show en-us 40 Ruud Van Empel, Jeroen Robert Kramer, Jocelyn Lee, Sanja Marusic, Erwin Olaf, Jaap Scheeren, Anoek Steketee, Paolo Ventura - Flatland Gallery - May 27th 3:00 PM - 9:00 PM <p style="text-align: justify;">Upcoming week at the 1<sup>st</sup> edition of <a title="Amsterdam Art Fair" href="http://www.amsterdamartfair.nl" rel="nofollow" target="_self">Amsterdam Art Fair</a>, Flatland Gallery presents "<strong><em>light ruptures poetry</em></strong>" with Ruud van Empel, Jeroen Robert Kramer, Jocelyn Lee, Sanja Maru&scaron;ić, Erwin Olaf, Jaap Scheeren, Anoek Steketee and Paolo Ventura on the AMSTERDAM ART FAIR at Citro&euml;n Garage.</p> <p style="text-align: justify;">Special guest of the gallery is the edgy &lsquo;humanwear&rsquo; fashion house of <a title="MAISON the FAUX" href="http://www.maisonthefaux.com" rel="nofollow" target="_self">MAISON the FAUX</a> consisting of the young talents Joris Suk, Tessa de Boer and Hans Hutting. The arty-fashion hook up is to tease today&rsquo;s art clich&eacute;s about the readymade. Can a true fitting room in the booth allow a conceptual transformation as a consequence of bringing it from the back of the catwalk surroundings to the white cube of the gallery?</p> <p style="text-align: justify;">In the booth of Flatland MAISON the FAUX&rsquo; latest designs have been set up in embarrassing glory. Let your self go in the privacy of the fitting room and take a selfie or try on one of the unique pieces of the HOUSE; but watch out not to step into the buttercream frosted pink cupcake that was tossed on the floor by the fashionista that went in before you!</p> <p style="text-align: justify;">&nbsp;&lsquo;The Fictional House&rsquo;, a rough translation of MAISON the FAUX, is rooted in a great sense of humour and self-mockery, combined with a deep love of fashion. MAISON the FAUX aspires to be an affectionate reaction to the current fashion industry and a big faux wink in the direction of an audience liberated enough to move freely through an often narrow-minded world.</p> <p style="text-align: justify;"><span style="font-size: x-small;">MAISON the FAUX started in July 2013, when designers Joris Suk, Tessa de Boer &amp; Hans Hutting graduated from the department of Fashion Design (BA) at ArtEZ School of the Arts in Arnhem; the birthplace of MAISON the FAUX. After a graduation with honours, MAISON the FAUX participated in the Much, Much collective and stormed off to Paris Fashion Week. A series of guerrilla fashion shows attracted widespread attention, offering a glimpse of the label&rsquo;s unique signature. The fashion show during the Mercedes Benz Fashion Week Amsterdam on 23 January 2014 symbolized the official launch of the couture house MAISON the FAUX. Since the launch MAISON the FAUX designed two collections: &lsquo; It&rsquo;s cleaning day&rsquo; and &lsquo; Make a U-turn if possible&rsquo;. As head of the creative team of MAISON the FAUX, designers Joris Suk, Tessa de Boer &amp; Hans Hutting head the Arnhem-based fashion House. For every season and project MAISON the FAUX collaborates with creative individuals, the so called "Residents" looking to shake up the fashion scene, create room for young designers and to innovate design and production.</span></p> <p style="text-align: justify;"><strong>Flatland Gallery is a Dutch contemporary art gallery, previously based in Utrecht and Paris, and relocated in 2012 to Amsterdam. The gallery is internationally acclaimed (especially) in the field of contemporary photography and has a high reputation for film, video, installations, sculptures, painting and drawings. The success of Flatland Gallery over the last three decades can be attributed to the twin pillars of a cosmopolitan outlook and an independent standpoint. The gallery is defined by championing unknown artists. + </strong></p> <p style="text-align: justify;"><strong>Visitors are looked over by Fauve, the black Flatcoated Retriever.</strong></p> <p><strong>&nbsp;</strong></p> <p><strong>&nbsp;</strong></p> <p align="center">VIP Opening Wed 27 May, 17.00 - 21.00 uur</p> <p align="center">&nbsp;</p> <p align="center">Flatland Gallery@</p> <p align="center"><a href="http://www.amsterdamartfair.nl/" rel="nofollow">AMSTERDAM ART FAIR</a></p> <p align="center">Kunsthal Citro&euml;n</p> <p align="center">27 May - 31 May 2015</p> <p align="center">VIP opening Wed 27 May, 3.00 - 5.00 pm (invitation needed)</p> <p align="center">VIP evening Opening Wed 27 May, 5.00 - 9.00 pm (tickets can be bought at the entrance!!!<span style="text-decoration: underline;">)</span></p> <p align="center">Amsterdamartfair.nl</p> <p><strong>&nbsp;</strong></p> Mon, 25 May 2015 17:21:59 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Ryan McGinley - Kunsthal KAdE - May 30th - August 30th <p style="text-align: justify;"><em>&ldquo;Life is just more exciting with a camera in my hand. Taking pictures feels right, more right than anything else in life. I have to respect and honor the insanity of it all. Photography is where we live. I&rsquo;m going if you&rsquo;re going. This is the road trip. This is how we do it. Join the circus and run away from home. The journey is the destination.&rdquo;&nbsp;</em><br />Ryan McGinley, Purple Fashion #19, 2013</p> <p style="text-align: justify;"><strong><br /><strong>Kunsthal KAdE&rsquo;s new summer exhibition is a major overview of work by American photographer Ryan McGinley (b. 1977, New Jersey, US). The show will include works from every series and period in the photographer&rsquo;s career, from the gritty snapshots of his early life in the urban underworld of late-1990s Manhattan right through to his recent, highly aesthetic &lsquo;road movie&rsquo; photographs of young nudes shot amid the untamed nature of the rural United States.