ArtSlant - Closing soon en-us 40 Anya Gallaccio, Antonis Pittas, Sarah van Sonsbeeck - Annet Gelink Gallery - January 19th, 2013 - March 2nd, 2013 <p style="text-align: justify;"><strong>Annet Gelink Gallery</strong> proudly presents the group exhibition<em> Chasing Rainbows</em>. The poetic title is  derived from a work of the same name by Anya Gallaccio. ‘Chasing Rainbows’ is a saying, used to  describe when one tries in vain to realise something impossible. In 1998 Gallaccio turned this  expression into reality. With light and fine glass elements, she created a rainbow that was  continuously shifting and disappearing from the spectator’s field of vision, each time at the moment  they wanted to come closer. This elusive quality sets the tone for Chasing Rainbows, the exhibition.</p> <p style="text-align: justify;">The work of Anya Gallaccio, Antonis Pittas and Sarah van Sonsbeeck is just as elusive as Gallaccio’s  shifting rainbow. In <em>Chasing Rainbows</em> their work meets for the first time and it is striking how much  time, transformation and space play a role in all of their practices. The site-specific installations in  <em>Chasing Rainbows</em> not only change meaning during their exhibition but sometimes even change their  forms. </p> <p style="text-align: justify;">Anya Gallaccio’s work is of an elusive nature and consists mainly of organic materials which are  transformed during their exhibition. For <em>Chasing Rainbows</em> Anya Gallaccio will install the work <em>Head  over heals (Barcelona)</em> from 1995, consisting of 365 orange Gerberas strung together in the form of a  daisy chain. Sarah van Sonsbeeck presents <em>Moment of Bliss</em> (2011), a light installation made for the  Funeral Museum (<em>Uitvaartmuseum</em>) in Amsterdam. With this work Van Sonsbeeck imitates the colours  of a sunset, simply because they make you happy. The installation conforms effortlessly to the  gallery’s space and illuminates the visitors both literally and metaphorically. Antonis Pittas  contributes his marble sculpture<em> Landart</em> (2012) - a replica of a step of the Syndagma Square in  Athens – on which a sample from a newspaper headline is hand drawn in graphite. The text confers the  harsh words of Christine Lagarde, director of the International Monetary Fund (IMF), in which Lagarde  reminds Greece of the fact that they are struggling with economic problems, and of their obligation  towards the international community by repeating time and again the word ‘implementation’. Pittas  takes the words out of their original context and investigates how they can have a new meaning  within the gallery’s space. Just like Gallaccio’s work, Landart has an evolving nature: Pittas has  vowed to return to the work midway through the exhibitions run and erase the sentence, replacing it  with a new sentiment. At the end of the exhibition the new sentence is removed and only the memory  will remain. </p> <p style="text-align: justify;"><em>Chasing Rainbows</em> also marks the moment at which the large monographic publication Anya Gallaccio,  will be launched. This book, with essays by Norman Bryson, Briony Fer, Lucia Sanromán and Jan van  Adrichem, is available in the gallery. In addition, the publication Sessizlik Belediyesi / Municipality  of Silence, Sarah van Sonsbeeck’s latest book, will be celebrated. In this book, in her continuous  search for silence, Van Sonsbeeck has invited her friends and colleagues to define what silence means  to them.  </p> <p style="text-align: justify;"><strong>Anya Gallaccio</strong> studied at Kingston Polytechnic and Goldsmiths College (London). Early in her career  she received international recognition through her participation in Damien Hirst’s ‘Freeze’  exhibition. Gallaccio has exhibited at many national and international, solo and group exhibitions,  including Camden Arts Centre (London), Sculpture Center (New York), Barbican Gallery (London),  Palazzo delle Papesse (Italy), Annet Gelink Gallery (Amsterdam), Kunstmuseum Bonn, Germany. In  2003 she was nominated for the Turner Prize and presented her work at Tate Britain, London. She is a  professor of the Visual Art department of the University of California, San Diego.