ArtSlant - Openings & events http://www.artslant.com/ams/Events/show en-us 40 Keith Edmier - De Hallen Haarlem - March 9th, 2013 11:00 AM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">From 9 March until 26 May 2013 De Hallen Haarlem presents a solo exhibition by<strong> Keith Edmier</strong>. This will be the American sculptor’s first museum exhibition in the Netherlands, providing an overview of his sculptures, photographs and drawings from the mid 1980’s onwards. It will be the first time that these works, primarily from Dutch collections, will be shown together next to specially commissioned sculptures, inspired by the 17th-century Dutch tulip mania and the Vleeshal’s renaissance architecture.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span>After a short-lived career as a Hollywood special effects designer Keith Edmier (Chicago, 1967) moved to New York in 1990 to develop himself as an artist. He collaborated with artists like Matthew Barney and Jeff Koons. A distinctive feature in his oeuvre is the combination of personal events with significant events from American history. In his sculptures the artist refers to penetrating contingencies, like the murders on JFK and John Lennon. He plays with the aura of popular icons, like Evel Knievel, Farrah Fawcett and Janis Joplin. Furthermore he creates botanical works: for instance orchids and sunflowers that refer to life, death and sexuality. Edmier’s exhibition in De Hallen Haarlem consists of his own sculptures, photographs and drawings from the mid 1980’s onwards combined with several 17th-century works.</p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"> </div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"><strong>Collective memory</strong></div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">Works concerning Edmier’s own history are shown on the monumental ground floor of the Vleeshal. These sculptures merge personal memories and obsessions with images from American history. A typical example is a sculpture of Edmier’s pregnant mother, dressed in a suit, made of the same fabric as Jackie Kennedy’s outfit on the day of her husband’s assassination. Here the image of Edmier’s mother goes hand in hand with the image of Jackie as ‘mother’ of the United States.</div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"> </div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"><strong>Blossoming and sexuality</strong></div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">A selection of Edmier’s botanical works can be seen in the Verweyhal; sculptures, photographs and drawings of fig leaves, orchids and giant water lilies. Nature, transitoriness, sexuality, life and death take centre stage here. Edmier’s <em>Victoria Regia</em> for example is a pink rubber and synthetic version of the eponymous Amazonian water lily, which flowers for only two nights. The sensual forms of the other sculptures in the Verweyhal are references to human procreation.</div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"> </div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"><strong>New work: tulip mania</strong></div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">The obelisks that are found in the ornamentation of the renaissance Vleeshal also appear in the form of the 17th-century tulip vase. This fact and the 17th-century tulip mania inspired Edmier to create new works. The tulip mania was a period in the Dutch Golden Age during which contract prices for tulip bulbs reached extraordinarily high levels from 1634 onwards and then suddenly collapsed in 1637. The town of Haarlem was at the epicentre of this boom.</div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">New tulip vases that the artist made can be seen on the Verweyhal. These are exhibited next to 17th-century tulip vases and flower still lifes. In light of the current economic crisis the tulip mania can be considered a topical subject.<br /> <br /> Keith Edmier’s works have been shown at Tate Modern in London, the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art. In the Netherlands his work forms part of the collection of the Bonnefantenmuseum in Maastricht and of several private and corporate collections.</div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"> <br /> <strong>Matthew Barney</strong></div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">As a pendant to the vanitas motive in Edmier’s work Matthew Barney’s film <em>Cremaster 5</em> from his <em>Cremaster</em>-cycle will be shown as well. It has the form of an opera and is a romantic tragedy about love and death. Transience of beauty and visual abundance are the film’s trademarks.<br /> <br /> <div><strong>De Hallen Extra</strong></div> <div>Thursday 28 March: lecture on tulip vases by designer Jurgen Bey, 20:00 in De Hallen Haarlem.</div> <div>Thursday 16 May: Dominic van den Boogerd, director of artists’ institute De Ateliers, talks about Keith Edmier’s work in the exhibition. 20:00 in De Hallen Haarlem.<br /> Reservations required: reservations [at] dehallen.nl</div> </div> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">De Hallen Haarlem presenteert van 9 maart tot en met 26 mei 2013 een solotentoonstelling van <strong>Keith Edmier</strong>. Het is de eerste museale tentoonstelling van deze Amerikaanse beeldhouwer in Nederland. De expositie biedt een overzicht van zijn sculpturen, foto’s en tekeningen vanaf midden jaren tachtig. Voor het eerst worden deze werken, uit overwegend Nederlandse collecties, samen getoond. Hierbij zijn ook speciaal voor de tentoonstelling gemaakte sculpturen te zien. Inspiratiebronnen hiervoor zijn de 17e-eeuwse tulpenmanie en de renaissancistische architectuur van de Vleeshal.<br /> <br /></span></p> <div style="text-align: justify;">Keith Edmier (Chicago, 1967) vertrok na een korte carrière in Hollywood als <em>special effects</em>-ontwerper in 1990 naar New York om zich daar als kunstenaar te ontwikkelen. Hij werkte met kunstenaars als Matthew Barney en Jeff Koons. Kenmerkend voor zijn oeuvre is het combineren van gebeurtenissen uit zijn persoonlijke leven met die uit de Amerikaanse geschiedenis. De kunstenaar haalt in zijn sculpturen indringende voorvallen aan, zoals de moorden op JFK en John Lennon. Edmier speelt ook met de uitstraling van populaire iconen, zoals Evel Knievel, Farrah Fawcett en Janis Joplin. Daarnaast maakt hij botanische werken, waaronder orchideeën en zonnebloemen, die verwijzen naar leven, dood en seksualiteit. De tentoonstelling die Keith Edmier samenstelt voor De Hallen Haarlem bestaat uit zijn eigen sculpturen, foto’s en tekeningen vanaf midden jaren tachtig gecombineerd met enkele 17e-eeuwse schilderijen en vazen.</div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"> </div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"><strong>Collectieve geheugen</strong></div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">In de monumentale benedenruimte van de Vleeshal worden werken rond Edmiers persoonlijke geschiedenis bijeengebracht. In deze sculpturen laat hij zijn persoonlijke herinneringen en obsessies samensmelten met beelden uit de Amerikaanse geschiedenis. Voorbeeld hiervan is een sculptuur van Edmiers zwangere moeder, gekleed in een mantelpakje van eenzelfde stof als de outfit die Jacqueline Kennedy droeg tijdens de moordaanslag op haar man. Edmier laat het beeld van zijn moeder hier samengaan met het beeld van Jackie als ‘moeder’ van de VS.