</strong></strong><br /><br />Over the last 15 years, Ryan McGinley&rsquo;s photographs have come to symbolise what is now known as the &lsquo;hipster&rsquo; or &lsquo;indie&rsquo; generation. Ryan McGinley came to adulthood in the late &rsquo;90s, in the then still unruly skateboard and graffiti culture of the Lower East Side area of New York&rsquo;s Downtown Manhattan. He had his first encounter with a camera as a graphic design student in 1997 and immediately began obsessively photographing everything in sight. He was a &lsquo;photoblogger&rsquo; avant la lettre, producing paper &lsquo;zines&rsquo; for distribution among his friends. At first, his pictures showed his own immediate world: friends with whom he partied the night away, the art scene in which he moved, the urban subculture of which he was part, and the music world in which he hung out. He focused on what he saw around him, presenting the sex, the drugs, the high jinks, the petty crime and the night life just as it was. His pictures were shot in living rooms, bathrooms and railway tunnels, on roofs, in cafes and out on the streets.&nbsp;</p> <p style="text-align: justify;">Nudity was always a regular feature, but in the early 00s it became Ryan McGinley&rsquo;s main subject. The shift was triggered by a trip he took to the state of Vermont in 2003. He spent the summer with a group of friends, staying at a holiday home lent to him by a collector friend and took photographs of his companions in its rural surroundings. The nudity of the models, the &lsquo;idyllic&rsquo; landscape and the carefree and ebullient atmosphere of the resulting snapshot-like photographs were to become the components of McGinley&rsquo;s signature style.&nbsp;<br />The relaxed playfulness of the images suggests complete spontaneity. And to some extent the poses were indeed spontaneous. But they always sprang from an idea and a manipulated situation. McGinley compares it to skateboarding, where endless practice is required to make a trick look smooth and completely mastered. At that time, Ryan McGinley was taking hundreds of photographs to find out what worked and how to capture a situation in the most striking image. After that, it was chance, the unexpected, and on-the-spot improvisation that produced &lsquo;the crucial moment&rsquo;: something that resembles Henri Cartier-Bresson&rsquo;s &lsquo;decisive moment&rsquo;, but is the product of a situation generated by endless repetition over time. The images are therefore both staged and spontaneous. &nbsp;<br /><br />The trip to Vermont showed what could be achieved and led the way to five &lsquo;summer road trips&rsquo;, ranging across the United States and producing the images at the heart of McGinley&rsquo;s oeuvre. These trips were undertaken between 2005 and 2010 and involved groups of hipsters travelling in a couple of vans. Initially, the participants were simply McGinley&rsquo;s close friends but later they included models &ndash; preferably &lsquo;ordinary&rsquo;-looking boys and girls &ndash; scouted via studio sessions.<br /><br />For his &lsquo;Moonmilk&rsquo; series, McGinley worked for some time in a cave in Idaho, experimenting with coloured lights in the cavernous spaces. In another series, he photographed fans at Morrissey concerts. Then, around 2010, there was a series of portraits with wild animals. In &lsquo;YEARBOOK&rsquo; &ndash; to be included in the show at Kunsthal KAdE &ndash;McGinley displays hundreds of his studio portraits in the form of an installation covering entire walls.&nbsp;</p> <p style="text-align: justify;">The world of Ryan McGinley is a pseudo-reality: a modern-day paradise that is happy, liberated, carefree, naughty, free-spirited and bohemian. Despite the occasional sharp edge &ndash; the odd bruise or black eye &ndash; it is never dreary or depressing. More like Johan van der Keuken&rsquo;s &lsquo;Wij zijn 17&rsquo; (&lsquo;We are 17&rsquo;) or Ed van der Elsken&rsquo;s &lsquo;Love on the Left Bank&rsquo; than Nan Goldin&rsquo;s grim picture of the Lower East Side underground in the 1980s or Larry Clark&rsquo;s merciless exploration of a self-destructive group of youngsters in Tulsa (Oklahoma) in the 1970s. &nbsp;<br /><br />The varied American landscape that McGinley uses as a setting is not just a backdrop; he sees its presence as a homage to his country&rsquo;s wealth of stunning natural environments. The White Sands desert in New Mexico is one of his favourite places; he returns to it constantly and it has never been omitted from any of his road trips.&nbsp;<br />Movement is a striking feature of his photographs. His models are frequently caught in motion: running, falling, dancing, tumbling, flailing their limbs, swimming or climbing. The action gives the images a cinematic quality. It creates not only a sense of spontaneity, but greater scope for contingency, endowing the photographs with a dynamism impossible to achieve in fully staged fixed poses.&nbsp;<br /><br />The forthcoming overview at Kunsthal KAdE is to include around 50 works on loan from private collections in the Netherlands, England, France, Germany, Belgium, Norway, Austria and Ireland. The &lsquo;YEARBOOK&rsquo; installation will fill a single wall in the main gallery. Sigur Ros&rsquo;s music video &lsquo;Var&uacute;&eth;&rsquo;, directed by Ryan McGinley, can be viewed in the video projection space and a selection of &lsquo;behind the scenes&rsquo; shots will be on display in the separate education area.&nbsp;<br /><br /><em>There&rsquo;s no instruction manual on how to do this, no recipe. It&rsquo;s a puzzle. We&rsquo;ve had to figure all this shit out along the way, inventing it as we go along.&nbsp;</em><br />Ryan McGinley, Purple Fashion #19, 2013</p> <p style="text-align: justify;"><strong>Summary</strong><br />Kunsthal KAdE&rsquo;s new summer exhibition is a major overview of work by American photographer Ryan McGinley (b. 1977, New Jersey, US). The show will include works from every series and period in the photographer&rsquo;s career, from the gritty snapshots of his early life in the urban underworld of late-1990s Manhattan right through to his recent, highly aesthetic &lsquo;road movie&rsquo; photographs of young nudes shot amid the untamed nature of the rural United States. The world of Ryan McGinley is a pseudo-reality: a modern-day paradise that is happy, liberated, carefree, naughty, free-spirited and bohemian. Despite the occasional sharp edge &ndash; the odd bruise or black eye &ndash; it is never dreary or depressing. Movement is a striking feature of his photographs. His models are frequently caught in motion: running, falling, dancing, tumbling, flailing their limbs, swimming or climbing. The varied American landscape that McGinley uses as a setting is not just a backdrop; he sees its presence as a homage to his country&rsquo;s wealth of stunning natural environments. The forthcoming overview at Kunsthal KAdE is to include around 50 works on loan from private collections in the Netherlands, England, France, Germany, Belgium, Norway, Austria and Ireland. The &lsquo;YEARBOOK&rsquo; installation will fill a single wall in the main gallery. Sigur Ros&rsquo;s music video &lsquo;Var&uacute;&eth;&rsquo;, directed by Ryan McGinley, can be viewed in the video projection space and a selection of &lsquo;behind the scenes&rsquo; shots will be on display in the separate education area.