ArtSlant - Closing soon http://www.artslant.com/ams/Events/show en-us 40 Monique Cornelisse - Galerie Noordeinde - December 1st, 2012 - February 15th, 2013 Tue, 11 Dec 2012 08:24:18 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Elza Jo - Cokkie Snoei Rotterdam - January 13th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Elza Jo presents her latest stop motion film, 'Matadora’ alongside a number of photos and photo collages.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">In ‘Matadora’ Elza Jo confronts us with several aspects of bullfighting. With the cruelty and tradition, but also with its beauty. Gracefully she dances in her beautiful, tight bullfighter's costume; she is the epitome of youth and human strength. She dares to battle the black bull, she is the challenger of death.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>Even though<i> to</i></b><b> Elza Jo the cruelty is <i>grave</i></b><b> enough <i>to put an end to</i></b><b> bullfighting, one can also find beauty in the dilemma of the fight. And without dilemmas, there is no beauty, no life and no love. Elza Jo is both matadora <i>and</i></b> bull. She carries the battles with herself.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Elza Jo chose the medium of film to be able to tell a story. The moving image comes and goes, it does not stand still. The amount of images in a film is dizzying. Elza Jo enters in a competition with the material. She gives us a huge amount of intuitive images.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">The starting point is always a photographed black and white self-portrait, a reflection of the reality that she transforms through her collage materials in a constructed, enchanted world.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <div style="text-align: justify;"><span style="font-size: small;"><b>Elza Jo (1981, Amsterdam) has produced successful commissioned photographic series for Dazed KR, MX NYLON, TANK, Vice, the Volkskrant, amongst others. She </b><b>directed</b><b>music </b><b>videos</b> for de Jeugd van Tegenwoordig and Sef.</span></div> Wed, 09 Jan 2013 10:51:15 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Adam Ferriss - Cokkie Snoei Rotterdam - January 13th, 2013 - February 16th, 2013 <div style="text-align: justify;"><span style="font-size: small;">Adam Ferriss presents a selection of four new video works from his series Red 7 Lake.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">Taking advantage of the way in which color is combined and separated, Ferriss’ videos expose new manifestations of light. Each film examines a unique shifting landscape where color and light transgress time.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <p style="text-align: justify;"><span style="font-size: small;">In ‘Discordant Swells’, torrents of rolling waves have been filmed and mutated into a seething mass of fluorescent ichor. ‘Tom’s Boot’ observes the shifting patterns of light and shadow upon the floor of a coastal Eucalyptus forest. ‘Métallon’ was filmed during a transcontinental flight, focussing on the gently passing strata of cloud formations.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <div style="text-align: justify;"><span style="font-size: small;">The process of color separation itself is as old as color photography. The human eye has three kinds of photoreceptors, one each for red, blue, and green. When colored light enters the eye, the brain combines all of this data into one full colored image.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-size: small;">Ferriss has used the color separation process to essentially undo the processes<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></div> <div style="text-align: justify;"><span style="font-size: small;">occurring naturally in the brain, separating each channel out into it’s own discontinuous moment in time.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-size: small;">Ferriss’ practice revolves around process oriented techniques, and aims to discover untraditional methods for seeing. His work strives to be inviting to the viewer, but still obfuscate it’s origins.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></div> <div style="text-align: justify;"></div> <div style="text-align: justify;"><span style="font-size: small;">Adam Ferriss’ photographic work has been exhibited in group exhibitions across the US and has been widely followed on the web. “500 Years Away” at Cokkie Snoei will mark the first time Ferriss’ work has been shown internationally. Adam Ferriss (1988) studied photography at the Maryland Institute College of Art(BFA) in Baltimore, MD. Ferriss lives and works in Los Angeles, CA.</span></div> Wed, 09 Jan 2013 10:53:35 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Imogen Stidworthy - Galerie Akinci - January 19th, 2013 - February 16th, 2013 <p align="JUSTIFY" style="text-align: justify;"><span style="color: #000000;"><span color="#424242" style="font-size: small;"><b>I</b></span><b style="color: #424242; font-size: small;"><span size="2" face="Arial" style="font-family: Arial;">mogen Stidworthy (1963, London) is interested in language and the voice, which she works with as physical and spatial material in her installations, sound works and films. Her work reflects on how we are positioned and how we locate ourselves physically and culturally, through the voice. For her second exhibition at AKINCI, Imogen Stidworthy presents the installation <i>Sacha</i>.