</div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"> </div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"><strong>Bloei en seksualiteit</strong></div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">In de Verweyhal is een selectie van zijn botanische werken te zien. Dit zijn sculpturen, foto’s en tekeningen van onder andere vijgenbladeren, orchideeën en reusachtige waterlelies. Natuur, vergankelijkheid, seksualiteit, leven en dood staan hier centraal. Edmiers <em>Victoria Regia</em> is een in roze rubber en kunststoffen uitgevoerde versie van de gelijknamige waterlelie uit het Amazonegebied. Slechts twee nachten bloeit deze lelie om bevrucht te worden. Andere sculpturen in de Verweyhal verwijzen door hun sensuele vorm naar de menselijke voortplanting.</div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"> </div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"><strong>Nieuw werk: tulpengekte</strong></div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">De obelisken die voorkomen in de ornamentatie van de renaissancistische Vleeshal zie je ook in de vorm van de 17e-eeuwse tulpenvaas. Dit gegeven en de 17e-eeuwse tulpenmanie inspireerden Edmier tot nieuw werk. De tulpenmanie was een hausse in de tulpenhandel, met Haarlem als epicentrum, die rond 1634 opkwam en met de crisis begin 1637 abrupt eindigde. In de Verweyhal zijn Edmiers nieuwe tulpenvazen te zien: een replica van een vijftuitige waaiervaas en een zeventuitige piramidevaas. Deze worden getoond naast 17e-eeuwse tulpenvazen en bloemstillevens. De tulpenmanie is uiterst actueel tegen het licht van de huidige economische crisis.</div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"> </div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">Het werk van Keith Edmier was eerder te zien in onder meer Tate Modern in Londen, San Francisco Museum of Modern Art en Los Angeles County Museum of Art. In Nederland is zijn werk onderdeel van de collectie van het Bonnefantenmuseum en van verschillende privé- en bedrijfscollecties.</div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"><br /> <strong>Matthew Barney</strong></div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">Ook wordt de film <em>Cremaster 5</em> uit Matthew Barney’s <em>Cremaster</em>-cyclus getoond. De film heeft de vorm van een opera en is een romantische tragedie over liefde en dood. Vergankelijkheid van schoonheid en visuele rijkdom kenmerken deze film. Het vanitas-motief speelt hier net als bij Keith Edmier een belangrijke rol.    </div> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;"><strong>De Hallen Extra</strong></div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">- Donderdag 28 maart, lezing van ontwerper Jurgen Bey over tulpenvazen, aanvang 20:00 uur; </div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">- Donderdag 16 mei, Dominic van den Boogerd, directeur van kunstenaarsinstituut De Ateliers, spreekt over de werken van Keith Edmier op de tentoonstelling, aanvang 20:00 uur;</div> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <div style="text-align: justify;">Voor beide evenementen geldt: toegang gratis, reserveren verplicht: reserveringen [at] dehallen.nl.</div> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Fri, 08 Feb 2013 15:16:20 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list AES+F, Victor Alimpiev - De Hallen Haarlem - March 9th, 2013 11:00 AM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">Within the scope of The Netherlands-Russia Year 2013 De Hallen Haarlem is presenting a group exhibition of Russian video art, titled <em>The voice and the chorus</em>. All the works are on loan from the collection of the National Centre for Contemporary Arts (NCCA) in Moscow. This institute for contemporary art is one of the most important centres for the research and presentation of contemporary art in Russia.</span><br /> </p> <div style="text-align: justify;"><span style="font-size: small;"><strong>The Netherlands - Russia Year</strong></span></div> <div style="text-align: justify;"><span style="font-size: small;">On the occasion of The Netherlands - Russia Year 2013 many cultural events have been organised in the Netherlands since February, both in the visual arts and in the performing arts. In May this will be followed by a cultural programme in Russia. This summer an exhibition with works from the video collection of De Hallen Haarlem will be on show at the NCCA in Moscow.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>The voice and the chorus</strong></span></div> <div style="text-align: justify;"><span style="font-size: small;">The works in<em> The voice and the chorus</em> in De Hallen Haarlem have been made in the past ten years and offer a concise overview of contemporary Russian video art. Works on show are by artists who also made a name for themselves outside of Russia, like AES+F and Victor Alimpiev, as well as by young and promising collectives like Vverkh! (Upward!) and PROVMYZA. The Russian identity takes centre stage in most of the exhibited works. Sometimes guided by a sociological viewpoint in which the individual’s position within society or the collective is highlighted.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>Russian identity</strong></span></div> <div style="text-align: justify;"><span style="font-size: small;">In the tradition of Russian cinema some of the artists use the Russian landscape as a symbol for Russian identity; the mythic landscape in the work of Blue Soup Group, or the urban landscape in Marina Chernikova’s work.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>Individual versus collective</strong></span></div> <div style="text-align: justify;"><span style="font-size: small;">The Russian identity and mutual relationships are highlighted in <em>The King of the Forest</em> (2001) by collective AES+F. At a very young age Russian children are recruited for the highly praised disciplines of ballet and sport, but also for modelling jobs. The video shows children dressed in white underwear, in a reference to the famous Calvin Klein advertisements. Because of premature adult responsibilities the Russian children seem to have lost their innocence.</span></div> <div style="text-align: justify;"><span style="font-size: small;">Another work that deals with the relationship between individual and collective is <em>Lullaby</em> (2011) by artist duo PROVMYZA. The film examines modern society’s lack of compassion or attention for the individual: we see a lost generation in its search for meaning. The images refer to the 1970s, when a worldwide generation was looking for peace, love and meaning. </span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">The Ministry of Culture of the Russian Federation and the Royal Netherlands Embassy in Moscow kindly supports this exhibition.