</p> <p style="text-align: justify;"><strong>Antonis Pittas</strong> (1973) studied Fine Art at Piet Zwart Institute (Rotterdam) and at Sandberg Institute  (Amsterdam). In 2010 Pittas held a residency at the Van Abbemuseum, where he realised a project in  the Eye (Oog). Recent exhibitions include the Benaki Museum (Athens), the Bakery (Annet Gelink  Gallery, Amsterdam) and CCS Bard Galleries (Hessel Museum), NY. <br /><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Sarah van Sonsbeeck</strong> (1976) studied Architecture at TUDelft (MA) and Expressive Arts at Gerrit  Rietveld Academie (BA). During 2008 and 2009 she held a residency at Rijksacademie van Beeldende  Kunsten (Amsterdam). Recent exhibitions of her work have taken place at Museum De Paviljoens  (Almere), The Bakery (Annet Gelink Gallery, Amsterdam), Stedelijk Museum (Amsterdam) and Museum  Abteiberg (Mönchengladbach), Van Abbemuseum (Eindhoven).</span></p> <p></p> <p>The main gallery show continues in the Bakery</p> Sat, 02 Mar 2013 17:20:24 +0000 Jochen Mühlenbrink - Gerhard Hofland - January 26th, 2013 - March 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Gerhard Hofland is proud to present the second solo exhibition of <strong>Jochen Mühlenbrink</strong> (1980 Freiburg). The exhibition includes new paintings, installations and sculptures.<br /><br />Pola Void presents a body of work that employs the trompe-l'oeil effect, a technique Mühlenbrink uses to emphasise the relationships between abstraction and figuration. By harnessing this effect, he can zoom in on the material itself and inhabit the boundary between representation and illusion, his area of exploration. As in all his work, these images investigate the tension between absence and presence, fiction and non-fiction. Where does reality end and artifice begin?<br /><br />One painting depicts a series of Polaroids of landscapes and abstract compositions. The Polaroids are taped onto a grey background. In the hands of the artists, the landscapes and compositions featured in the Polaroids become of secondary importance to the photos based upon them. Herein lies the concentration. The lacquered instant photos against the matt, dry background and precisely replicated painted tape that secured the Polaroid.<br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Jochen Mühlenbrink graduated from the art academy in Dusseldorf in 2007; his tutor was Professor Markus Lűpertz. In 2010 he won the Főrderpreis fűr Malerei of the OEVO and in 2009 an overview of his work was presented in Kunstverein Heppenhein. In 2012 he won the Internationalen Bergischen Kunstpreis. In the spring of 2013 a selection of his work will be presented at the Morat-Institut für Kunst und Kunstwissenschaft in Freiburg and, in the summer of 2013 a large-scale exhibition of his work will be mounted at the Kunsthal in Wilhelmshaven. A catalogue will be published to accompany the exhibition. His work has been featured in numerous publications.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Met trots presenteert Gerhard Hofland de tweede solotentoonstelling van <b>Jochen Mühlenbrink</b> (1980 Freiburg). De tentoonstelling omvat nieuwe schilderijen, installaties en sculpturen.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Pola Void toont werken die allen trompe-l'oeil geschilderd zijn. Mühlenbrink gebruikt de techniek van trompe-l'oeil om de verhoudingen tussen abstractie en figuratie te benadrukken. Met deze techniek kan hij inzoomen op het materiaal zelf en belandt hij op de grens tussen voorstelling en illusie, zijn speelterrein. Zoals in al zijn werk gaat het om de spanning tussen aan- en afwezigheid , fictie en non-fictie. Waar eindigt de werkelijkheid en begint het artificiële.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Een schilderij toont  een serie  polaroids waarop landschappen en abstracte afbeeldingen staan. De polaroids zijn met tape op een grijze achtergrond geplakt.</span></p> <p style="text-align: justify;"><span style="font-size: small;">De landschappen en composities op de polaroids zijn de voorstellingen die ondergeschikt zijn gemaakt aan de nageschilderde foto's zelf. Daarin zit de concentratie. De met lak benadrukte instant foto's op de matte, droge achtergrond en het exact nageschilderde tape waarmee de polaroid vastzit.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Op een installatie van drie doeken die op de grond staat, heeft Mühlenbrink  meerdere schilderijen geschilderd die tegen elkaar klaar staan voor een tentoonstelling. 