ArtSlant - Recently added en-us 40 Johannes Schwartz - Annet Gelink Gallery - March 27th - July 31st <p style="text-align: justify;">My style of taking photos is like a hunter, lurking, stalking and waiting for the games. &ndash; Ed van der Elsken, ...&amp; After, Japan 2000</p> <p style="text-align: justify;">In Ed van der Elsken Archives, Annet Gelink Gallery is pleased to present Cuckoo by Johannes Schwartz.</p> <p style="text-align: justify;">Cuckoo sees Schwartz exploring Ed van der Elsken&rsquo;s photography through Van der Elsken&rsquo;s 1958 publication Bagara. Schwartz also places the practice of photography books centre stage in the show, taking both Bagara (1958) and his own publication Tiergarten (2014) as the starting point.</p> <p style="text-align: justify;">Next to Schwartz&rsquo; findings on Van der Elsken&rsquo;s Bagara, the exhibition also presents prints related to Schwartz&rsquo; publication.</p> <p style="text-align: justify;">Extending his exploration into the human relation to &lsquo;wild&rsquo; animals, as in his Tiergarten publication from 2014, Schwartz struck on the compelling images from Van der Elsken&rsquo;s Bagara: his 1958 photography book that charts his travels through Central Africa. ForTiergarten Schwartz documented the food given to the animals kept in Moscow Zoo and presented his photographs as Risograph prints. The presented images in the publication explore the mixed emotions of hope, fear and caring that lie behind the concept of zoos and that keep the captive animals in a state between tame and wild. In Bagara, next to capturing everyday life in the former French colony, Van der Elsken also caught images of white travelers in the region hunting during a safari. The theme of hunter and pray, tame and wild runs throughout the works on display.</p> <p style="text-align: justify;">The works on view show both Schwartz and Van der Elsken on the hunt for the right image. With the use of the Risograph - which allows for images to be printed in different color combinations though the outcome is never certain - Schwartz could print the same image multiple times on a quest to see which version would suffice. In this process, Schwarz sought to find out when an image would be readable and straightforward enough to become autonomous.</p> <p style="text-align: justify;">The photographs Schwartz selected from Bagara show Van der Elsken snapping away, taking images of moments of which it is unclear if an action is about to take place or has already occurred. Van der Elsken felt compelled to keep taking the images, even when conflicted in doing so. He also asked children from the region to make drawings of rituals and events that he was not allowed or able to photograph, in an effort to present a complete overview of life in Central Africa. Overall, the presented photographs display a tense, restless, and at times merciless vision.</p> <p style="text-align: justify;">Shown together the works show how photography can aid to the production of differing personal statements on the same theme. Schwartz meticulous and focused process leaves the outcome of artistic expression up to chance. The Bagara photographs show Van der Elsken&rsquo;s unrestrained approach, even though the complete overview forms a focused whole. As such, Cuckoo presents how both photographers bring to light the conflicted emotions that surround human interaction with the &lsquo;untamable&rsquo; wild.</p> Sun, 29 Mar 2015 14:09:56 +0000 DANIEL BODNER - Galerie Roger Katwijk - March 28th - April 25th <p style="text-align: justify;">Galerie Roger Katwijk is pleased to present &ldquo;Field of Exercise&rdquo;, the gallery&rsquo;s third solo exhibition of New York/ Amsterdam based artist Daniel Bodner.</p> <p style="text-align: justify;">In Daniel Bodner&rsquo;s latest paintings he returns to the human figure. We see youthful, exuberant athletes exercising in groups. But these paintings are not rendered in a naturalist way. He paints on and strips away layers, sometimes scraping them back to the canvas. The surface textures and murky colors reference decayed or over exposed black and white photographs, and appear to have resulted from the technological processes of photography; the toners, fixatives and emulsions, rather than from nature itself.