</span></div> <p></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">De Hallen Haarlem presenteert in het kader van het Nederland-Ruslandjaar 2013 een groepstentoonstelling met Russische videokunst, getiteld <em>The voice and the chorus</em>. De werken zijn afkomstig uit de videocollectie van het National Centre for Contemporary Arts in Moskou. Dit instituut voor hedendaagse kunst is één van de belangrijkste instituten voor onderzoek naar en presentatie van hedendaagse kunst in Rusland. <em>The voice and the chorus</em> is te zien van 9 maart tot en met 26 mei 2013. </span><br /> </p> <div style="text-align: justify;"><span style="font-size: small;"><strong>Nederland-Ruslandjaar</strong></span></div> <div style="text-align: justify;"><span style="font-size: small;">Ter gelegenheid van het Nederland-Ruslandjaar 2013 zijn in Nederland vanaf februari tentoonstellingen, concerten, theater- en andere activiteiten georganiseerd. Hierop volgt er in Rusland in mei een cultureel programma. In de zomer is een tentoonstelling met werken uit de videocollectie van De Hallen Haarlem in het NCCA in Moskou te zien.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>The voice and the chorus </strong></span></div> <div style="text-align: justify;"><span style="font-size: small;">De werken in <em>The voice and the chorus </em>in De Hallen Haarlem zijn geproduceerd in de afgelopen tien jaar, en bieden een beknopt overzicht van de hedendaagse Russische videokunst. Er zijn werken van jonge, veelbelovende collectieven als Vverkh! (Omhoog!) en PROVMYZA te zien. Maar kunstenaars die ook al enige tijd buiten Rusland naam hebben gemaakt (o.a. AES+F en Victor Alimpiev) zijn ook vertegenwoordigd. De Russische identiteit staat in de meeste werken centraal. Soms gebeurt dat aan de hand van een sociologische blik, waarbij de positie van het individu of het collectief in de samenleving wordt onderzocht.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>Russische identiteit</strong></span></div> <div style="text-align: justify;"><span style="font-size: small;">In de traditie van de Russische cinema zet een aantal kunstenaars het Russische landschap in als symbool voor de Russische identiteit; het mythische landschap, zoals in het werk van Blue Soup Group, of het stedelijke landschap, zoals bij Marina Chernikova.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>Individu versus collectief</strong></span></div> <div style="text-align: justify;"><span style="font-size: small;">De Russische identiteit en onderlinge verhoudingen worden belicht in <em>The King of the Forest</em> (2001) van het collectief AES+F. Al op zeer jonge leeftijd worden kinderen gerekruteerd voor de in Rusland hoog gewaardeerde disciplines van ballet en sport, maar ook voor modellenwerk. In de video zie je de kinderen gekleed in wit ondergoed, een verwijzing naar de beroemde Calvin Klein-reclames. De Russische kinderen lijken hun onschuld te hebben verloren door een te vroege (volwassen) verantwoordelijkheid.   </span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">Een ander werk dat ingaat op de verhouding tussen het individu en het collectief is <em>Lullaby</em> (2011) van kunstenaarsduo PROVMYZA. De film gaat in op het gebrek aan compassie of aandacht voor het individu in de moderne maatschappij. Een verloren generatie onderneemt een zoektocht naar zingeving. De beelden verwijzen naar de jaren zeventig, toen wereldwijd een generatie naar vrede, liefde en zingeving zocht.  </span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">Met dank aan het Ministerie voor Cultuur van de Russische Federatie, en de Nederlandse Ambassade in Moskou.</span></div> <p></p> Fri, 22 Feb 2013 19:24:43 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Group Show - Garage Rotterdam - March 9th, 2013 10:00 PM - 2:00 AM <p style="text-align: justify;"><span style="font-size: small;">The artists participating in Transformation have a shared fascination with death, with life and the degree to which the two are controllable. They manage to unsettle the fundamental distinction between life and death, as well as between humans and animals.</span></p> <p style="text-align: justify;"><span style="font-size: small;">With Nathaniel Mellors, Jeroen Kuster, Uli Westphal, Tinkebell, Martin uit den Bogaard, Ronald van der Meijs, Koen Vanmechelen, Michiel van Overbeek, Stan Wannet, Floris Kaayk and Robot Flame TU Delft.</span></p> <hr /> <p style="text-align: justify;"><br /><span style="font-size: small; text-align: justify;">Razendsnelle ontwikkelingen in de biowetenschap doen de ooit zo definitieve grens tussen leven en dood vervagen. Kom tijdens de Museumnacht kijken naar de tentoonstelling Transformation en ontdek hoe hedendaagse kunstenaars omgaan met deze thematiek.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Met Nathaniel Mellors, Koen Vanmechelen, Uli Westphal, Jeroen Kuster, Tinkebell, Stan Wannet, Martin uit den Bogaard, Ronald van der Meijs, Michiel van Overbeek, Floris Kaayk en TU Delft robot Flame.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Garage Rotterdam bestaat 1 jaar en dat wordt tijdens de Museumnacht gevierd!</span></p> <p style="text-align: justify;"><span style="font-size: small;">Openingstijden: 20.00 – 2.00 uur</span><br /><span style="font-size: small;">Toegang: gratis</span><br /><span style="font-size: small;">Locatie: Goudsewagenstraat 27</span></p> <p></p> Thu, 14 Feb 2013 16:13:53 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Andrea Lehmann - Gerhard Hofland - March 9th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;">Gerhard Hofland is delighted to announce the second solo exhibition of Andrea Lehmann, presenting paintings and works on paper.<br /><br />For Andrea Lehmann (1975 Düsseldorf), painting is a natural way of understanding the world. With great clarity and lightness of touch, she produces a concentrated stream of images that at first sight appear to lack any coherent thread. Like dreams, the possibilities and images are endless and the stream seems to obey no logic of any kind. Her depictions are both fairy-tale and blood-thirsty, reminiscent of scenes conjured up by the Brothers Grimm. And yet her themes and subjects are most surely drawn from the world around us. Mythical sites, historical events and legendary figures past and present are Lehmann’s inspiration. In almost all her work, she transforms these incidents into personal histories, which explains the frequent occurrence of her own likeness. Andrea Lehmann is not only scriptwriter and director, but the leading lady in this extraordinary world of theatre. Her style of painting has a surreal undertone, flirting with different imagery and situations, collaging visual elements together. Over the years, her work has evolved into a distinct, highly recognizable style. Lehmann’s virtuoso realistic way of painting is pervaded by an earthy tone that brings to mind seventeenth century painting and early photography. Moreover she ‘signs’ her work by gluing her own hair to it, and adding a final layer of dammar resin to her work. The new series of paintings are based on Athelda, a famous early 19<sup>th</sup>-century English circus artiste. Like a kind of feminine Hercules, she was a woman of exceptional strength who flaunted her strong-woman prowess lifting weights and human beings alike.<strong><br /></strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong></strong></span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;"><strong> </strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Gerhard Hofland</strong> presenteert met trots de tweede solotentoonstelling van<strong> Andrea Lehmann</strong>. De tentoonstelling bestaat uit schilderijen en werken op papier.