'Bilder einer Austellung II' is de titel van dit werk. Sommige werken zijn verpakt, andere  tonen een glimp van hun voorstelling. In de installatie 'Bilder einer Austellung II' zit de concentratie in de schaduwen die over de verschillende doeken vallen, de tape die op het karton zit van de nog verpakte werken en de gedeeltes die we van de werken kunnen zien. Mühlenbrink ontsluit in een enkele installatie de uiteenlopende sentimenten die de fragmenten van afbeeldingen en de verpakte en verborgen werken van een enkele tentoonstelling oproepen.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> Jochen Mühlenbrink studeerde in 2007 af aan de Kunstacademie in Düsseldorf bij professor Markus Lűpertz. In 2010 won hij de Főrderpreis fűr Malerei der OEVO en in 2009 was een overzicht van zijn werk te zien in Kunstverein Heppenhein. In 2012 won hij de Internationalen Bergischen Kunstpreis. In het voorjaar van 2013 zal een overzicht van zijn werk te zien zijn in het Morat-Institut für Kunst und Kunstwissenschaft in Freiburg en in de zomer van 2013 zal een uitgebreid overzicht van zijn werk te zien zijn in de Kunsthal in Wilhelmshaven. Hierbij verschijnt een catalogus. Van zijn werk verschenen eerder meerdere publicaties.</span></p> Wed, 23 Jan 2013 05:53:31 +0000 Izaak Zwartjes - Upstream Gallery - January 26th, 2013 - March 2nd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Upstream Gallery</strong> proudly presents <em><strong>Crossing the Threshold</strong></em>, the second solo exhibition of <strong>Izaak Zwartjes</strong> (b. 1974) at Upstream Gallery. </span><br /><br /><span style="font-size: small;">In his show Dutch sculptor Izaak Zwartjes investigates the twilight zone between art and reality. He plays with the capacity to believe in a spiritual world. For him, being an artist is a means of establishing contact with this other realm. Here, the distinctions between the artist and the work grow indistinct. Izaak Zwartjes couples his own ‘vision’, intuition and behavior to the existence of a universal source from which evolve images that are inseparable from the human subconscious. He combines the urge to discover this deeper reality with an interest in the theories of evolution, psychology and religion. The result is magical, bizarre and intangible.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">The mixture of modernity, mythology and religion in Izaak Zwartjes’ work evokes a wide range of associations. His new life-size sculpture ‘The Rape of Dithyrambos’ consists out of 3 three mythical creatures composed of manure and leather, iron wire, burlap and wood, horse blankets, kapok and rags, of sisal rope and beeswax. Izaak Zwartjes has no pity on the matter nor the spectator, his work is primarily a brutal confrontation sensation, a shock. The group 'The Rape of Dithyrambos' from 2012 embodies impotence, corruptible flesh and pain and it shows the disfigured victims and / or perpetrators.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">The central figure is Dithyrambos, he could be Bacchus or the artist himself. The god of the grape, fertility and drunkenness is out of control. In front stands a warrior fleeing into the apparent escape of the ratio. The central Dionysos or Dithyrambos is called ‘<em>him</em><em> of the double door</em>’ by him. Like a vine a woman, his muse, is winding herself around the central figure. It embodies a suffocating temptation, the animal instinct of passion.</span><br /><span style="font-size: small;"> </span><br /><span style="font-size: small;">Further Zwartjes is showing some scale-models intended as a zoom out on the mythical landscape in the form of a tower and a space scale-modified to a cathedral. Also new is the mysterious Astronaut, a traveler past the <em>double</em><em> doors</em>.</span><br /> <br /><em>Izaak Zwartjes (1974) graduated from the Royal Academy of Art The Hague in 2008. In 2009 he filled the 500 m2 ground floor of the Cobra Museum for his soloshow ‘Exodus’ with a monumental installation. In 2010 he filled Upstream Gallery with his installation ‘Rudiments of Territory’ which best can be characterized as environmental, the podia on which episodes of a narrative take place. Part of this installation was shown in an exhibition with new aquisitions at the Margulies Warehouse in Miami from November 2011 through April 2012.