&nbsp;</p> Tue, 26 May 2015 13:02:05 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Letha Wilson - GRIMM Gallery - June 6th - July 18th Tue, 26 May 2015 13:02:08 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Dustin Pevey - Galerie Gabriel Rolt - May 23rd - June 20th <p style="text-align: justify;"><strong>Galerie Gabriel Rolt proudly presents, <em>Which character from LOST are you?</em>, the first solo exhibition of Dustin Pevey at Galerie Gabriel Rolt.&nbsp;</strong><strong>The exhibition opens saturday May 23rd, 17.00hrs</strong></p> <p style="text-align: justify;"><strong>Dustin Pevey</strong> (1980 (Texas, USA) Lives and works in Brooklyn, New York &amp; Marfa, Texas) is a process-oriented abstract painter who&rsquo;s canvases are layered with paint, digital compositions, and found images derived from the mundane visuals of everyday life in the twenty-first century. His paintings are often populated by jpegs of trending internet imagery, advertisements, logos, and other detritus from both the digital and physical world that he inhabits. Taken out of context these elements obscure one another seemingly evoking the feelings of distraction, disillusionment, and confusion of life mediated by overlapping objects and information. Pevey&rsquo;s work has been presented in solo exhibitions at Retrospective Gallery in Hudson, New York; Marfa Book Company in Texas, and Bill Brady Miami, as well as a two person exhibition at Galeria Massimo Audiello in Mexico City. His work has also been shown in group exhibitions at Galerie Gabriel Rolt, Johannes Vogt Gallery in New York, and Angstrom Gallery in Los Angeles. Pevey&acute;s work is held in the collection of Charles Saatchi, Stanley Hollander, Nerman Museum of contemporary art.</p> Wed, 20 May 2015 11:21:44 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Stephan Balkenhol - Galerie Akinci - May 30th - July 11th <p style="text-align: justify;" align="justify"><span style="color: #333333; font-size: small; font-family: arial, helvetica, sans-serif;">As one of the most important sculptors of his generation, Stephan Balkenhol&rsquo;s (1957, Fritzlar, Germany) predominately figurative works have influenced the contemporary idea of sculpture in an enduring way. Lodged in the temporal and stylistic continuity that extends from ancient Egypt, through medieval polychrome wood statuary to Renaissance portraiture, his archetypical figures, usually carved out of one massive block of wood, are a kind of twenty-first century &ldquo;every man&rdquo; or &ldquo;every woman.&rdquo; Neither idealized nor individualized&mdash;frozen in mundane postures, representing nobody in particular&mdash;the figures do not seek to impose or represent. Instead, the lightness, appeal, and simplicity emerging from the wood give them an enigmatic presence, unpretentious in their character of play.</span><span style="font-family: arial, helvetica, sans-serif; font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">With Balkenhol&rsquo;s work, one is encouraged to observe. There is no pathos speaking from the figures&rsquo; gestures and expressions&mdash;every emotion would already be a reading which would pin down the figure&mdash;and as they are only what they are, they become astonishingly open for the viewer, liberated from all political, religious or allegorical implications, free in their<em>&nbsp;own</em>&nbsp;reality; one that, though in a way seemingly &ldquo;not of this world,&rdquo; still belongs to our present.</span><span style="font-family: arial, helvetica, sans-serif; font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">As Balkenhol himself comments, his figures are, in some way, &ldquo;exactly like us,&rdquo; as they &ldquo;say a lot and nothing.&rdquo; The wood corresponds to the tempo of Balkenhol&rsquo;s thoughts and labour. It is both resistant and alive material that can be researched in the process of chiselling. The sculptural possibilities are, in a way, already hidden in the wood of the tree trunk.</span></p> <p style="text-align: justify;"><span style="font-family: arial, helvetica, sans-serif; font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-family: Calibri; font-size: small;"><em><span style="font-size: small; font-family: arial, helvetica, sans-serif;">Stephan Balkenhol, who studied at the Hochschule f&uuml;r Bidende K&uuml;nste in Hamburg in the class of Ulrich R&uuml;ckriem, has exhibited widely in galleries and museums around the globe, including major solo exhibitions at the Austrian Landesgalerie Linz (2014-2015), Kunstmuseum Ravensburg (2014), Skulpturenpark Waldfrieden in Wuppertal (2014,)Mus&eacute;e de Grenoble (2010-2011), Deichtorhallen Hamburg (2008-2009), Staatliche Kunsthalle Baden/Baden (2006), the National Museum of Art, Osaka/Tokyo (2005), Fries Museum Leeuwarden (2001), and the Hirshhorn Museum and Sculpture Garden, Washington D.C. (1995). He has made a number of sculptures for the public space throughout Europe; e.g. Germany, France and the Netherland</span>s. Balkenhol was recently awarded the French Order of Arts and Letters (2014).