</span><br /> <br /><span style="font-size: small;"> Voor  Andrea Lehmann (1975 Düsseldorf)  is schilderen een natuurlijke manier om de wereld te begrijpen. Ze produceert op een uiterst vanzelfsprekende wijze een geconcentreerde stroom aan beelden die op het eerste gezicht geen enkele bedoeling heeft. Net als dromen zijn de mogelijkheden en beelden onbeperkt en lijkt de stroom geen enkele logica te bevatten. Haar voorstellingen zijn feeëriek en bloeddorstig tegelijkertijd en lijken scènes afkomstig uit de sprookjes van Grimm.  Weldegelijk hebben de onderwerpen hun oorsprong in de werkelijke wereld. Mythische plekken, historische gebeurtenissen en legendarische figuren uit heden en verleden vormen de aanleiding. Ze transformeert in bijna al haar werk deze gebeurtenissen in persoonlijke geschiedenissen. Vandaar dat haar portret regelmatig terugkomt. Andrea  Lehmann is niet alleen  schrijver en regisseuse, tevens speelt ze de hoofdrol in deze bizarre theaterwereld.</span><br /><span style="font-size: small;"> Haar schilderkunst stoelt op het surrealisme. Het spelen met verschillende beelden en situaties en de collageachtige werkwijze. Inmiddels heeft haar werk zich ontwikkelt tot een heldere herkenbare stijl. Haar virtuoze realistische manier van schilderen heeft een aardse toon die schilderkunst uit de zeventiende eeuw maar ook de begindagen van de fotografie in herinnering brengen. Daarnaast 'signeert' ze haar werken door er haren in te plakken en haar werk met dammar hars te bewerken.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Voor de serie nieuwe werken stond Athelda model. Een beroemde artiest uit het Engelse circus begin vorige eeuw. Ze was de mannelijke Hercules een vrouw met exceptionele krachten waarmee ze gewichten en mensen tilde.</span><br /> <br /><span style="font-size: small;"> Andrea Lehmann studeerde aan de kunstacademie te Düsseldorf bij professor Markus Lüpertz. Ze exposeerde onder andere in The Saatchy Gallery in Londen, Kunstmuseum Mülheim an der Ruhr, Rubell Family Collection in Miami, Museum Ratingen, Kunstmuseum Düsseldorf and  Museum of Glass in Tacoma/Washington. Haar werk wordt vertegenwoordigt in galleries in Duitsland an Amerika.</span></p> Fri, 01 Mar 2013 07:40:28 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Matijs van de Kerkhof - Gerhard Hofland - March 9th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;">Van de Kerkhof generally paints group scenes that are dimly lit and infused with a sense of quiet menace. The protagonists, claustrophobic spaces, landscapes, houses and other props are rendered in seemingly casual, intuitive brushstrokes. Black, dark brown or dark blue are the dominant shades in his palette, and from which Van de Kerkhof conjures up scenes in warm hues. Shadows throw large darker areas over the painting. And light receives a similar treatment – mostly radiating from lamps or other unnatural sources, it slices through the dark spaces in sections or brighter bands. </span><br /> <br /><span style="font-size: small;"> Van der Kerkhof’s props and characters are culled from old snapshots found in family albums and re-envisioned in desolate, often disturbing, scenes. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Van de Kerkhof presents us with images in which the staged reality of Edward Hopper meets the psychotic nightmare world of Francis Bacon.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matijs van de Kerkhof lives and works in Eindhoven and frequently exhibits his work throughout the region.</span></p> Thu, 28 Feb 2013 16:18:04 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list - Hermitage Amsterdam - March 9th, 2013 10:00 AM - 5:00 PM <h4 style="text-align: justify;"><em><span style="font-size: small;">Now a hero, and now a sage,</span></em><br /><em><span style="font-size: small;">building ships or sailing the seas,</span></em><br /><em><span style="font-size: small;">his mind encompassed all his age,</span></em><br /><em><span style="font-size: small;">and he worked from his throne without cease.</span></em><br /><em><span style="font-size: small;">Aleksandr Poesjkin</span></em></h4> <h3 style="text-align: justify;"><span style="font-size: small;">An Inspired Tsar</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Early in 2013, a year of celebration in Dutch-Russian relations, the Hermitage Amsterdam will present a major exhibition devoted to Peter the Great (1672–1725), the modernizer of Russia. The exhibition will paint a picture of this unconventional, inspired and inquisitive Russian tsar, who by the time he took power at the age of 17 was determined to transform his country. His achievements include reforming the military and the church, expanding trade and industry, and improving education and public health. He turned Russia into a great European power with a brand-new capital city: St Petersburg, his “window on the West.” With historical artefacts, paintings, gold jewellery from the ancient world, weapons and unique documents, the exhibition will sketch the life of this peerless ruler. From his youth Peter collected art, including a Rembrandt, planting the seed for St Petersburg’s later Hermitage collection. An enthusiastic traveller, he went two visits to Western Europe, including the Dutch Republic. It was the city of Amsterdam, in particular, that inspired him to found his new capital. Peter befriended many leading figures in Dutch society, such as Nicolaas Witsen (mayor of Amsterdam), Christoffel van Brants (shipper, and grain and arms merchant), Albert Seba (apothecary and collector of natural curiosities) and Frederik Ruysch (physician, anatomist and botanist). Like a sponge, he absorbed what they taught him about shipbuilding, making instruments, carpentry, etching, dissection, pulling teeth, making paper, gardening, bookmaking, and much more. Find out how this knowledge bore fruit in Russia during your visit to <em>Peter the Great, an Inspired Tsar</em>. You will also find many of Peter’s personal effects, such as his suits and one of his coaches, which show how profoundly he was influenced by Western tastes.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will be based on the collection of the State Hermitage Museum in St Petersburg, with additional pieces from the collections of museums and institutions in the Netherlands and elsewhere.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Year of Dutch-Russian relations</span></h3> <p style="text-align: justify;"><span style="font-size: small;">In 2013, the Netherlands, Russia, and the city of Amsterdam will celebrate their special relationship. The two countries have been major trading partners since the Dutch Golden Age, and their ties grew stronger in the centuries that followed. When Napoleon was defeated in 1813, Russian Cossacks advanced as far as the gates of Amsterdam. One Dutch prince even married the sister of a tsar. The year 2009 saw a crowning moment in Dutch-Russian relations: the opening of the Hermitage Amsterdam, the only European satellite of the famous St Petersburg museum.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From Friday 29 March until Monday 1 April the Hermitage Amsterdam is open one hour longer. The exhibition <em>Peter the Great, an Inspired Tsar</em> will be open from 10 am to 6 pm<em>.