&nbsp;</p> <p style="text-align: justify;">As a meditation on the Human Condition, Bodner juxtaposes these youthful figures with the decaying old photographs to create a visual metaphor for the passage of time and the impermanence of human life. &nbsp;</p> Sun, 29 Mar 2015 11:02:41 +0000 Laurence AĆ«gerter, Brendan Heshka, Marius Lut, Elise van Mourik, Daniel van Straalen - Stigter van Doesburg - March 7th - April 4th Wed, 25 Mar 2015 16:38:43 +0000 Noemie Goudal - Foam - Fotografie Museum - May 29th - July 19th <p style="text-align: justify;"><strong>Foam presents the first solo museum exhibition by No&eacute;mie Goudal (Paris, 1984). As one of the great talents of a new generation of French photographers, in recent years she has developed a distinctive visual language with which she is uniquely positioned within the field of contemporary photography. She was among the selected Foam Talents in 2012, which resulted in the publication of her portfolio in&nbsp;<a title="Issue #32 / Talent" href="" target="_blank">Foam Magazine #32</a>. Foam has since been closely following her impressive and consistent development.</strong></p> <p style="text-align: justify;">By using a mixture of photography, film and installation she examines the visual and spatial perception of two- and three-dimensional relationships within the image. She combines her layered photographs of serene, pure, mysterious landscapes with (elements of) modernistic architecture that have an archaic quality. The landscapes act as a kind of theatrical setting and are characterized by a surreal aesthetic caused in part by spatial interventions within the sites where the photographic works are produced. The resulting works evoke a sense of alienation and tension due to the incongruous spatial perspectives within the image that, nevertheless, only subtly reveal themselves.<br /><br /><em>The Geometrical Determination of the Sunrise</em>&nbsp;is initiated by The New Art Gallery Walsall, UK and has been produced in collaboration with Foam.</p> <p style="text-align: justify;"><em>With the support of l'Ambassade de France aux Pays-Bas.</em></p> <hr /> <p style="text-align: justify;"><strong>Foam presenteert de eerste museale solopresentatie van No&eacute;mie Goudal (Parijs, 1984). Als &eacute;&eacute;n van de grote talenten van een nieuwe generatie Franse fotografen, ontwikkelde ze de afgelopen jaren een eigenzinnige beeldtaal waarmee zij zich op een unieke manier positioneert binnen het veld van de hedendaagse fotografie. Zij behoorde tot&nbsp; de geselecteerde Foam Talents in 2012 wat resulteerde in de publicatie van haar portfolio in&nbsp;<a href="" target="_blank">Foam Magazine #32</a>. Sindsdien heeft Foam haar krachtige en consistente ontwikkeling op de voet gevolgd.</strong></p> <p style="text-align: justify;">In haar werk combineert ze fotografie, film en installatie waarmee ze de visuele en ruimtelijke beleving onderzoekt van&nbsp; twee- en driedimensionale verhoudingen in het beeld. Haar gelaagde foto's van verstilde, pure en mysterieuze landschappen combineert ze met (elementen van) modernistische architectuur die een archa&iuml;sch karakter hebben. De landschappen doen dienst als een soort theatrale setting en worden gekenmerkt door een&nbsp; onwerkelijke esthetiek die mede wordt veroorzaakt door ruimtelijke ingrepen op de fysieke plek waar de fotowerken tot stand komen. De uiteindelijke werken zijn vervreemdend en roepen spanning op door de niet kloppende ruimtelijke verhoudingen in het beeld, die zich slechts op zeer subtiele wijze onthullen.<br /><br /><em>The Geometrical Determination of the Sunrise</em>&nbsp;is een initiatief van The New Art Gallery Walsall, UK en tot stand gekomen in samenwerking met Foam.