</em></span></p> Sun, 24 May 2015 16:54:50 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Hisachika Takahashi, Yuki Okumura - Annet Gelink Gallery - May 28th - July 11th <div class="description"> <p style="text-align: justify;">Annet Gelink Gallery proudly presents <em>Hisachika Takahashi annotated by Yuki Okumura: Memory of Past and Future Memory</em>, which presents a continuation of the collaboration between the younger and older Japanese artists, following their joint project during Okumura&rsquo;s residency at WIELS, 2013. Focusing on Takahashi&rsquo;s work and life, as annotated by Okumura&rsquo;s gestures, the exhibition revolves around how memory can go beyond personal identities and material realities. Furthermore, the show also delves into questions surrounding authorship, art making, and exhibition format. </p> <p style="text-align: justify;">Both artists address reality, authorship and collaboration in different ways. Often taking memory as a starting point for collaboration, Takahashi approaches how our personal vision and relations to others impact our interpretation and connection to reality. In many ways it reflects his personal life, in which interactions with other artists have been integral since the mid-60s. Okumura on the other hand looks at how language shapes our interpersonal and social realities. Often referencing to other artists&rsquo; work, his artistic position resembles that of a translator, ghostwriter, editor, or curator. Both artists&rsquo; approaches merge into one whole in the show. </p> <p style="text-align: justify;">The starting point of the show is Okumura&rsquo;s intervention on a fragment of a 1969 painting by Takahashi, which he had first given to Robert Rauschenberg. Takahashi has gifted the fragment to Okumura and invited him to collaborate beyond space and time. Both Takahashi&rsquo;s act of gifting the fragment and Okumura&rsquo;s response in approaching the story and history behind it, rather than the painting itself, indicate the artistic attitudes that run throughout the show. </p> <p style="text-align: justify;">Serving as an &ldquo;annotation&rdquo; in the whole narration of the show is Okumura&rsquo;s new video work. It presents his dialogue with Daniel Baumann (chief curator of Kunsthalle Zurich). In response to Baumann&rsquo;s blog post titled "Who is Hisachika Takahashi?," Okumura attempts to re-enact Takahashi&rsquo;s practice in the form of an interview, where memorizing someone else&rsquo;s memory plays a critical role. </p> <p style="text-align: justify;">On view on the back wall of the gallery is Takahashi&rsquo;s work <em>3015 Calendar.</em> In 1972, Takahashi transferred images from various readymade calendars of that year onto 12 sheets of large paper, in order to make a calendar for the year 2000. He was inspired to do so by the fact that the year 2000 would be the first year in the future to have the same calendar as 1972. Takahashi returned to the work in 2015 and used the paper to create another calendar that applies to one thousand years in the future. This time, Takahashi parleys with his fantasy that he will be still alive, at 1075 years old. The twelve drawings will be complete in collaboration with the viewer, who fantasizes his or her future appointments. </p> <p style="text-align: justify;">The exhibition continues in the Bakery with <em>Memory of No Memory</em>, a serial project executed by Takahashi in 1973, dedicated to his beloved red hunting hat, which he replaced every six months from July 1970 through June 1976. Created by means of frottage with pencil and crayon, each drawing affectionately and variously portrays his past, present, or future red hat, which he had or would have worn, lost, found, misplaced, and replaced time and again. </p> <p style="text-align: justify;">Through the layers of different interactions and re-interpretations, the exhibition is overall a show about human life and creativity, established by past and future memory. By posing the question who we are and what our (shared) memories mean over time <em>Hisachika Takahashi annotated by Yuki Okumura: Memory of Past and Future Memory </em>posits that mortality or individuality does not always have to be the final answer.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Hisachika Takahashi </p> <p style="text-align: justify;">Hisachika Takahashi was born in 1940 in Tokyo and he currently lives and works in Vermont and Paris. Selected solo exhibitions include shows at Wide White Space in Antwerp, 112 Greene Street (later renamed White Columns) in New York, Tampa Museum of Art in Tampa,&nbsp;Project Room of WIELS Contemporary Art Centre in Brussels and Sean Kelly Gallery in New York. He has participated in group exhibitions in several museums and institutions, such as Museum of Modern Art in New York and Musee Galliera in Paris among others. He had also been an assistant of Robert Rauschenberg from 1969 to 2008. </p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Yuki Okumura </p> <p style="text-align: justify;">Yuki Okumura was born in 1978 in Aomori and he currently lives and works in Brussels and Maastricht. Recent solo exhibitions include shows at MISAKO &amp; ROSEN in Tokyo, HEDAH in Maastricht and Aichi Prefectural Museum of Art in Aichi. He has participated in numerous group exhibitions in museums and institutes, such as WIELS Contemporary Art Centre in Brussels, Mori Art Museum in Tokyo and DiverseWorks in Houston, among others. He also works as a translator between Japanese and English in the field of contemporary art.</p> </div> Tue, 26 May 2015 13:02:01 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Jan Sluijters, Isaac Israels, Charlotte van Pallandt, Jan Toorop, Carel Willink - De Hallen Haarlem - June 6th - August 30th <p style="text-align: justify;">Where do artists get their inspiration? Not infrequently from muses: individuals who have special significance for them. In antiquity, the Nine Muses were divine beings: in the centuries that followed they took on an earthly and human form. The new exhibition in De Hallen Haarlem Summer Series examines which muses - women as well as men, mothers and lovers, fellow artists and children &ndash; have been significant for modern Dutch art. Individuals who inspired by their unusual personality, their enchanting body, their artistic expressions or their intimate relationship with the artist. A broad range of paintings, photographs, films and spatial works from the 19th and 20th centuries, complemented by outstanding works of art from our own time, explore how the role of the Muse kept on inspiring new insights and shapes. A