</em><br /></span></p> <hr /> <h4 style="text-align: justify;"><span style="font-size: small;">Peter de Grote, een bevlogen tsaar</span></h4> <h4 style="text-align: justify;"><span style="font-size: small;"> </span></h4> <h4 style="text-align: justify;"><em><span style="font-size: small;">Een zeeman was hij, timmerman,</span></em><br /><em><span style="font-size: small;">een groot geleerde en een held,</span></em><br /><em><span style="font-size: small;">ten diepst’ van Rusland in de ban,</span></em><br /><em><span style="font-size: small;">een werker op ’s lands troon gesteld.</span></em><br /><em><span style="font-size: small;">Aleksandr Poesjkin</span></em></h4> <h3 style="text-align: justify;"><span style="font-size: small;">Een bevlogen tsaar</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Aan het begin van het Nederland-Ruslandjaar 2013 opent de Hermitage Amsterdam een grote tentoonstelling over Peter de Grote (1672–1725), vernieuwer van Rusland. De tentoonstelling zal een beeld geven van deze originele, bevlogen en leergierige Russische tsaar die, toen hij alle macht kreeg op 17-jarige leeftijd, vastbesloten was het land te moderniseren. Hij slaagde erin de krijgsmacht en de Kerk te hervormen, breidde handel en nijverheid uit en verbeterde het onderwijs en de volksgezondheid. Hij versterkte Rusland tot een Europese grootmacht, met een volledig nieuwe hoofdstad: St.-Petersburg, ‘venster op het westen’. Met historische voorwerpen, schilderijen, gouden sieraden en voorwerpen uit de oudheid, wapens en bijzondere documenten wordt in de tentoonstelling het leven geschetst van deze onnavolgbare tsaar. Ook kocht hij al op jeugdige leeftijd kunst, waaronder een Rembrandt, en legde daarmee een basis voor de latere collectie van de Hermitage in St.-Petersburg. Reislustig als hij was, ondernam Peter de Grote twee reizen naar West-Europa. Zo bezocht hij de Republiek der Nederlanden, waar met name de stad Amsterdam hem inspireerde tot de stichting van zijn nieuwe hoofdstad. Hij raakte bevriend met prominente Nederlanders als Nicolaas Witsen (burgemeester van Amsterdam), Christoffel van Brants (transporteur, graan- en wapenhandelaar), Albert Seba (apotheker en verzamelaar van naturalia) en Frederik Ruysch (arts, anatoom en botanicus). Als een spons zoog hij hun kennis op over scheepsbouw, instrumenten maken, timmerwerk, etsen, secties verrichten, tanden trekken, papier scheppen, hovenieren en boekdrukkunst et cetera. Hoe dit zijn vruchten in Rusland afwierp, laat <em>Peter de Grote, een bevlogen tsaar</em> zien. Bovendien tonen veel persoonlijke voorwerpen uit Peters voormalig bezit, waaronder zijn kostuums en een koets, aan hoezeer zijn smaak door het westen was beïnvloed.</span></p> <p style="text-align: justify;"><span style="font-size: small;">De collectie van het Staatsmuseum de Hermitage in St.-Petersburg is het uitgangspunt van de tentoonstelling. Daarnaast zijn er aanvullingen uit collecties van binnenlandse en buitenlandse musea en instellingen.</span></p> <h3 style="text-align: justify;"><span style="font-size: small;">Nederland-Ruslandjaar</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Het jaar 2013 staat in het teken van de bijzondere relatie tussen Rusland, Nederland en Amsterdam. Sinds de Gouden Eeuw zijn de twee landen belangrijke handelspartners. De eeuwen daarna werden de banden versterkt. Zo rukten in 1813 – bij de val van Napoleon – Russische Kozakken op tot aan de poorten van Amsterdam en zo trouwde een van de Oranjes met een zuster van de tsaar. De banden tussen Nederland en Rusland werden in 2009 bekroond door de opening van de Hermitage Amsterdam, het enige Europese satellietmuseum van het beroemde museum in St.-Petersburg.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Van vrijdag 29 maart tot en met maandag 1 april is de Hermitage Amsterdam een uur langer geopend voor publiek. De tentoonstelling <em>Peter de Grote, een bevlogen tsaar</em> is open van 10–18 uur en de presentatie <em>Vincent. <br /></em></span></p> Fri, 08 Feb 2013 15:40:52 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Pieter Engels - Martin Van Zomeren - March 9th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong>Martin van Zomeren</strong> is pleased to present the first solo show of <strong>Pieter Engels</strong> at the gallery. The exhibition brings together old and recent works of the artist.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Pieter Engels (1938, Rosmalen) moved to Amsterdam in 1958 and finished the Rijksakademie in 1962. Two years later he made a stir founding EPO (Engels Products Organization). The ‘company’ was housed in a showroom on Prinsengracht and organized annual sales events of not usable furniture and shiny objects, referred to as products. The works were then sold together with a folder magnifying the product. Engels presented himself not as an artist but as the director of this firm.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Serialization, critique of the consumer society, sense of irony, questioning the role of the artist: these are the crucial features of the period and the EPO products are their extreme manifestation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In this period the Amsterdam art scene was characterized by freedom and creative noise. In 1969 the Stedelijk presented the latest developments in art in the legendary exhibition ‘Op Losse Schroeven’.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Artists such as Lawrence Weiner, Sol le Witt and Robert Barry used to visit Amsterdam often and for long periods, Gilbert &amp; George performed posing for hours on the stairs of the Stedelijk.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Engels can be seen as an actor of the cultural vivacity of the period, but he kept his independent position. He explicitly admits that the variety and inconsistency of his work are one of his strengths.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His practice is very diversified. It includes actions, texts, objects, paintings and some of his works do not have much more in common than the use of the same kind of technique or material.</span></p> <p style="text-align: justify;"><span style="font-size: small;">However there are some general concepts that are central in his work. Probably the most important one is the investigation of the meaning of being an artist. This investigation is pursued with irony, often using paradoxes and through the principles of reversal and destruction.</span></p> <p style="text-align: justify;"><span style="font-size: small;">It is paradoxical the way he affirmed that his works were not made by an artist but produced by his firm EPO. Thus questioning the intrinsic value of a work of art, for instance pricing it according to his weight.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The principle of reversal engages ordinary situations and objects. For instance, the ‘Repaired chairs’ now on show were ‘destructed’ and repaired in an disfunctional way.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Finally, the principle of destruction applies to the artwork itself and at the same time to the creative process. Sometimes it is pushed against the public. A striking example might be a performance held in a space full of philatelists where he cut the most precious stamps or smoking his autographs as a cigarette.