</span></b></span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" size="2" color="#424242" style="color: #000000; font-family: Arial; font-size: small;">Her new book (.), published by Matt’s Gallery London and Jan van Eyck Akademie, Maastricht, and designed by Jack Henrie Fisher, will be launched during the opening of the exhibition.</span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" color="#424242" style="color: #000000; font-family: Arial; font-size: small;"><i>Sacha</i> reconfigures elements from Stidworthy’s larger installation, <b>(.)</b> (2011). The sign ‘(.)’ is used by transcribers to indicate a short pause in speech; in <i>Sacha</i> we focus on the figure of Sacha van Loo, whose job of listening to and transcribing wiretap recordings places the voice within the legal framework of auditory surveillance. Having been blind since birth, for him the world is understood mainly through sound; fluent in seven languages, he recognises many different accents and dialects. The intensity with which he listens connects him to others with unusual sensitivity; in his job as a wiretap analyst for Antwerp Police, these powers are part of the bureaucratic process of determining guilt or innocence. He reads into the voice, seeking out its hidden codes and intentions and identifying suspects, blurring the borders between private and public space.</span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" color="#424242" style="color: #000000; font-family: Arial; font-size: small;">In the installation we hear the text-to-speech voice of Sacha’s computer as he searches through his files and catch the murmur of deciphered words as he struggles with a voice recording, apparently in Russian. A splinter of fiction enters the scenario: in Solzhenitsin’s novel ‘In the First Circle’, a group of imprisoned Soviet scientists and linguists are commanded by Stalin to develop two machines, a voice scrambler to protect Stalin’s personal telephone line, designed to turn sense into nonsense, and a voice-printing machine which will enable the KGB to identify people through wiretap recordings of their voices.</span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" color="#424242" style="color: #000000; font-family: Arial; font-size: small;">In 3D laser scan sequences we see glimpses of a back-alley and city trees. The technology behind these images is based on sonar and a principle closer to hearing than to vision, in effect creating less an optical representation, than an infinitely precise mapping of the terrain.</span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" color="#424242" style="color: #000000; font-family: Arial; font-size: small;">An ongoing preoccupation in Stidworthy’s work is with the borders of language. She asks how we experience and conceive of a space where words are unstable, run out, or fail. What other forms of understanding emerge in the face of unreadability, in context, for example, of neurological or emotional conditions, linguistic or cultural differences?</span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" color="#424242" style="color: #000000; font-family: Arial; font-size: small;">Stidworthy’s work has been exhibited in major exhibitions such as Busan Biennial (2012), October Salon (2011), Liverpool Biennial (2010), Documenta 12 (Kassel, DE), 2007), and solo shows at MattsGallery London; (2011, 2006, 2003), The Arnolfini, Bristol, AKINCI, Amsterdam and Kunstpavillon, Innsbruck (2010-11). Stidworthy has curated two exhibitions addressing the borders of language through art works by many artists, which were shown alongside her own work and other materials such as musical notation and censored books: In the First Circle, in collaboration with Paul Domela, at Fundació Antoni Tapiès, Barcelona (2011-12), and Die Lucky Bush at MuKHA, Antwerp (2008). She has been shortlisted for several awards including the Jarman Award 2011, Becks Futures 2004 and The Northern Art Prize 2008; in 2008 she won the Liverpool Art Prize and in 1996, the Dutch Prix de Rome for Film and Video. Her work is in public and private collections, among others Centre Georges Pompidou, Paris; FRAC Bourgogne, Dijon, MuKHA, Antwerp and FriesMuseum, Leeuwarden.. Stidworthy is represented by Matts Gallery, London and AKINCI Amsterdam</span></p> <hr /> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" color="#424242" style="color: #000000; font-family: Arial; font-size: small;"></span></p> <p align="JUSTIFY" style="text-align: justify;"><span style="font-size: small; color: #000000;"><b><span face="Arial" size="2" color="#424242" style="font-family: Arial;">Imogen Stidworthy verkent dimensies van taal en de stem, die ze als fysiek en ruimtelijk materiaal gebruikt in haar installaties, audiowerken en films. Ze onderzoekt hoe wij ons met onze stem positioneren en onze plaats bepalen, fysiek en cultureel. Voor haar tweede tentoonstelling voor AKINCI presenteert Imogen Stidworthy de installatie <i>Sacha</i>.</span></b></span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" color="#424242" style="color: #000000; font-family: Arial; font-size: small;"></span></p> <p align="JUSTIFY" style="text-align: justify;"><span style="font-size: small; color: #000000;"><b><span face="Arial" size="2" color="#424242" style="font-family: Arial;">Ook zal tijdens de opening haar boek (.) worden gepresenteerd, uitgegeven door Matt’s Gallery London en de Jan van Eyck Akademie, Maastricht, vorm gegeven door Jack Henrie Fisher.