major exhibition with works by Jan Sluijters, Isaac Israels, Charlotte van Pallandt, Jan Toorop, Carel Willink and many others</p> <hr /> <p style="text-align: justify;">Hoe komen kunstenaars aan hun inspiratie? Niet zelden dankzij muzen: personen die een uitzonderlijke betekenis voor hen hebben. In de Oudheid waren de Negen Muzen goddelijke wezens, in de eeuwen daarna namen ze een aardse en menselijke vorm aan. De nieuwe tentoonstelling in De Hallen Haarlem Zomerserie onderzoekt welke muzen &ndash; vrouwen maar ook mannen, moeders en minnaars, collega-kunstenaars en kinderen &ndash; van betekenis waren voor de moderne Nederlandse kunst. Personen die inspireerden door hun ongebruikelijke persoonlijkheid, hun betoverende lichaam, hun artistieke uitingen, dan wel hun intieme band met de kunstenaar. Met een breed scala aan schilderijen, fotowerken, films en ruimtelijke kunstwerken uit de 19de en 20ste eeuw, aangevuld met opmerkelijke kunstwerken uit onze eigen tijd, wordt&nbsp; verkend hoe de rol van de Muze telkens weer inspireerde tot nieuwe inzichten en vormen. Een omvangrijke tentoonstelling met werken van Jan Sluijters, Isaac Israels, Charlotte van Pallandt, Jan Toorop, Carel Willink en vele anderen.</p> Wed, 20 May 2015 11:15:21 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Fiona Mackay, Cornelius Quabeck - Martin Van Zomeren - May 23rd - July 18th <p style="text-align: justify;">What's with all the black?<br />What black?</p> <p style="text-align: justify;">I just made some paintings that look black but they are not.<br />Turns out they are pretty much impossible to photograph.<br />There&rsquo;s not so much daylight in my studio.</p> <p style="text-align: justify;">You seem to be working in a bright studio.</p> <p style="text-align: justify;">My studio is pretty bright even without direct sunlight.</p> <p style="text-align: justify;">I never work at night unless it's summer.</p> Sun, 24 May 2015 10:56:21 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Semâ Bekirovic - Stigter van Doesburg - May 2nd - June 20th Wed, 20 May 2015 11:03:42 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Florian and Michaël Quistrebert, nathan azhderian, Mike Pratt, Just Quist, S.L. Martínez - Galerie Juliètte Jongma - May 16th - June 13th <p style="text-align: justify;">touchy-feely (ˈtʌtʃɪˈfiːlɪ)<br />adj<br />1. openly displaying one's emotions and affections&nbsp;ˈtouchy-ˈfeeliness</p> <p style="text-align: justify;"><em>touchy feely</em>&nbsp;is an exhibition about the visual and sensual attractiveness expressed on the flat surface by six contemporary male artists. The group exhibition displays a range of art works with a strong allure, evoking a feeling of wanting to be touched groped or even scratched.<br /><br />An exhibition at the MAC/VAL Musee d&rsquo;Art Contemporain in the outskirts of Paris, currently on view, questions and represents masculinity in the 21st century. The works exhibited offer new ways of thinking about the male artist and the masculine presence in contemporary art and society, giving a broader perspective on gender roles.<br /><br />The show at gallery Juliette Jongma brings to light similar concerns. The ongoing search for new ways of manifesting on the flat surface, results in bold gestures mixed with fragile endings.<br /><br /><em>Overlight Chrome 4</em>&nbsp;by Florian &amp; Michael Quistrebert reflects this contrasting energy with materialistic heaviness, shine and fragility. Confronting the viewer with a conspicuous presentation of luminous silver chrome paint and bright white led lights. The choice of materials used in the works, such as car-paint and pigments, provokes thoughts about the meaning of the skin of painting, in a culture where the skin or surface has grown to a primary locus for temptation - the flimsy place where the erotic manifests.<br /><br />The perfectionistic strivings of Just Quist&rsquo;s new Transpire Series are emphasized by soft color patterns and fixed figures, suggesting almost designerly elements into his work. This series introduces works with sharp silhouettes, that are both expressive and controlled at the same<br />time. The artist often uses the parabola figure, drawn from mathematics. All made out of different materials (from modeling paste to polyester) and colors, these art works show a matt, creamy, hard or soft surface.<br /><br />Nathan Azhderian questions or slightly mimics the art world when he takes a rose as the main character of his art work. Memories of Valentines-Day assembled with a shade of International Klein Blue bring a sense of contrast. Azhderian highly pleases our visual senses with broken mirrors, hot pink colors and a shiny finishing. The artist is attracted to familiar materials, such as aluminium foil or polyester, by emphasizing the cheap sentiment of these materials, his works are strongly appealing to our emotions.</p> <p style="text-align: justify;">Mike Pratt takes on a narrative approach in his art work, through the making of wax moulds of round garden tables. The shape is reminiscent of ancient greek<em>Tondi</em>, circular paintings that later attracted renaissance painters like Botticelli and Michelangelo as well. Pratt&rsquo;s Tondi interpretations are big round abstract surfaces which turn more pragmatic when realistic objects, like grapes, appear in the d&eacute;cor. His works are, despite their layers and broad connotations, frank and simple gestures.</p> <p style="text-align: justify;">The effort of the painter becomes apparent in the artwork of S.L Martinez when he recreates the structure of the backside of the canvas. He carefully carves the shapes on the underlayment with thick carbon paper, which he densely paints in soft and pastel colors, metamorphosing the canvas- construction into the subject. The color shades derive a particular sensitivity in the works, that conflict with the thick, sculptural layers of paint, tempting the viewer to touch.