</span></p> Fri, 08 Mar 2013 20:33:51 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Femmy Otten, Chaim van Luit, Saskia Noor van Imhoff, Esther de Graaf, Zoro Feigl - Stedelijk Museum Schiedam - March 9th, 2013 10:00 AM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">From 9 March to 16 June, the Stedelijk Museum Schiedam will present the exhibition entitled <strong><em>De Volkskrant Beeldende Kunst Prijs 2013 (De Volkskrant Art Award 2013)</em></strong>. The nominees for this Award are: Zoro Feigl, Esther de Graaf, Saskia Noor van Imhoff, Chaim van Luit, Femmy Otten. Five talented artists, all younger than 35 years, have been chosen by art scouts. Their work reflects the adventure and diversity of present-day art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In addition to paintings and mural reliefs, there are delicate constructions of wire and cardboard as well as multimedia installations and electrically powered sculptures. This is the seventh edition of the Award, which is organized as a joint effort involving De Volkskrant (Dutch national daily newspaper), the Mondriaan Fund and NTR Kunststof TV (art programme). The jury chairman, Jan Jaap van der Wal, will announce the winner in a special broadcast of NTR Kunststof TV on Sunday 21 April. The prize of 10,000 euros has been donated by the Mondriaan Fund. </span><br /><br /><span style="font-size: small;"><strong>Zoro Feigl (Amsterdam, 1983)</strong></span><br /><span style="font-size: small;">Nominated by Jeroen Bosch: artist and founder of Trendbeheer.com, a news site for current art in the Randstad (urban agglomeration in the west of the Netherlands).</span></p> <p style="text-align: justify;"><span style="font-size: small;">‘Zoro Feigl’s figures move: they turn, make noises, rustle, squeak and scrape. Feigl’s works is playful and light-hearted, but also exceptionally physical at the same time. They seize your attention directly and inexorably. They are conspicuous, sensational works, all of them eye-catchers, almost sensation art.’ This is how Jeroen Bosch describes his choice for this artist, and he even takes it a step further: ‘Images are not sufficient, you have to see it, feel it, experience it. The commitment, the energy and the originality radiate from the work.’</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the Stedelijk Museum, Feigl displays three recent sculptures: mechanical figures that generate sound and movement. Although they produce elegant movement, there is also a sinister undertone. In the earliest figure of the three, Chain dating from 2008, an anchor chain hangs from a motorbike wheel attached to the ceiling. As soon as the wheel is powered, the steel chain oscillates loosely in space, in a long, changing loop shape: a soft movement of hard materials. This contrast suggests that the ambience could easily alter: from the potency of elegant temptation to a demonstration of power. Perhaps that will actually occur. The chain, which writhes and rattles, has the venom of a snake.</span><br /><br /><span style="font-size: small;"><strong>Esther de Graaf (Groningen, 1984)</strong></span><br /><span style="font-size: small;">Nominated by Ad de Jong, artist and founder of the W139 artists’ initiative in Amsterdam</span><br /><span style="font-size: small;">Esther de Graaf builds delicate constructions of simple materials that are translucent, opaque or sometimes also reflect light. She uses cardboard, plastic, wood, aluminium foil, wire and tape. In an occasional case her sculptures call to mind telescopes or solar panels. In general she navigates between an organic and an architectural skeleton, extremely fragile and light. Her works demonstrate their own structure, which has been composed of transparent modules. In principle, they could expand indefinitely: a germ of uncontrolled proliferation lurks within these constructions.</span><br /><span style="font-size: small;">‘They are the counter-image of our over-organized, control-oriented society: loose, naïve, fabricated from chaos and only just holding together, almost a transition to the following state of sculptural being. Or of no longer even being a sculpture, in fact’, writes scout Ad de Jong about this work. He has nominated Esther de Graaf because she ‘creates fragile figures that make a strong and especially visual impression with simple materials, in a new and pure manner’. </span></p> <p style="text-align: justify;"><span style="font-size: small;">De Graaf seldom installs ready-made figures in an exhibition. She builds up her sculptures in the space where she displays them, adapts them to this space, and relates them to the surrounding architecture.</span><br /><br /><span style="font-size: small;"><strong>Saskia Noor van Imhoff (Mission, Canada, 1982)</strong></span><br /><span style="font-size: small;">Nominated by Marlene Dumas: artist</span><br /><span style="font-size: small;">A landscape of artworks. A décor of artworks. Or: a still life of artworks. Saskia Noor van Imhoff arranges a large diversity of materials in space. Photographic works or videos may accompany paintings, or even living plants and plant-like figures of bronze. Walls, pedestals and columns form components of an installation. They are placed in a sculptural way, occasionally in the shape of a funnel, ushering the general public into the décor but also representing the filtration of information. </span><br /><span style="font-size: small;">‘I find her visually intelligent and surprising, due to her up-to-date themes: the relationship of art to exhibiting, for example, or the relationship of art to collecting.’ This is how Marlene Dumas motivates her choice. According to Dumas, Van Imhoff takes the museum depot as a theme for the revision our culture: she studies the significance of tangible objects in our digital era. ‘Perhaps she is a kind of hewer of figures rather than a sculptress’, Dumas suggests. </span></p> <p style="text-align: justify;"><span style="font-size: small;">For her installation in Schiedam, Van Imhoff has submitted and revised previous work, and has also produced some brand-new components besides visiting the museum depot. In addition to a still life by Gerrit van Vucht from the seventeenth century, she has chosen objects that jointly form a spatial reflection of that still life. Her installation, thus composed, forms an analytical and, at the same time, sensitive aid to memory.</span><br /><br /><br /><span style="font-size: small;"><strong>Chaim van Luit (Heerlen, 1985)</strong></span><br /><span style="font-size: small;">Nominated by Stijn Huijts, director of the Bonnefanten Museum in Maastricht</span><br /><span style="font-size: small;">‘My work may appear formal’, says Chaim van Luit, ‘but it arises spontaneously, in an interaction with my surroundings. I often go out into the woods in and around Limburg. You simply cannot avoid the traces of history there, especially those from the war. Just across the border with Germany you encounter bunkers from the Second World War that are camouflaged with a kind of oxide green that I, as a painter, find very interesting.’