</span></b></span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" color="#424242" style="color: #000000; font-family: Arial; font-size: small;"></span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" size="2" color="#424242" style="color: #000000; font-family: Arial; font-size: small;">De installatie <i>Sacha</i> maakt deel uit van de installatie <b>(.)</b> uit 2011. Het teken ‘(.)’ wordt door transcribenten gebruikt om een korte pauze in de spraak aan te geven. <i>Sacha</i> draait om de persoon van Sacha van Loo, wiens werk als analist van telefoontaps zijn stem in de context van het recht plaatst. Omdat hij sinds zijn geboorte blind is, begrijpt Sacha de wereld vooral via geluiden. Hij vindt de weg door echolocatie, beheerst zeven talen vloeiend en begrijpt uiteenlopende dialecten. De intensiteit waarmee Sacha luistert, geeft zijn relaties tot anderen een ongebruikelijke gevoeligheid en empathie, terwijl in zijn werk bij de Antwerpse politie het luisteren deel is gaan uitmaken van een bureaucratisch beslisproces over schuld of onschuld. Privéruimtes worden binnengedrongen, stemmen worden gescand op accenten, verborgen codes en bijbedoelingen, identiteiten worden vastgesteld.</span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" color="#424242" style="color: #000000; font-family: Arial; font-size: small;"></span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" size="2" color="#424242" style="color: #000000; font-family: Arial; font-size: small;">In de installatie horen we de voorleesstem van Sacha’s computer terwijl hij in zijn bestanden zoekt, en vangen we vreemde woorden op terwijl hij probeert een stemopname, klaarblijkelijk Russisch, te ontcijferen. Dan krijgt het scenario een fictief karakter: in de roman ‘In de eerste cirkel’ van Solzjenitsyn moet een groep natuurwetenschappers en taalkundigen in opdracht van Stalin twee machines ontwerpen: voor het beveiligen van zijn privételefoonlijn een scrambler, die spraak in nonsens moet omzetten, en voor de KGB een spraakherkenner waarmee via opnames van afgeluisterde telefoongesprekken mensen kunnen worden geïdentificeerd.</span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" color="#424242" style="color: #000000; font-family: Arial; font-size: small;"></span></p> <p align="JUSTIFY" style="text-align: justify;"><span face="Arial" size="2" color="#424242" style="color: #000000; font-family: Arial; font-size: small;">In 3D-laserscansequenties zijn we glimpen van een achterafsteegje en bomen in een stad. De technologie achter de beelden is gebaseerd op sonar en een principe dat dichter bij horen dan bij zien ligt. Het is dan ook niet echt een optische weergave, maar een oneindig nauwkeurig in kaart brengen van het terrein.</span></p> <p align="JUSTIFY"><span face="Arial" color="#424242" style="color: #424242; font-family: Arial;"></span></p> Mon, 28 Jan 2013 13:34:42 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Andrei Roiter - Galerie Akinci - January 19th, 2013 - February 16th, 2013 <p style="text-align: justify;" align="justify"><span style="font-size: small;">In the <b>attachment space</b>, we present an installation by <b> Andrei Roiter</b> (1963, Moscow). The works in this presentation, titled <i> Dream Factory</i> and <i>Old Optimism</i>, refer ambiguously to past visions of the future, a theme the Russian artist returns to frequently in his oeuvre. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><i>   Andrei Roiter (Moscow, 1960) studied at the Institute of Architecture in Moscow. In early 1990, Roiter relocated, dividing his time between Amsterdam and New York. Among the more notable exhibitions were Basel Kunsthalle, San Francisco Museum of Modern Art, Ludwig Forum in Aachen and Kunsthalle Recklinghausen, Germany. His recent solo exhibitions include: Gisele Linder Gallery, Basel (2013), Jack Hanley Gallery, New York (2012), Solothurn Art Museum, Switzerland (2011), Regina Gallery, Moscow (2011), Stedelijk Museum, Schiedam (2010), Stedelijk Museum, ’s Hertogenbosch (2010). Upcoming: </i> “12+12 Project”, Van Abbemuseum, Eindhoven, Netherlands</span><br /><br /></p> <hr /> <p style="text-align: justify;" align="JUSTIFY"><span style="font-size: small;"><span face="Arial" size="2" color="#424242" style="color: #424242; font-family: Arial;">I<b>n de Attachment Space presenteert AKINCI een installatie van Andrei Roiter (1963, Moskou). In deze kleine presentatie van een tweetal werken Dream Factory en Old Optimism, verwijst Roiter naar een herhaaldelijk terugkerend thema binnen zijn oeuvre van </b></span><b style="color: #424242; font-family: Arial; font-size: small;">een verleden visioen vol optimisme.</b></span></p> Fri, 08 Feb 2013 14:39:42 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Peter Feiler, Christiaan Zwanikken - Galerie Ron Mandos (Amsterdam) - January 19th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The inaugural exhibiton of 2013 will see Galerie Ron Mandos transformed into a curious and macabre world, populated by the intensely detailed and frenzied drawings of Peter Feiler and the twitching, insectile sculptures of Christiaan Zwanikken.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>The extremely detailed and unconventional drawings of Peter Feiler will interplay complementarily with the moving insectile sculptures of Christiaan Zwanikken,  creating a fantastical and surprising exhibition.