</p> Tue, 26 May 2015 13:03:21 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Benjamin Forster - de Appel Arts Centre - May 22nd - June 28th <p style="text-align: justify;">Reading (deappel.nl) (2015) unravels through a recurring fade in and fade out of words. Based on an algorithm which randomly selects snippets of text, the work emphasises the speed of online movement, forging us to slow down. Through its tacit pace, it draws attention to aspects of hypertextuality, amassing to a form of poetry innate to the online environment. The work is accessible via the Stedelijk Museum website and will travel to the website of de Appel arts centre (www.deappel.nl), expanding the ideas of (the museum)space. The notion of time is challenged, not only through the pace of the appearing words, but also due to the fact that the performance starts at 8pm in different time zones, allowing an intercontinental audience witness the intervention on the website, either accidentally or on purpose. <br /><br />The performance takes place in the context of the exhibition <a href="http://www.artslant.com/ams/events/show/384266-your-time-is-not-my-time" target="_blank"><em>Your Time Is Not My Time</em></a>, which is part of the <em>Curatorial Programme Final Project</em>, on view at de Appel arts centre from May 23 until June 28. This show revolves around the radical change of the conditions of visuality. How images have shifted from the personal realm to a currency in cybernetic participation, where the value or/and power resides in being seen. This new visual economy has blurred the lines between producers and audience, enlarging the concept of authorship. A version of Benjamin Forster&rsquo;s work will be on view at the website of de Appel arts centre for the duration of the exhibition.</p> <div class="toggle-inner" style="display: block;"> <div class="more"> <p style="text-align: justify;"><strong>About the artist</strong></p> <p style="text-align: justify;">Benjamin Forster (1985, Australia) is a media artist who has brought together digital technologies, drawing, installation and print to trace the boundaries of logic, economy and language. Forster was the winner of the 2010 Fremantle Arts Centre Print Award Non-Acquisitive prize in Australia. He received a Bachelor of Visual Arts with First Class Honours from the Australian National University in 2008 and has participated in residencies at the Perth Institute of Contemporary Arts, the Museum of Contemporary Art Australia in Sydney and HIAP in Helsinki.<br /><br />Credits<br />Benjamin Forster<br />Reading (stedelijk.nl).<br />online performance, website Stedelijk Museum Amsterdam, May 21, 8pm-10pm<br />Reading (deappel.nl).<br />online durational performance, website de Appel arts centre, May 22 &ndash; June 28 <br /><br />This performance is co-curated by Barbara Cueto, Bas Hendrikx, LIan Ladia, who are participants of the Curatorial Programme 2014-15 of de Appel arts centre, in collaboration with the Stedelijk Museum Public Program.</p> <p style="text-align: justify;">The Curatorial Programme is a 10-month long training programme for young, international curators, which has been organized by de Appel arts centre since 1994. This year, de final project of the Curatorial Programme consists of two exhibitions: <em>Spell to Spelling ** Spelling to Spell</em> and <em>Your Time Is Not My Time</em>, on view from 23 May until 28 June, 2015.</p> <hr /> <p style="text-align: justify;"><em>Reading</em> (deappel.nl) (2015) ontvouwt zich door het continu verschijnen en verdwijnen van woorden. Op basis van een algoritme dat willekeurige tekstfragmenten selecteert, benadrukt het werk de snelheid van online processen. Door middel van tekst, dwingt de performance ons het tegenovergestelde te doen: de tijd nemen. Met het opgelegde tempo wordt de aandacht gericht op aspecten van hypertextualiteit, wat leidt tot een vorm van po&euml;zie die uniek is voor de online omgeving. Het werk is toegankelijk via de website van het Stedelijk Museum en zal vervolgens doorreizen naar de website van de Appel, om zo het idee van (de museum)ruimte te verbreden. Ook het concept van tijd wordt op de proef gesteld: niet alleen door het tempo waarin de woorden verschijnen, maar ook door het feit dat de performance in verschillende tijdzones om acht uur 's avonds begint, waardoor een intercontinentaal publiek getuige kan zijn van de interventie op de website &ndash; hetzij toevallig, hetzij bewust.<br /><br />De performance vindt plaats in het kader van de tentoonstelling <em>Your Time is Not My Time</em>, onderdeel van het <em>Curatorial Programme Final Project</em> in de Appel arts centre (22 mei &ndash; 28 juni 2015). De tentoonstelling gaat in op de radicaal veranderde situatie rondom het visuele: hoe beelden die eens tot het domein van ons persoonlijke leven behoorden een soort valuta zijn geworden voor deelname aan het cybernetische leven, waar gezien worden hun waarde en/of macht bepaalt. Deze nieuwe visuele economie heeft de scheidslijn vervaagd tussen makers en publiek, en daardoor het concept van auteurschap verder opgerekt. Gedurende de tentoonstelling zijn versies van het werk van Benjamin Forster te zien op <a href="http://www.deappel.nl" target="_blank">www.deappel.nl</a> de website van de Appel.</p> <div class="toggle-inner" style="display: block;"> <div class="more"> <p style="text-align: justify;">Over de kunstenaar<br />Benjamin Forster (1985, Australi&euml;) is een mediakunstenaar die in zijn werk digitale technieken, tekeningen, installaties en drukwerk samenbrengt om de grenzen van logica, economie en taal af te tasten. Forster was de winnaar van de 2010 Fremantle Arts Centre Print Award Non-Acquisitive Prize in Australi&euml;. Hij behaalde in 2008 een BA in beeldende kunst met de hoogste distinctie aan de Australian National University en nam deel aan residencies aan het Perth Institute of Contemporary Arts, het Museum of Contemporary Art Australia in Sydney en HIAP in Helsinki.<br /><br />Credits<br />Benjamin Forster<br />Reading (<a href="http://www.stedelijk.nl" target="_blank">stedelijk.nl</a>) <br />online performance, website Stedelijk Museum Amsterdam, 21 mei 2015<br />Reading (<a href="http://www.deappel.nl" target="_blank">deappel.nl</a>)<br />online duuronderscheid presentatie, website de Appel arts centre, 22 mei &ndash; 28 juni 2015 <br /><br />Dit programma is mede-samengesteld door Barbara Cueto, Bas Hendrikx en Lian Ladia, deelnemers aan de Appel Curatorial Programme 2014-15, in samenwerking met het Public Program van het Stedelijk Museum.