</em></p> Mon, 25 Feb 2013 09:43:55 +0000 Shaan Syed - Vous Etes Ici - January 13th, 2013 - March 2nd, 2013 Thu, 28 Feb 2013 16:24:36 +0000 - Vous Etes Ici - January 13th, 2013 - March 2nd, 2013 Thu, 28 Feb 2013 16:24:27 +0000 Ádám Kokesch - Vous Etes Ici - January 13th, 2013 - March 2nd, 2013 Thu, 28 Feb 2013 16:24:50 +0000 Hans Deuss - Galerie Mokum - February 2nd, 2013 - March 3rd, 2013 Mon, 14 Jan 2013 18:00:45 +0000 Joost Bakker, Joachim Devillé, Sam Drukker, Bruno Hardt, Michiel Ragnar Nonnekes, Hanne Van Rompaey, Rob Visje - Galerie Rademakers - February 2nd, 2013 - March 3rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Seven artists from <span style="text-decoration: underline;"></span>Belgium<span style="text-decoration: underline;"></span> and the <span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span>Netherlands<span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span> will show their works, most of which were never exhibited before. <span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p style="text-align: justify;"><span style="font-size: small;">We are proud to announce that on Saturday the 2<sup>nd</sup> of February this unique group show will be opened <b>by Diana Wind </b>(director Stedelijk Museum Schiedam)<b> </b>at 16.00 hrs.</span></p> Fri, 01 Feb 2013 11:35:13 +0000 maria maria, Menno Schenk, Mozes Benkhlafa, Aldert Mantje, Casper Eek - Witzenhausen Gallery - February 26th, 2013 - March 8th, 2013 Sat, 22 Feb 2014 15:38:05 +0000 Jan De Cock - Galerie Fons Welters - February 2nd, 2013 - March 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Galerie Fons Welters</strong> is proud to present the new exhibition by Belgian artist <strong>Jan De Cock</strong>, titled: ‘<em><strong>Jacqueline Kennedy Onassis</strong></em>’. </span></p> <p style="text-align: justify;"><span style="font-size: small;">For his sixth solo show at the gallery De Cock has turned the space into ‘a sparse and splintered romantic landscape’. A realm of autonomous sculptures that modestly seek each other’s company. While building on series from the past years, De Cock’s recent installation displays both his oeuvre’s cyclic structure as well as introduces new sculptural forms. </span><br /><br /><span style="font-size: small;">The exhibition follows ‘Jacqueline Kennedy Onassis; a Romantic exhibition’, which was on display at the Staatliche Kunsthalle Baden-Baden in Spring 2012. Again, Jacqueline Kennedy Onassis, icon of ‘the Sixties’, is the leading character in an enigmatic narrative. Jacqueline embodies the romantic ideals of her age and symbolises the beginning of a culture of the ‘spectacle’. Although remarkably conspicuous by her absence, we might still find her in subtle references such as the colour pink reminding us of her famous ‘Chanel’ suit. In this series of works, Jan De Cock stages Jackie as example of a specific era as well as a timeless concept. After all, her often imitated iconic presence questions the nature of an image and makes us wonder what lies behind (her beloved dark sunglasses).</span><br /><br /><span style="font-size: small;">At Galerie Fons Welters, the artist presents two sculptural series bearing the initials JKO and composed of chipboard, several types of natural wood, plaster and acrylic paint. Together, these works create a concentrated yet playful view on Romanticism. In the gallery’s scenery, we can walk amidst several pillar-like sculptures. Lifted by a pedestal base, these slender constellations called Krise (Crisis) point upwards into the very gallery space, and at the same time can be traced back to the artist’s studio. A frontal view on most Krises illuminates their white cube completion, whereas plaster traces at the bottom and worn or raw surfaces at the back show ‘the flip side of the “spectacle”’ and reflect a continual unfinishedness.</span><br /><br /><span style="font-size: small;">The other, Romantik installations recall the visual elements and layering effect of the ‘Monument’ sculptures from De Cock’s previous show Repromotion at the gallery in 2010. This time however, the assemblages have been moved to the side and present themselves as reliefs, or ‘windows’, on the wall. Each collage starts with a large green lacquered steel frame. In front of and behind this, layers and plateaus of various wood types have been affixed. A resulting organic ‘interplay of openings, see-throughs and mist’ sets these sculptural landscapes in motion. JKO Romantik IX for instance, shows a rhythmic composition of lines that ultimately flow into an ever-streaming waterfall.