</b></span><br /><br /><span style="font-size: small;">The drawings of Peter Feiler (DE Halle an der Saale, 1981) are known for their controversial subject matter. He presents dark scenes that incorporate simple narrative elements. </span><br /><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">These scenes explore the border between the visual world and fantasy. The notable aggression and perversion exhibited by the figures in his drawings is balanced by his use of soft colouring and fragile lines. </span></p> <p style="text-align: justify;"><span style="font-size: small;">In wishing to explore the intricacies of his hand, the viewer is sucked into the drawing upon which the macabre aspect of the work comes to the fore. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Peter Feiler’s work is included in esteemed collections such as that of Museum Boijmans van Beuningen in Rotterdam.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">Christiaan Zwanniken (NL Bussum, 1967) creates kinetic works of remarkable ingenuity from found animal skulls and bones. He transforms these parts into moving mechanical sculptures and installations. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Their composite natural and mechanical make-up gives these figures their own unique character. <i>How A Dead Hare Explains Paintings</i> is an example of this and with an accompanying projection from film-maker Jarred Alterman this work also gains a narrative structure. Aside from this Zwanikken also produces non-skeletal installations. </span><br /><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">The work <i>Hydromats</i>, which will be shown in the gallery’s project slace, is an example of this. </span><br /><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">Three imposing glass water reservoirs come alive in sound and movement, reacting to the viewer in the space. Just as his other works, this piece exhibits its own unique behaviour and character.<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;"><b>PREMIERE</b> Zwanikken’s latest work <i>Exoskeletal</i> will be premiered at the opening of this exhibition on Saturday the 19th of January (5 to 7 pm). </span></p> <p style="text-align: justify;"><span style="font-size: small;">This piece has all the hallmarks of Zwanikken’s work yet also exudes a performative streak. In February the work will be presented at the Kinectic Art Fair in London.<b> </b><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">During this show there will be a presentation of work from the photographer and filmmaker Jan Hoek. </span></p> <p style="text-align: justify;"><span style="font-size: small;">From the 25th of January he will also have an exhibition in FOAM Photography Museum, Amsterdam. </span></p> Mon, 21 Jan 2013 12:30:57 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Jan Hoek - Galerie Ron Mandos (Amsterdam) - January 19th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Simultaneous to Jan Hoek’s exhibition at Foam, Galerie Ron Mandos presents Jan Hoek’s Sweet Crazies series of 18 portrait photographs.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Last year <strong>Jan Hoek (1984)</strong> visited Ethiopia several times. The first time he visited Addis Ababa, he saw a man standing in the middle of a roundabout, looking at the sky, shouting unintelligible things at it. In both of his nostrils he had put a cigarette, he was wearing old seventies pilot glasses and his outfit consisted of many layers of ragged and worn out pieces of clothing. The man turned out to be a so-called ‘Sweet Crazy’. That is the local nickname for the many mentally ill vagabonds who live in the streets. Hoek thought it was fascinating that the people who pass for crazy people there, could easily go on the catwalk here with their outfits, self made, scraped together and shaped by time.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Back in the Netherlands the Sweet Crazies didn’t leave Hoek and so he decided to return to Addis Ababa to start a photography project. Together with his local friend Solomon he tried to befriend the Sweet Crazies and tried to take their picture. He decided not to photograph them between the rubbish, but to give them a star like setting in one of the many typical Ethiopian photo studio’s, filled with golden thrones and Roman columns. Some of them were so grateful that they overwhelmed Hoek with wet beard kisses. Other Sweet Crazies seemed to be crazier than expected so Hoek and one of the Sweet Crazies were chased out of the mall by guards with sticks. In the end, it al resulted in an intriguing series of portraits.</span></p> Tue, 05 Feb 2013 16:28:15 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Steve Schapiro - Galerie Wouter van Leeuwen - January 19th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Verdana" size="1"><strong>Galerie Wouter van Leeuwen</strong> presents "<em><strong>Then and Now</strong></em>", previously unpublished photos from the five decades spanning oeuvre <strong>Steve Schapiro</strong>. <br /><br /> Steve Schapiro (1936) began his career in 1960 with documentary projects on seasonal workers in Arkansas and drug addicts in East Harlem. Since then he has the lives of many people - known and unknown - tracked and recorded in pictures. <br /><br /> He stayed in the wake of Robert Kennedy during his election tour, spent four weeks with James Baldwin in the southern states of America and held on with artists like Ray Charles, Andy Warhol and Robert de Niro. <br /><br /> In 1963, now 50 years ago, Schapiro produced stage excavation for the film "The Cardinal" by Otto Preminger. Schapiro was noticed by his work for Life Magazine, where he proved to be a longer report. There were seven films with Robert De Niro and several follow with Barbra Streisand and Jane Fonda. Actors had an important voice in the choice of the