</p> <p style="text-align: justify;">De Appel Curatorial Programme is een opleiding van tien maanden voor jonge, internationale curatoren. Dit jaar bestaat het eindproject van het Curatorial Programme uit twee tentoonstellingen: <em>Spell to Spelling ** Spelling to Spell</em> en <em>Your Time Is Not My Time</em>, te zien van 23 mei tot 28 juni 2015.</p> </div> </div> </div> </div> Wed, 20 May 2015 11:01:31 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Kasper Akhøj, Otto Berchem, Dora Garcia, Maria Pask, Susan Philipsz - Ellen de Bruijne Projects - May 23rd - July 4th Wed, 20 May 2015 10:59:02 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Group Show - de Appel Arts Centre - May 22nd - June 28th <div class="ap-whitebox-body description"> <p style="text-align: justify;">You are cordially invited to the opening of the <a href="http://deappel.nl/visit/programme/activity/?id=931" rel="nofollow" target="_blank">final project of the Curatorial Programme 2014 - 2015 </a>with two exhibitions: Spell to Spelling ** Spelling to Spell and Your Time Is Not My Time. The exhibitions are on show until the 28th of June.<br /><br />During the opening a storytelling performance by David Bernstein will take place in the library of de Appel arts centre from 7 - 9 pm.</p> <div class="toggle-inner" style="display: block;"> <div class="more"> <p style="text-align: justify;">Spell to Spelling ** Spelling to Spell emerges in the spaces between the linguistic and associative relations of the notions of the spell and the spelling. Participating artists, interpreters, archaeologists, scientists, historians, pilgrims, butchers and crossword experts include: David Bernstein (US), Francisco Camacho (CO), Alberto De Michele (IT), Christian Fogarolli (IT), Ola Lanko (UA), Martin La Roche (CL), Myriam Lefkowitz (FR), Charles Matton (FR), Robertas Narkus (LT), Ossip (NL).<br /><br /><em>Your Time Is Not My Time</em> deals with the blurred boundaries between audience and producer, exploring an expansive (or disappearing) notion of authorship. Participating artists include: Keren Cytter (IL), Lav Diaz (PH), Benjamin Forster (AU), Andr&eacute;s Galeano (ES), Riley Harmon (US), Tilman Hornig (DE), Metahaven (NL), Alexandra Navratil (CH), Sam Smith (AU), Wu Tsang (US), Bruno Zhu (PT).<br /><br />The exhibitions are accompanied by an extensive public programme that includes a series of talks, workshops, performances and film screenings. The public programme takes place at different locations, between May 17 and June 28. The first two event will take place in collaboration with the Stedelijk Museum. For the full list and updates, please see&nbsp;<a href="http://deappel.nl/visit/programme/future" rel="nofollow" target="_blank">http://deappel.nl/visit/programme/future</a>.</p> <p style="text-align: justify;"><strong>With thanks to</strong>&nbsp;Ammodo, VSBfonds, Fonds 21</p> <p style="text-align: justify;"><strong>Curators</strong><br />The exhibitions, public programme and catalogue are curated by the six participants of the Curatorial Programme 2014-2015: Barbara Cueto, Bas Hendrikx, Chiara Ianeselli, Inga L&atilde;ce, Lian Ladia, Rani Lavie.<br /><br /><strong>About the Curatorial Programme</strong><br />Initiated in 1994 as an in-house international training trajectory for young curators, the Curatorial Programme of de Appel arts centre offers its participants hands-on experience and skills for the further development of their professional career. Each year the programme culminates with the collective development of a final project at de Appel arts centre.<br /><br />Opening hours exhibition Tuesday to Sunday from 11 to 6pm.</p> <hr /> <div class="intro"> <p style="text-align: justify;">U bent van harte uitgenodigd voor de opening van het&nbsp;<a href="http://deappel.nl/visit/programme/activity/?id=931" rel="nofollow" target="_blank">eind project van het Curatorial Programme 2014 - 2015&nbsp;</a>&nbsp;met twee tentoonstellingen: Spell to Spelling ** Spelling to Spell en Your Time Is Not My Time. De tentoonstellingen zijn te zien tot en met 28 Juni.</p> <p style="text-align: justify;">Tijdens de opening is er een storytelling performance van David Bernstein in de bibliotheek van de Appel arts centre van 19 - 21 uur.</p> <p style="text-align: justify;">Spell to Spelling ** Spelling to Spell gaat in op de lingu&iuml;stische en associatieve verbanden tussen de begrippen &lsquo;spell&rsquo; (een spreuk, bezwering) en &lsquo;spelling&rsquo; (het spellen).&nbsp;<br />Deelnemende kunstenaars: David Bernstein (US), Francisco Camacho (CO), Alberto De Michele (IT), Christian Fogarolli (IT), Ola Lanko (UA), Martin La Roche (CL), Myriam Lefkowitz (FR), Charles Matton (FR), Robertas Narkus (LT), Ossip (NL).<br /><br />Your Time Is Not My Time onderzoekt de vervagende grenzen tussen het publiek en de maker, waarbij het steeds breder wordende (of misschien juist vernauwde) idee van auteurschap onder de loep wordt genomen. Deelnemende kunstenaars: Keren Cytter (IL), Lav Diaz (PH), Benjamin Forster (AU), Andr&eacute;s Galeano (ES), Riley Harmon (US), Tilman Hornig (DE), Metahaven (NL), Alexandra Navratil (CH), Sam Smith (AU), Wu Tsang (VS), Bruno Zhu (PT).</p> <p style="text-align: justify;"><strong>Met dank aan&nbsp;</strong>Ammodo, VSBfonds, Fonds 21<br /><br />De tentoonstellingen gaan gepaard met een uitgebreid publieksprogramma met onder andere lezingen, workshops, performances en filmscreenings. Het publieksprogramma vindt plaats op verschillende locaties. Het eerste twee events vindt plaats in samenwerking met het Stedelijk Museum. Voor een volledige lijst en updates, zie <a href="http://deappel.nl/visit/programme/future" rel="nofollow" target="_blank">http://deappel.nl/visit/programme/future</a>. <br /><br /><strong>Curatoren</strong><br />De tentoonstellingen, het publieksprogramma en de publicatie zijn samengesteld door de zes deelnemers van het Curatorial Programme 2014-2015: Barbara Cueto, Bas Hendrikx, Chiara Ianeselli, Inga L&atilde;ce, Lian Ladia en Rani Lavie.