</span><br /><br /><span style="font-size: small;">The ‘Jacqueline Kennedy Onassis project’ forms a complex web of carefully selected fragments. In addition to the sculptural installations, Jan De Cock has created two artist books; a collection of six photographic Cahiers and a Handbook. Through their encyclopaedic character they appear to guide the viewer, who is simultaneously left to wander the in-between. And also on the material surface of the sculptures – next to touches of soft pink, yellow, blue, red and green paint – the openness of the non-colour white shines. In opposition to today’s spectacle and visual saturation, Jan De Cock invites the spectator to take an in-depth look, and picture his or her own image. </span><br /><br /><span style="font-size: small;"><i>Source: Johan Holten, Liene Aerts, Luc Dereyke, ‘Jan de Cock: Jacqueline Kennedy Onassis: A Romantic Exhibition (Handbook)’, Staatliche Kunsthalle Baden-Baden, Verlag der Buchhandlung Walther Koenig, 2012</i></span><br /><span style="font-size: small;"><i><br />Jan De Cock (1976) lives and works in Brussels, Belgium. He exhibited his large scale installations and interventions in diverse solo exhibitions such as recently at Staatliche Kunsthalle Baden Baden (2012); Galeria Filomena Soares, Lissabon; Galerie Fons Welters, Amsterdam; Palais de Bozar, Brussels (2009); MoMA, New York (2008); Haus Konstruktiv, Zurich (2006); Schirn Kunsthalle (2005); Tate Modern (2005) and De Appel, Amsterdam (2003).</i></span></p> Mon, 25 Feb 2013 09:43:46 +0000 ADI DA SAMRAJ - Galerie Rademakers - January 26th, 2013 - March 9th, 2013 Fri, 08 Mar 2013 07:52:11 +0000 Siemon Allen, Francis Burger, Donna Kukama, Zen Marie - Galerie West - January 21st, 2013 - March 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The title, ‘23 Kilograms’, is a starting point to ask these questions and about how our practice as artists par- ticipate in the transfers, delays and connections that define the contemporary transfer of images across vir- tual space. Or of our own bodies and works as they travel to participate in the residency or the group show.<br /><br />In South Africa, two events in the year of 2012 situate the question of information and its transfer: the Pro- tection of State Information Bill and the Marikana Massacre. This project responds to the power of ‘infor- mation’ to project an image of a place or an event, but will also reflect on what it is that does not translate. What exactly does it mean to make work as a South African based artist for a European audience? What are the complexities of that audience’s national identity? Where is the potential for mistranslation and misun- derstanding.<br /><br />The artists will set up a series of situations, services and exchanges within the exhibition space and in the city of Den Haag. The project will unfold over the course of 6 weeks with the space evolving all the time, with elements (text, objects, pamphlets, printed works) travelling to the gallery from outside The Nether- lands culminating in a publication. The exhibition includes a parallel event in Johannesburg at the Parking Gallery and an exchange with the project ‘Fundburo’ at the University of Lyon.</span></p> <p style="text-align: justify;"><span style="font-size: small;">==</span></p> <p style="text-align: justify;"><span style="font-size: small;">A project that engages the question of distance. ‘23 kilograms’ is an allusion to a limit, or the necessity to work within specified limits: the weight of luggage permitted for international travel.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A group of South African artists will work with the question of how distant places are bought closer via the news, information technology, cultural and social media and the ‘network’ that increasingly defines the global and the ‘art world’ as an instance of this. The artists are interested in generating responses to the power of ‘information’ to project an image of a place, but will also reflect on what it is that does not translate.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The concept of the show begins with the work of Joseph Kosuth’s ‘Second Investigation’ (1968). Kosuth published ‘The Synopsis of Categories’ from Roget’s Thesaurus all over the world in advertising space of newspapers and magazines as well as via leaflets, posters, banners and billboards. Kosuth used this ‘Synopsis’, a categorical description of the world ‘to return to the world fragments of its own description’. Displayed in an exhibition space, the international newspapers become bizarre documents of a day in 1968, of the randomness of simultaneous events: some historical, others banal.