photographer. He was on the set of "Funny Girl", "The Way We Were" and "The Godfather", with Truman Capote in "In Cold Blood" and Samuel Beckett in the recording of "Movie". <br /><br /> In the summer of 1965 Schapiro walked with Martin Luther King Jr.. join in the march from Selma to Montgomery (Alabama). <br /> In 1968, immediately after Martin Luther King was assassinated, Schapiro flew to Memphis to take pictures of the bathroom from which the fatal shots were fired and the hotel room half drunk cup of coffee waiting for Kings return. <br /><br /> The list of names of persons who were portrayed by Schapiro, reads like a Who's Who of the most influential politicians, celebrities and newsmakers in American history. <br /> Celebrities from sports, art, music, politics, literature, film and religion that grew up in the heyday of the illustrated magazine and who understood very well what a photo shoot for their public image could mean. </span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Verdana" size="1">For Life Magazine could Schapiro has up to six months on a subject focus. That long period of time made people forget his presence and allowed him a bond of trust with the celebrities to build. He played card with Barbra Streisand (and let her win), was the mother of Muhammad Ali on the floor and spent the Christmas days with the family of Robert Kennedy in Hickory Hill. </span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Verdana" size="1">By moving quietly and avoid the use of flash, he made that his presence actually was not aware. This resulted in warm, empathic photos in classic black and white which derive their power from Schapiro's honest and warm personality, making him one generously allowed her into their privacy. </span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Verdana" size="1">Yet Steve Schapiro no typical 'celebrity photographer'. Humanistic same look he took celebrities in sight, he also founded on the common man. His images of the working class, white and black Americans, wedding guests and participants in the annual parade on Saint Patrick's Day belong to the canon of American street photography. <br /><br />From a body of work that spans half a century, Schapiro selected for "Then and Now" mostly previously unpublished images. The quest by his extensive image archive Schapiro was a "trip down Memory Lane".</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;"><span face="Verdana" size="1"><img src="http://www.galeries.nl/vinkje.gif" height="10" /></span> <span face="Verdana" size="1">The artist will be present at the opening.</span></span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Verdana" size="1"></span></p> <hr /> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Verdana" size="1"><strong>Galerie Wouter van Leeuwen</strong> presenteert “<strong>Then and Now</strong>”, niet eerder gepubliceerde foto’s uit het vijf decennia omspannende oeuvre van <strong>Steve Schapiro</strong>.<br /><br />Steve Schapiro (1936) begon zijn loopbaan in 1960 met documentaire projecten over seizoensarbeiders in Arkansas en drugsverslaafden in East Harlem. Sindsdien heeft hij het leven van een groot aantal mensen - bekend en onbekend - gevolgd en in foto’s vastgelegd.<br /><br />Hij verbleef in het kielzog van Robert Kennedy tijdens diens verkiezingstournee, bracht vier weken door met James Baldwin in de zuidelijke staten van Amerika en hield zich op met artiesten als Ray Charles, Andy Warhol en Robert de Niro.<br /><br />In 1963, nu 50 jaar geleden, was Schapiro setfotograaf voor de film “The Cardinal” van Otto Preminger. Schapiro was opgevallen door zijn werk voor Life Magazine, waarin hij bewees een langere reportage aan te kunnen. Er zouden zeven films met Robert de Niro volgen en meerdere met Barbra Streisand en met Jane Fonda. Acteurs hadden een belangrijke stem in de keuze van de fotograaf. Hij was op de filmset van “Funny Girl”, “The Way We Were” en “The Godfather”; met Truman Capote bij “In Cold Blood” en met Samuel Beckett bij de opname van “Film”.<br /><br />In de zomer van 1965 liep Schapiro met Martin Luther King Jr. mee in de mars van Selma naar Montgomery (Alabama).</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Verdana" size="1">In 1968, direct nadat Martin Luther King vermoord was, vloog Schapiro naar Memphis om foto’s te maken van de badkamer van waaruit de dodelijke schoten werden afgevuurd en van de hotelkamer waar een half leeggedronken beker koffie wachtte op Kings terugkeer.<br /><br />De lijst namen van personen die door Schapiro werden geportretteerd, leest als een Who is Who van de meest invloedrijke politici, beroemdheden en nieuwsmakers in de Amerikaanse geschiedenis.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Verdana" size="1">Grootheden uit de sport, kunst, muziek, politiek, literatuur, film en religie die opgroeiden in de bloeitijd van het geïllustreerde tijdschrift en die heel goed begrepen wat een fotoreportage voor hun publiek imago kon betekenen.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Verdana" size="1">Voor Life Magazine mocht Schapiro zich tot wel zes maanden op een onderwerp concentreren. Die lange tijdsspanne maakte dat men zijn aanwezigheid vergat en stelde hem in staat een vertrouwensband met de beroemdheden op te bouwen. Hij speelde kaart met Barbra Streisand (en liet haar winnen), kwam bij de moeder van Muhammad Ali over de vloer en bracht de kerstdagen door bij het gezin van Robert Kennedy in Hickory Hill.