</span></p> <p style="text-align: justify;"><span style="font-size: small;">It should be a colour that prefers to go incognito: this bunker green. But Van Luit draws this pigment to the forefront. In the video entitled Removing and Storing Pigments, Hürtgenwald (2012) we see his hand carefully scraping paint from the bunker wall, like a restorer. The sound is raw: metal grating against concrete, as a metaphor for a harrowing history. The video dovetails with the mural entitled Monochrome (2012-13): a metres-tall green rectangle of pigment and binding agent. Geometrical abstraction? Of course, but here the camouflage colour is also brought into the light of day. In addition to being a restorer, Van Luit is also a kidnapper of the past.</span><br /><br /><br /><span style="font-size: small;"><strong>Femmy Otten (Amsterdam, 1981)</strong></span><br /><span style="font-size: small;">Nominated by Toos Arends, director of the CBK Drenthe</span><br /><span style="font-size: small;">Femmy Otten switches effortlessly between the second and the third dimension. Drawing, painting and sculpting blend together with ease. She creates mural reliefs, portraits of women and men that exist at the point of appearing and disappearing. It is as if they, with their refined faces, come from another age, sometime long ago. None the less, they fit seamlessly into the present day, in all the reproductions of bygone times. Sometimes a single portrait recurs in relief, or as a painted version of a framed photo. </span></p> <p style="text-align: justify;"><span style="font-size: small;">According to Toos Arends, Otten can bridge the ages: she evokes Greek and Etruscan Antiquity, as well as the wooden sculptures of Stephan Balkenhol, frescos from the Renaissance, and occasionally also abstract art. Past and present form a total picture that refuses to let the spectator go, claims Arends. And she praises the mystery of these portraits in which personal memories accompany those from mythology.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Otten creates her own world of fables in which she allows her knowledge of art history and her intuition free rein. Just as in Classical Antiquity and in our dreams, animal and humans fuse together. Her work is replete with veiled eroticism and magic forces are also unleashed. Around the portraits are sharp arrows and abstract signs that function as amulets. Otten celebrates a delicate beauty in her work. Occasionally this beauty acquires wings, while elsewhere it may become damaged and its countenance disfigured. To maintain equilibrium, the occult symbols loom up: they exorcize oblivion and the evil eye.</span><br /><br /><span style="font-size: small;"><strong>The Stedelijk Museum Schiedam has organized a programme of activities to accompany the exhibition.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">On Sunday 7 April, in the Museum Weekend, you can participate in guided tours given by Sacha Bronwasser, jury member and art critic of the Volkskrant, and Wilma Sütö, curator of the exhibition.</span><br /><span style="font-size: small;">In the last weekend, too, during the Volkskrant day on Sunday 16 April, there is a whole guided tour programme. In addition, Sacha Bronwasser will interview the participating artists. To round off the day, the public’s favourite will be announced. As a visitor, you are most welcome to cast your vote on the form available for this purpose.</span></p> Fri, 08 Mar 2013 22:10:00 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list - Witte de With Center for Contemporary Art - March 9th, 2013 2:00 PM - 4:00 PM <p style="text-align: justify;"><span style="font-size: small;">Drawing together visual culture, artistic projects and archival research, <i>Landings</i> is a long-term research project led by Natasha Ginwala and Vivian Ziherl inaugurating with the event ‘<i>Imperial Pastoral: On Constructions of Rurality</i>’ at Witte de With on 9 March 2013, 2pm. </span><br /><br /><span style="font-size: small;">Focus areas include some of the earliest models and ‘visions’ of the earth as well as its interior constituents; from the records of ancient explorers and polymaths such as Shen Kuo and Al-Biruni, artistic and botanical studies of mangroves as sensing grounds and an inverted selfhood as well as cross-disciplinary presentations on 19th century photography and film archives that visualize agrarian life and its techniques during colonial administration. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Participants: Olof Olsson, Rosalind Morris, Brian Dudley Barrett, Filipa Cézar.</span></p> Thu, 28 Feb 2013 16:07:00 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Marian Bijlenga, Lisanne Sloots, teja van hoften - Galerie Franzis Engels - March 10th, 2013 2:00 PM - 5:00 PM <p>Voordt de kunstenaars hun werk weer op komen halen, komen ze nog één keeer samen. Belangstellenden zijn hierbij uitgenodigd.</p> Thu, 17 Jan 2013 17:08:32 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Scarlett Hooft Graafland - Vous Etes Ici - March 10th, 2013 3:00 PM - 7:00 PM Fri, 22 Feb 2013 15:33:09 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list - ARCAM - Amsterdam Centre for Architecture - March 14th, 2013 4:00 PM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;"><b>For two months, the development of Oosterdok will be spotlighted in an exhibition and a programme comprising tours of discovery, lectures, debates and workshops – all at locations around Oosterdok.</b><br /> <br /> Oosterdok is changing, in recent years faster and faster. It has long been characterized by a mix of residential and commercial uses, but now more and more people, Amsterdammers and tourists, are visiting the cultural institutions and the events that are organized here. This former dock area is increasingly establishing itself as a cultural hot spot.</span></p> <p style="text-align: justify;"><span style="font-size: small;">But what did it look like before the IJtunnel and NEMO were built, when the Postgebouw was still standing? What still isn’t quite right and where are the opportunities to strengthen the cultural cluster still further?</span></p> <p style="text-align: justify;"><span style="font-size: small;">These and other questions will be addressed during the event OOSTERDOK UNITED, which ARCAM, together with a number of its neighbours and the city’s planning department (DRO), is organizing. The ideas and views voiced during the event will be noted and will be presented as a package of recommendations to the city’s politicians at the closing meeting.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Achter het EYE en de voormalige Shell-toren bevindt zich een terrein dat al zo lang braak ligt dat het een kleine wildernis in een verder stedelijke omgeving is geworden. Door de financiële crisis is het onduidelijk wanneer dit stuk grond bebouwd zal worden. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Vijf leerlingen van het Bredero Lyceum in Amsterdam-Noord zijn de afgelopen maanden, in opdracht van Ymere, aan de slag gegaan met dit braakliggende terrein. Zij kregen de opdracht om voor deze plek een tijdelijke, mobiele ontmoetingsplek te bedenken, die zou voldoen aan de wensen van bewoners van Overhoeks.