</span></p> <p style="text-align: justify;"><span style="font-size: small;">‘23 Kilograms’ takes this idea as its starting point to think about the way contemporary information technology and travel has again shifted the ‘description’ of the world, and the means by which we as artists describe it. While conceptual art of the late 60’s anticipated our dependence on information technology, it seems interesting to ask some contemporary questions about how our practice as artists participates in the very transfers, delays and connections that define the contemporary as a transfer of images and texts across virtual space, or of our own bodies and works as they travel to participate in the residency or the group show. What exactly does it mean to make work as a South African artist for a European audience? Where is the potential for mistranslation and misunderstanding. As such, some of the specificities of our own complicated construction of our self-image as South African or as Dutch will be explored.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The show will work with the ideas of travel, transfer, translation, simultaneity and the delay via a series of performances, events and the creation of environments within the gallery. Events will take place in both Den Haag and in Johannesburg, where most of the artists are based. As an extension of Kosuth’s project, artists will use the space of community newspapers in Holland and in South Africa as sites in which works will be published, along with pamphlets, lampoons and advertising notice boards in local supermarkets. The community newspaper becomes a potential site for playing out the terms of the specificity and curiousity of the hyper-local against the generality and accessibility of the global, with names like the ‘Lowvelder’, ‘Klerksdorp Rekord’, ‘Komaro Crossing’, ‘Zululand Observer’, ‘Southern Courier’. This will culminate as a publication in the form of a newspaper.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Siemon Alan will work with a collection of newspaper clippings of South African news in US newspapers. In a piece called ‘Massaging Nationalism’, Zen Marie will work with the idea of national identity. Francis Burger will set up a newsroom collaged out of fragments of printed works, historical and contemporary newspapers and archival material. Donna Kukama will work with performance in collaboration with the curator, Bettina Malcomess, who will present a ‘travel lecture’ at the opening. To produce some of the printed work, the artists will work at one of the last metal type presses in Johannesburg, which had to stop running when a couple of years ago essential parts were stolen to be sold for scrap metal.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The project will unfold over the course of 6 weeks with the space evolving over time, via elements (text, objects, printed works) sent from South Africa. </span></p> <p style="text-align: justify;"><span style="font-size: small; text-decoration: underline;"> </span></p> <p style="text-align: justify;"><span style="text-decoration: underline;">Footnote</span>: In South Africa, two events in the year of 2012 situate the question of information and its transfer: the Protection of State Information Bill and the Marikana Massacre. The country is about to pass what has become known as the ‘Secrecy Bill’ to regulate the classification, protection and dissemination of state information, weighing state interests up against transparency and freedom of expression. This law includes clauses for the prosecution of journalists and the censorship of the media. On August 16 2012, about 47 miners were shot and killed during a strike on a Platinum called the ‘Marikana Massacre’ by local and international media.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Vrijdag / <i>Friday</i> 25 January 19 uur: Opening <br />Vrijdag / <i>Friday</i> 25 January 20 uur: Performance 'What is the Way Out?' by Anne Historical<br /> Opening reception + ‘travel lecture’ by Bettina Malcomess:<br /> Friday January 25th, 17:00</p> <hr /> <p style="text-align: justify;">Een project dat zich richt op het onderwerp ‘afstand’. ‘23 Kilograms’ verwijst naar het maximale gewicht van bagage bij internationale reizen. Een groep Zuid-Afrikaanse kunstenaars werkt vanuit de vraag hoe verafgelegen plekken nabij komen via het nieuws, de informatietechnologie, sociale media en het ‘netwerk’.