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Verdana" size="1">Door rustig te bewegen en het gebruik van flitslicht te vermijden, maakte hij dat men zijn aanwezigheid eigenlijk niet bewust was. Dat resulteerde in warme, empathische foto’s in klassiek zwart-wit die hun kracht ontlenen aan Schapiro’s integere en warme persoonlijkheid, waardoor men hem ruimhartig binnenliet in hun persoonlijke levenssfeer.</span></p> <p style="text-align: justify;"><span style="font-family: arial,helvetica,sans-serif; font-size: small;" face="Verdana" size="1">Toch is Steve Schapiro geen typische ‘celebrity-fotograaf’. Dezelfde humanistische blik waarmee hij beroemdheden in het vizier nam, richtte hij ook op de gewone man. Zijn beelden van de werkende klasse, blanke en zwarte Amerikanen, bruiloftsgasten en deelnemers aan de jaarlijkse straatparade op Saint Patrick’s Day horen tot de canon van de Amerikaanse straatfotografie.<br /><br />Uit een oeuvre dat een halve eeuw omspant, selecteerde Schapiro voor “Then and Now” veelal niet eerder gepubliceerde beelden. De zoektocht door zijn omvangrijke beeldarchief was voor Schapiro een “trip down Memory Lane”.</span></p> Mon, 14 Jan 2013 18:20:30 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Atelier van Lieshout - GRIMM (KEIZERSGRACHT) - November 30th, 2012 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Grimm</strong> is proud to present two major new exhibitions by Atelier Van Lieshout, the new installation <em>Manufactuur</em> together with<em> SlaveCity</em>, covering both gallery spaces, as well as the special off-site project Hagioscoop that will be on view from Friday, November 30th to Sunday, December 2nd on the Museumsquare in Amsterdam for the occasion of the inaugural Amsterdam Art Weekend 2012.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Atelier Van Lieshout is a multidisciplinary collective that was founded by the artist Joep van Lieshout in 1995. Over the years Atelier Van Lieshout has attained international recognition for work that balances on the boundaries of art, architecture and design. The oftenprovocative oeuvre consists of over a thousand projects ranging from sculptures to furniture, mobile homes and autonomous communes. All projects combined form an extensive research into recurring themes such as autarky, power, politics, life and death.</span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">Keizersgracht </span></strong></p> <p style="text-align: justify;"><span style="font-size: small;">The gallery space on the Keizersgracht will be entirely devoted to Atelier Van Lieshout’s utopian urban project <em>SlaveCity</em> (2005-2009). In <em>SlaveCity</em> views on ethics, nutrition, environmental protection, organization, management and markets are being questioned and re-interpreted. The works in the exhibition show a city equipped with a highly modern infrastructure of universities, health centres, shopping malls, brothels, abattoirs, museums and other services. The sinister downside is that all the inhabitants of this imaginary city are slaves of a system that only serves to maximize its profits.</span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">Off -site: Museumplein</span></strong></p> <p style="text-align: justify;"><span style="font-size: small;">During the Amsterdam Art Weekend, from Friday November 30 until Sunday December 2, an additional project from the New Tribal Labyrinth is on show on the Museumsquare. The so-called Hagioscoop, a large cross-shaped diorama of about 15 by 10 meters set in the imaginary date of “year zero” houses people as well as livestock. It is the first farm in a series that will eventually be combined with a larger group of farmhouses. They will function as a labyrinth through time, covering ages, history, hope, family, utopia, self-sufficiency, design and deviancy.</span></p> Tue, 08 Jan 2013 06:28:11 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Jens Pfeifer - Lumen Travo - January 19th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Not everything that glitters is gold. Not everything we perceive as precious or true fulfills the promise of its appearance. In a series of work-sets, Jens Pfeifer explores the deceiving shine of objects, materials, substances and beliefs.</span><br /> <br /><span style="font-size: small;"> Pfeifer refuses to take established value judgments for granted. Through the prism of his glass works he reacts to 17th century “Golden Age” still life paintings. Continuing his series of “Icon” drawings, using Redouté’s botanical drawings as reference, he tests the visual boundaries of his established body of work. Pfeifer re-frames a collection of psychoactive or hallucinatory plants. He resurrects them in a golden, glorious shine, as attractive as they are misleading.</span></p> Mon, 11 Feb 2013 13:06:21 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Paul Nassenstein - Metis_NL - January 19th, 2013 - February 16th, 2013 <p style="text-align: justify;" class="paragraph_style"><span style="font-size: small;">Het is nooit te vroeg om de boel te verknoeien. 19 januari is een moment om te constateren dat een deel van de goede voornemens in het nieuwe jaar wankelen of reeds onherstelbaar beschadigd zijn en aan de kant geschoven wachtend tot een volgend moment om ze op te poetsen. Op dit raakvlak van tegenstelling en vertwijfeling begeeft Nassenstein zich met nieuw werk en probeert deze gevoelens en situaties waarin willen lang niet altijd kunnen is  obsessief in beelden te vangen.