<br /><br /><strong>Over het Curatorial Programme</strong><br />Sinds 1994 organiseert de Appel arts centre het Curatorial Programme. Dit programma biedt jonge, internationale tentoonstellingsmakers een scala aan praktische ervaringen en vaardigheden waarmee zij hun professionele carri&egrave;re verder kunnen ontwikkelen. Het programma duurt 10 maanden en sluit ieder jaar af met een gezamenlijk eindproject dat door de deelnemers wordt ontwikkeld.</p> </div> </div> </div> </div> Wed, 20 May 2015 10:56:34 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Group Show - de Appel Arts Centre - May 22nd - June 28th <p style="text-align: justify;">You are cordially invited to the opening of the <a href="http://deappel.nl/visit/programme/activity/?id=931" target="_blank">final project of the Curatorial Programme 2014 - 2015 </a>with two exhibitions: Spell to Spelling ** Spelling to Spell and Your Time Is Not My Time. The exhibitions are on show until the 28th of June.<br /><br />During the opening a storytelling performance by David Bernstein will take place in the library of de Appel arts centre from 7 - 9 pm.</p> <div class="toggle-inner" style="display: block;"> <div class="more"> <p style="text-align: justify;">Spell to Spelling ** Spelling to Spell emerges in the spaces between the linguistic and associative relations of the notions of the spell and the spelling. Participating artists, interpreters, archaeologists, scientists, historians, pilgrims, butchers and crossword experts include: David Bernstein (US), Francisco Camacho (CO), Alberto De Michele (IT), Christian Fogarolli (IT), Ola Lanko (UA), Martin La Roche (CL), Myriam Lefkowitz (FR), Charles Matton (FR), Robertas Narkus (LT), Ossip (NL).<br /><br /><em>Your Time Is Not My Time</em> deals with the blurred boundaries between audience and producer, exploring an expansive (or disappearing) notion of authorship. Participating artists include: Keren Cytter (IL), Lav Diaz (PH), Benjamin Forster (AU), Andr&eacute;s Galeano (ES), Riley Harmon (US), Tilman Hornig (DE), Metahaven (NL), Alexandra Navratil (CH), Sam Smith (AU), Wu Tsang (US), Bruno Zhu (PT).<br /><br />The exhibitions are accompanied by an extensive public programme that includes a series of talks, workshops, performances and film screenings. The public programme takes place at different locations, between May 17 and June 28. The first two event will take place in collaboration with the Stedelijk Museum. For the full list and updates, please see&nbsp;<a href="http://deappel.nl/visit/programme/future" target="_blank">http://deappel.nl/visit/programme/future</a>.</p> <p style="text-align: justify;"><strong>With thanks to</strong>&nbsp;Ammodo, VSBfonds, Fonds 21</p> <p style="text-align: justify;"><strong>Curators</strong><br />The exhibitions, public programme and catalogue are curated by the six participants of the Curatorial Programme 2014-2015: Barbara Cueto, Bas Hendrikx, Chiara Ianeselli, Inga L&atilde;ce, Lian Ladia, Rani Lavie.<br /><br /><strong>About the Curatorial Programme</strong><br />Initiated in 1994 as an in-house international training trajectory for young curators, the Curatorial Programme of de Appel arts centre offers its participants hands-on experience and skills for the further development of their professional career. Each year the programme culminates with the collective development of a final project at de Appel arts centre.<br /><br />Opening hours exhibition Tuesday to Sunday from 11 to 6pm.</p> <hr /> <div class="intro"> <p style="text-align: justify;">U bent van harte uitgenodigd voor de opening van het&nbsp;<a href="http://deappel.nl/visit/programme/activity/?id=931" target="_blank">eind project van het Curatorial Programme 2014 - 2015&nbsp;</a>&nbsp;met twee tentoonstellingen: Spell to Spelling ** Spelling to Spell en Your Time Is Not My Time. De tentoonstellingen zijn te zien tot en met 28 Juni.</p> <p style="text-align: justify;">Tijdens de opening is er een storytelling performance van David Bernstein in de bibliotheek van de Appel arts centre van 19 - 21 uur.</p> <p style="text-align: justify;">Spell to Spelling ** Spelling to Spell gaat in op de lingu&iuml;stische en associatieve verbanden tussen de begrippen &lsquo;spell&rsquo; (een spreuk, bezwering) en &lsquo;spelling&rsquo; (het spellen).&nbsp;<br />Deelnemende kunstenaars: David Bernstein (US), Francisco Camacho (CO), Alberto De Michele (IT), Christian Fogarolli (IT), Ola Lanko (UA), Martin La Roche (CL), Myriam Lefkowitz (FR), Charles Matton (FR), Robertas Narkus (LT), Ossip (NL).<br /><br />Your Time Is Not My Time onderzoekt de vervagende grenzen tussen het publiek en de maker, waarbij het steeds breder wordende (of misschien juist vernauwde) idee van auteurschap onder de loep wordt genomen. Deelnemende kunstenaars: Keren Cytter (IL), Lav Diaz (PH), Benjamin Forster (AU), Andr&eacute;s Galeano (ES), Riley Harmon (US), Tilman Hornig (DE), Metahaven (NL), Alexandra Navratil (CH), Sam Smith (AU), Wu Tsang (VS), Bruno Zhu (PT).</p> <p style="text-align: justify;"><strong>Met dank aan&nbsp;</strong>Ammodo, VSBfonds, Fonds 21<br /><br />De tentoonstellingen gaan gepaard met een uitgebreid publieksprogramma met onder andere lezingen, workshops, performances en filmscreenings. Het publieksprogramma vindt plaats op verschillende locaties. Het eerste twee events vindt plaats in samenwerking met het Stedelijk Museum. Voor een volledige lijst en updates, zie <a href="http://deappel.nl/visit/programme/future" target="_blank">http://deappel.nl/visit/programme/future</a>. <br /><br /><strong>Curatoren</strong><br />De tentoonstellingen, het publieksprogramma en de publicatie zijn samengesteld door de zes deelnemers van het Curatorial Programme 2014-2015: Barbara Cueto, Bas Hendrikx, Chiara Ianeselli, Inga L&atilde;ce, Lian Ladia en Rani Lavie.<br /><br /><strong>Over het Curatorial Programme</strong><br />Sinds 1994 organiseert de Appel arts centre het Curatorial Programme. Dit programma biedt jonge, internationale tentoonstellingsmakers een scala aan praktische ervaringen en vaardigheden waarmee zij hun professionele carri&egrave;re verder kunnen ontwikkelen. Het programma duurt 10 maanden en sluit ieder jaar af met een gezamenlijk eindproject dat door de deelnemers wordt ontwikkeld.</p> </div> </div> </div> Wed, 20 May 2015 10:53:08 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list