</p> <p style="text-align: justify;">De titel ’23 Kilograms’ is het uitgangspunt voor deze vragen en over hoe onze praktijk als beeldend kunstenaars deel uitmaakt van de uitwisselingen, vertragingen en verbindingen die het heden definiëren als beelden en teksten door de virtuele ruimte (internet). Of hoe onze eigen lichamen en kunstwerken rondreizen om deel te nemen aan een ‘residency’ of een groepstentoonstelling.</p> <p style="text-align: justify;">In Zuid-Afrika hebben twee gebeurtenissen in het jaar 2012 de kwestie van informatie en de overdracht daarvan in een bepaalde context geplaatst: de Wet op de Bescherming van Staatsinformatie en de Marikana Massamoord. Dit project reageert op de macht van de ‘informatie’ die een beeld van een plek of gebeurtenis kan tonen, maar reflecteert ook op datgene wat niet wordt overgebracht.</p> <p style="text-align: justify;">Wat betekent het eigenlijk om als Zuid-Afrikaanse kunstenaar werken te maken voor een Europees publiek? Wat zijn de kenmerken van de nationale identiteit van dat publiek? Waar kunnen zich mogelijke misverstanden en miscommunicatie voordoen?</p> <p style="text-align: justify;">De kunstenaars zullen in de expositieruimte en de stad Den Haag een reeks situaties, diensten en uitwisselingen opzetten. Het project zal zich geleidelijk in 6 weken ontvouwen, waarbij de ruimte zich voortdurend verder zal ontwikkelen met elementen (teksten, objecten, pamfletten, gedrukte werken) die van buiten Nederland naar de galerie reizen en zullen culmineren in een publicatie. De tentoonstelling omvat een parallel evenement in Parking Gallery in Johannesburg en een uitwisseling met het project ‘Fundburo’ van de Universiteit van Lyon.</p> <p style="text-align: justify;"></p> Mon, 28 Jan 2013 13:36:36 +0000 Gabriele De Santis - Stigter van Doesburg - January 19th, 2013 - March 9th, 2013 Mon, 11 Mar 2013 19:38:34 +0000 Yael Davids - Stigter van Doesburg - January 19th, 2013 - March 9th, 2013 Mon, 11 Mar 2013 19:38:51 +0000 Alexandr Mischan - Geelvinck Hinlopen Huis - February 9th, 2013 - March 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;">De expositie toont portretten, die de Russische schilder Alexandr Mischan in de afgelopen twee decennia maakte van de Nederlandse beau monde. De portretten worden aangevuld met keramische ‘tsarina’s van de hand van de Nederlandse beeldend kunstenares (met Russische roots) Nadjezjda van Ittersum.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Museum Geelvinck Hinlopen Huis geeft een beeld van het wonen in het stadspaleis en de portretten van Alexandr Mischan passen hier volledig in. Zijn werk is onder meer te zien geweest in Moskou, Oslo, Los Angeles, Parijs enz. Mischan noemt zijn stijl ‘Magic Realism’ en is opgeleid in de school van Ilya Repin.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Alexandr Mischan</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Alexandr (Sacha) Mischan heeft internationale bekendheid en heeft met name in Nederland leden van vooraanstaande families geschilderd. Met name na zijn emigratie naar de VS heeft Sascha een groot aantal portretten geschilderd van Nederlandse families met bekende namen (Bentinck, ten Cate, van Eeghen, van Lanschot, Hora Siccama, Loudon, van Tets, van Rechteren Limpurg). Daarna heeft hij ook veel opdrachten gekregen uit de VS en de laatste jaren in toenemende mate uit Japan.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Magic realism</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Sascha is een realist, zoals veel Russische schilders die in de sowjet tijd hun brood moesten zien te verdienen met het schilderen van portretten van met pensioen gaande officieren van de sowjet strijdkrachten en de weinige buitenlanders die toen in Moskou woonden. Zelf noemt hij zijn stijl “magic realism”. Meer informatie: <a href=""></a></span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Nadjezjda van Ittersum</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Nadjezda van Ittersum heeft in 2009 in het kader van Proeftuin Amsterdam reeds haar sculpturen getoond in ons museum; zij voelt een nauwe band met Rusland als (zijdelingse) afstammelinge van de schrijver Vladimir Nabokov en dat komt in haar keramische werk tot uiting. Meer informatie: <a href=""></a></span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Nederland – Rusland 2013</span></h3> <p style="text-align: justify;"><span style="font-size: small;">De tentoonstelling vindt plaats in het kader van Nederland – Rusland 2013 / <a href="">NLRF2013</a>.</span></p> Wed, 06 Feb 2013 14:59:33 +0000