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In het werk op deze eerste solo tentoonstelling van Paul Nassenstein bij galerie Metis zijn er weer genoeg weerbarstige ruimtes, minuscule figuurtjes vreemde associaties en divers materiaal gebruik toegepast in vooral schilderijen en tekeningen van divers formaat. Wat opvalt in dit nieuwe werk zijn de vaak theatrale en architecturale ruimtes waarin kleinere elementen en figuren  ungeren als vergeten props en dolende acteurs in een associatief toneelstuk waaruit geen ontsnapping mogelijk lijkt. Ironie en cynisme worden afgewisseld in een poëtisch beeldend universum  waarin Nassenstein op eigenzinnige wijze ons de donker kant van de zon dan wel de zonnige kant van de maan toont.</span></p> Sat, 19 Jan 2013 13:34:24 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Charles Vreuls - Metis_NL - January 19th, 2013 - February 16th, 2013 <p style="text-align: justify;" class="paragraph_style_2" lang="--multilingual"><span style="font-size: small;">Charles Vreuls had kortgeleden, in augustus 2012, een tentoonstelling in Worpswede in Duitsland. Daar liet hij een serie tekeningen zien getiteld ‘Bartleby’s Deutsche Korrespondenz’, gebaseerd op de protagonist uit het verhaal van Melville over een beroepskopiist op een kantoor voor onbestelbare brieven. De identificatie met deze Bartleby zou wel eens te maken kunnen hebben met Vreuls’ bijna dagelijkse gang naar een kantoorgebouw waar hij huismeester is en achter de balie werkt aan zijn tekeningen op klein formaat.</span></p> <p style="text-align: justify;" class="paragraph_style_2" lang="--multilingual"><span style="font-size: small;">Galerie Metis-nl laat nu vooral de iets grotere, minutieus uitgevoerde tekeningen van Vreuls zien. Al jaren gebruikt Vreuls woorden uit het gedicht “Mnemosyne” van Hölderlin. Het gaat steeds om woorden uit dezelfde drie zinnen. Vanuit de betekenis van deze woorden komt Vreuls iedere keer tot andere vormen. De betekenis bepaalt de vorm. De tekst is niet altijd leesbaar in de tekeningen, maar soms dringt een betekenisvol woord zich nadrukkelijk op.</span></p> <p style="text-align: justify;" class="paragraph_style_2" lang="--multilingual"><span style="font-size: small;">De titel van de tentoonstelling bij Metis-nl is op zich al programmatisch: ‘Zwischen den Linien steht dat Gesetz’. Vreuls gaat in zijn tekeningen uit van cirkels en punten. Er ontstaat een patroon, waarbij juist het gebied tussen de lijnen alle aandacht opeist en de betekenis bepaalt.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Charles Vreuls (1953) studeerde aan de Kunstacademie in Tilburg en aan de Rijksacademie in Amsterdam. Het werk van Vreuls bevindt zich in vele privé- en bedrijfscollecties waaronder: KPMG, Honeywell Amsterdam, ABN-Amro, AMC en de Rijksdienst voor het Cultureel Erfgoed in Den Haag. Ook maakt het werk van Vreuls deel uit van een aantal museumcollecties, zoals Teylers Museum Haarlem, Stedelijk Museum Zwolle, Museum het Valkhof in Nijmegen en museum van Bommel van Dam in Venlo.  Charles Vreuls exposeert vanaf 1981 in Amsterdam en in diverse andere steden in Nederland, België en Duitsland. Van 1990 tot 2012 was Vreuls verbonden aan Galerie Maria Chailloux.</span></p> Sat, 19 Jan 2013 13:35:18 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list ldwin van de Ven, Arjan Hijbeek, Mari Stoel - Ten Haaf Projects - January 5th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Ten Haaf Projects</strong> is pleased to announce: ‘’<strong><em>Young Dutch Masters</em></strong>’’ a group show with 3 young Dutch artist: Aldwin van de Ven, Arjan Hijbeek and Mari Stoel. The exhibiting artist work mostly in a figurative manner, memories and feelings play a role in depicting their reality.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Aldwin van de Ven</strong> (1980) has graduated in 2012 from The Rijksacademie. In his work Aldwin likes to explore the unexpected. Starting point is always a memory or a scrabble from the past from which he starts his journey in painting.  His reality is not of one that is here, or has been, but one that originates while painting. Aldwin van de Ven is interested how an artwork comes to life while not have a fixed idea beforehand.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Arjan Hijbeek</strong> (1988) is a recent graduate from the Rietveld Academy (2012). His work shows a world that exists if things had gone different in the past.  Many of his subjects are family. Arjan Hijbeek likes to examine the choices that his family made, which also have formed him.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mari Stoel (1977) his two-dimensional work deals with landscapes. The scenes are sometimes quite normal but then again depicting a struggle for life.  Stoel is influenced as well by abstract painters as Mondriaan:  if we forget the figures in his work we see an abstract composition. Mari Stoel graduated at Sint JoostM MA in Den Bosch in 2010.