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Na verschillende brainstormsessies, hebben de leerlingen een ontwerp op papier gezet en vervolgens uitgewerkt in een maquette. Ontmoeting, samenwerking, duurzaamheid, groen en tijdelijkheid zijn de belangrijkste peilers van het project.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Op vrijdag 15 maart presenteren de leerlingen hun ontwerp bij ARCAM. Vanaf 16.00 uur is iedereen welkom om langs te komen voor de presentatie en vervolgens een drankje mee te drinken. De maquettes zijn hierna nog tot en met 30 maart te bezichtigen.</span></p> Fri, 08 Mar 2013 07:46:59 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Magali Reus - Galerie Fons Welters - March 16th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;"><span style="font-size: small;"><strong></strong></span><span style="font-size: small;"><strong>Galerie Fons Welters</strong> is pleased to present<strong><em> Highly Liquid</em></strong>, an exhibition of new works by <strong>Magali Reus</strong>. This is the artist’s third solo exhibition at the gallery, comprising a video piece and a series of sculptural works. <br /><br /><em>The video</em> Highly Liquid is encountered immediately upon entering the gallery. Shot in slow-motion high definition, the video features a man’s body in extreme close-up, the details of his figure in friction with a continuous flow of water from an unspecified source. The man himself remains neutral and detached; his age, character and whereabouts undefined and irrelevant, as the fragmented vignettes of image flatten what might be a full body into a single plane of focus. In a kind of mechanised voyeurism, the camera pans his abstracted contours, obsessively trained on the dips, outlines and sculpted moments of skin. The rhythmic formations of the water magnify and agitate an idea of retinal desire, but the moments are so fleeting that any idea of sexiness is laminated beyond reach of bodily heat or touch. <br /><br />In the backspace of the gallery, physical activity is isolated to the margins, with a peripheral hang of fold-open chairs mounted at low level on the walls. Some singled out and others paired in groups, the chairs are modular units, unavoidably suggestive of functional usage, but ultimately absent from any operative human force. Hung in stutters, full stops and longer bursts, the chairs line the walls like suggestive moments of conversation, their domestic recognisability snagging between quiet legibility and a more calculated pose. The role of eye level analogises them with the body, building up a tense relationship to the surrounding space which is provided with a peripheral perspective, but whose borders are indeterminable. Flat sufaces alternate with broken arrangements, architectural nods to impersonal efficiency and a space opened up to fragility and a kind of graphic obsessiveness. With their flat blank colours and gently moulded resin forms, the chairs have a softness reminiscent of corporate packaging or children’s bedrooms but there is a violence to their surface impenetrability: they cannot exude or absorb, are wipe clean, and so sealed and emotionally reluctant. Instead of inviting the activities of sitting or rest, these chairs acts as platforms for further object interruptions: things that prop open, divide, hold locked and surround are integrated in and around the forms. Stitched plastic covers, perforated aluminium tubing and high performance fabrics all in some way suggest an extension or improvement of the body’s animation, using the chairs as a platform for visibility. But like the slow-motion high definition of the video, the promise of fulfilment and speed is one isolated just out of physical grasp. <br /><br />A glass container, which sits seamlessly inside a wall opposite the office, acts as a connecting vehicle between the two opposite halves of the gallery. Held within its compact environment are displayed cast, polyurethane black rubber watches stranded in a layer of iced water, like dead fish in a cool cocktail. The watches in this tank are obsolete, unable to register any passing of time or movement. Like an impoverished still life, the watches are accessories set within an unendingly comical cycle between solid freeze and liquid collapse, this abstract container with its rigid fluidity, both impersonal, calculated and alluring. <br /><br /><br />Magali Reus lives and works in Amsterdam (NL) and London (UK). Reus studied at Goldsmiths in London and is currently a resident artist at The Rijksakademie. Solo exhibitions include Hands Down, unosolo project room, Milan (2013), ON, The Approach, London (2012); Weekend, Galerie Fons Welters (2010), Background, IBID Projects London, La Salle de Bains, Lyon, France (2009/2010); Group exhibitions include: Heavy duty, silent haze, racing hearts, FreymondGuth LTD, Zurich, CH (2013); Material World, NEST, The Hague, NL (2013); Painting Without Paint, David Risley Gallery, Copenhagen, DK (2012); superpositions, New Wight Biennial 2012, New Wight Gallery, Los Angeles, USA; Rain, curated by Nicolas Deshayes, Cell Project Space, London, UK (2011), Young London, V22 Collection, London, UK (2011), Rehearsal, curated by Nazil Gurlek, Galeri NON, Istanbul, Turkey (2011).<br /><br /><i>This exhibition was made possible with the support of Mondriaan Foundation and Rijksakademie van Beeldende Kunsten Amsterdam</i></span></p> Fri, 08 Mar 2013 22:12:28 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Ricardo Galán Urréjola - Galerie Mokum - March 16th, 2013 4:00 PM - 6:00 PM <p style="text-align: justify;"><span style="font-size: small;">Van 16 maart tot en met 7 april exposeert de spaanse kunstenaar Ricardo Galán Urréjola in Galerie Mokum. Na een aantal jaren van prettige samenwerking is het nu tijd voor de eerste solotentoonstelling van Ricardo Galán Urréjola. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span></p> <p style="text-align: justify;"><strong>Over Ricardo Galán Urréjola</strong><br />De Spaanse kunstenaar Urréjola schildert voornamelijk hedendaagse stadsfragmenten. Auto’s, bussen en trams die door een straat rijden, waarbij reclameborden, winkels en architectuur op de achtergrond het beeld vullen. In eerste instantie zijn het misschien niet de meest esthetische onderwerpen, maar Urréjola weet op een zeer boeiende wijze de voertuigen, regenachtige straten en de soms grauwe, rauwe taferelen in de steden zeer fascinerend weer te geven. Hiermee creëert hij herkenning en raakt hij die emotie die doet verlangen naar de drukte en dynamiek van de stad. Tijdens een recent bezoek aan Nederland raakte hij geïnspireerd door Amsterdam. In de reeks werken die in Mokum wordt gepresenteerd ziet u hiervan het resultaat. Als een ware stadschroniqueur verbeeldt hij op voortreffelijke wijze het monumentale, grootstedelijke karakter van onze hoofdstad en geeft hij tegelijk het leefbare karakter en haar intimiteit weer.</p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Tue, 19 Feb 2013 17:02:04 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Ingrid Baars - Galerie Rademakers - March 16th, 2013 3:00 PM - 5:00 PM Tue, 02 Apr 2013 10:13:52 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Wim Claessen, Jim Harris, Georg Kuettinger, Bert Loerakker, Henny van der Meer - Galerie Roger Katwijk - March 16th, 2013 6:00 PM - 8:00 PM Wed, 27 Mar 2013 12:02:05 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list