</span></p> Mon, 14 Jan 2013 10:49:55 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Josine Beugels, Chantal Rens, Ashley Zelinskie, Anje Roosjen, Suzan Kolen, Katharina D. Martin, TINKEBELL - Torch Gallery - January 19th, 2013 - February 16th, 2013 <p style="text-align: justify;">TORCH gallery welcomes the new year with GIRLS RULE THE WORLD. For this group exhibition TINKEBELL. Invited female artworld friends she admires to send her their very best works. The exhibition isn't meant to be a feminist statement, but should rather function as proof that women often empower each other. TINKEBELL. feels that this is a phenomena in need of greatly increased attention. Contributing to the exhibtion are: Chantal Rens, Josine Beugels, Ashley Zelinskie, Anje Roosjen, Suzan Kolen, Katharina D. Martin and TINKEBELL. herself. GIRLS RULE THE WORLD will open on Saturday the 19 th of January between 5-7PM and will be open until Saturday the 16 th of February. </p> <p style="text-align: justify;">Several decades of women's emancipation haven't led to a proportionate regard for their art. Between anonymous home crafts and hysterical feminism there exists an enormous wealth of very relevant art by female artists. For this art to become more visible these artists will have to claim the stage themselves with courage and powerful works. With this in mind all the participating artists will choose their most typical and outspoken pieces for the exhibition. The result is a presentation that includes a plethora of media and messages all serving a single cause. From embroidery to video-art; women deserve more attention in contemporary art!</p> <p style="text-align: justify;">Many of the exhibited pieces display a very personal, ironic style. They function as sharp observations from a confidently female perspective. Purposely an almost physical discomfort is created by making use of treacherously clumsy aesthetics and a threatening intimacy. All the candy-cane pink and sugar-sweet displays of Girl Power just form a seductive icing on the often confronting messages within these works. The presented pieces charm the spectator first, only to deliver them a nasty bite when they really start looking. The idea is to present a selection of art that convincingly holds the viewer's attention and delivers a strong message in an unorthodox way. All the artists participating can be linked to illustrious predecessors such as Tracy Emin and Sophie Calle. Luckily this exhibition will transcend the personal sphere and should be able to actually live up to its title. GIRLS RULE THE WORLD should be a confident statement, not a feeble wish. </p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">TORCH gallery opent haar deuren in het nieuwe jaar met GIRLS RULE THE WORLD.  Voor deze groepstentoonstelling nodigde TINKEBELL. vriendinnen uit de kunstwereld uit voor wiens werk zij bewondering heeft. Ze vroeg hen allen hun beste werk te tonen. Niet als feministisch statement, maar omdat vrouwen elkaar vaak versterken en dat mag, volgens TINKEBELL., bést wel vaker getoond worden. De deelnemende kunstenaars zijn: Chantal Rens, Josine Beugels, Ashley Zelinskie, Anje Roosjen, Suzan Kolen, Katharina D. Martin en TINKEBELL. zelf. De tentoonstelling opent op zaterdag 19 januari tussen 17:00 en 19:00 en loopt vervolgens tot zaterdag 16 februari. </span><br /><br /><span style="font-size: small;">Enkele decennia aan emancipatie hebben nog niet gezorgd voor een evenredige aandacht voor de vrouwelijk kunstenaar. Tussen anonieme huisvlijt en hysterisch feminisme bestaat een gigantische rijkdom aan zeer relevante kunst door vrouwen. Zij zullen echter zelf het podium moeten grijpen met moed en krachtig werk. Alle deelnemende kunstenaars kiezen voor deze expositie dan ook hun meest typerende en uitgesproken werk uit. Het resultaat is een tentoonstelling waarin alle denkbare media worden gebruikt, maar waar vanuit één duidelijke doelstelling wordt gepresenteerd. Van borduurwerk tot videokunst: vrouwen verdienen meer zichtbaarheid in de hedendaagse kunst!</span><br /><br /><span style="font-size: small;">Veel van het werk laat zich kenmerken door een zeer persoonlijke, ironische stijl. Het zijn scherpe observaties vanuit een overtuigt vrouwelijk perspectief. Doelbewust wordt een bijna fysiek ongemak opgezocht met behulp van verraderlijke knulligheid en dreigende intimiteit. Al het zuurstok-roze en de vele suikerzoete uitingen van 'Girl Power' vormen slechts het glazuurlaagje over de ware lading van deze kunst. Het werk verleid en bijt dan venijnig. Deze kunst claimt overtuigend de aandacht van de toeschouwer en brengt op een onorthodoxe wijze haar vaak confronterende boodschap over. De getoonde werken staan hiermee in lijn met het werk van illustere voorgangers als Tracy Emin en Sophie Calle. Gelukkig overstijgt het geheel de persoonlijke belevingswereld. Zo werkt GIRLS RULE THE WORLD ook daadwerkelijk als statement, niet als enkel als wens. Hier geen onzeker gefröbel maar daadkrachtige bijdragen aan een prille kunstgeschiedenis.</span></p> Sat, 05 Jan 2013 14:27:25 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Stephen Vaughan - V!P's International Art Galleries Rotterdam - January 25th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Stephen Vaughan (USA) is een van de bekendste filmstills fotografen en wij tonen foto's uit films als Blade Runner, Rain Man, The Dark Knight en andere. Tijdens het International Film Festival Rotterdam (23 januari - 3 februari 2013) zal Stephen Vaughan naar Rotterdam komen voor een speciale avond in de galerie. Nadere info hierover volgt.</span></p> <p><span style="font-size: small;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/25249/12yr/20130123155510-Stephen_Vaughan_Uitnodiging_LR.jpg" /></span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Wed, 23 Jan 2013 15:55:20 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Herman van den Boom - Witzenhausen Gallery - January 19th, 2013 - February 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Jacob Witzenhausen has the pleasure of inviting you to the opening of <b>'Arcadia Redesigned'</b>, a new solo show by celebrated photographer <b>Herman van den Boom</b></span></p> Sat, 22 Feb 2014 15:38:05 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list