</p> <p>&nbsp;</p> Wed, 25 Mar 2015 16:33:40 +0000 Nerhol - Foam - Fotografie Museum - May 8th - June 21st <p style="text-align: justify;">Foam proudly presents the first international solo exhibition of the Japanese artist duo Nerhol. Nerhol, set up in 2007, is a collaboration between graphic designer Yoshihisa Tanaka (1980) and sculptor Ryuta Iida (1981). Nerhol's most recent series, Misunderstanding Focus, comprises 20 timelapse portraits. By using sculptural methods, the artists reveal the plurarity of the portraits which photography usually obscures. It is an answer to the transcience of today's existence, provoking the constantly dissapearing present.</p> <hr /> <p style="text-align: justify;">Foam organiseert de eerste internationale solotentoonstelling van het succesvolle Japanse kunstenaarsduo Nerhol. Nerhol bestaat sinds 2007 en is een samenwerking tussen grafisch vormgever Yoshihisa Tanaka (1980) en beelhouwer Ryuta Iida (1981). Nerhols nieuwste serie, Misunderstanding Focus, bestaat uit 20 time-lapse portretten. Met behulp van sculpturale technieken, onthullen de kunstenaars een veelvormigheid in de portretten die fotografie gewoonlijk verbergt. Het is een antwoord op de vluchtigheid van ons hedendaagse bestaan, waarin veel dingen al even snel verdwijnen als ontstaan.</p> <p>&nbsp;</p> Wed, 25 Mar 2015 16:31:27 +0000 Carel Willink - Foam - Fotografie Museum - April 17th - June 14th <p style="text-align: justify;"><strong>Foam presents an exceptional and, until now, little-known theme in the voluminous oeuvre of the well-known Dutch painter Carel Willink. In the 1930s, he began to photograph the Amsterdam sky from his apartment and studio, &nbsp;overlooking the famous Rijksmuseum, to use as material for sketches. These clouded skies were hidden away for years in his archive of negatives managed by his widow Sylvia Willink-Qui&euml;l. There they stayed until last year when Willem van Zoetendaal, photography expert, book publisher and exhibition curator, dedicated a publication - with Willink-Qui&euml;l's support - to this very specific work by Willink. This publication has also provided the inspiration for the Foam exhibition.</strong></p> <p style="text-align: justify;">Carel Willink (1900-1983) was one of the foremost Dutch painters of magic realism and 'imaginary realism', as he called his painting style. He combined a refined, masterful technique, rendering reality in a detailed way, with a disconcerting, sometimes even threatening atmosphere in his work. His spectacular cloud formations were &nbsp;significant in his work. While making the sketches which preceded the painting process, he collected all kinds of images, such as postcards and newspaper photos. He also used a camera to record his subjects. The photos had a practical purpose; for Willink, it wasn't about the photos themselves, but he used them as preliminary studies for his paintings. With his camera, he scanned the skies outside his studio window across from the Rijksmuseum, searching for, in his own words, 'shifting skies'.</p> <hr /> <p style="text-align: justify;"><strong>Foam presenteert een bijzonder en tot recent onderbelicht thema uit het omvangrijke oeuvre van de beroemde Nederlandse schilder Carel Willink. Vanuit zijn appartement en het daarboven gelegen atelier aan de Ruysdaelkade/hoek Stadhouderskade - met uitzicht op het Rijksmuseum - fotografeerde hij de luchten vanaf de jaren '30 boven Amsterdam als schetsmateriaal voor zijn schilderijen. Jarenlang waren de wolkenluchten verborgen in het negatievenarchief dat beheerd wordt door de weduwe Sylvia Willink-Qui&euml;l. Totdat Willem van Zoetendaal, fotografiekenner, boeken- en tentoonstellingsmaker, vorig jaar met haar steun een publicatie aan dit heel specifieke werk van Willink wijdde. Deze publicatie vormt tegelijkertijd de aanleiding voor de tentoonstelling in Foam.</strong></p> <p style="text-align: justify;">Carel Willink (1900-1983) was &eacute;&eacute;n van de belangrijkste Nederlandse schilders van het magisch- of imaginair realisme, zoals hij zijn schilderstijl zelf noemde. In zijn werk combineerde hij een verfijnde, meesterlijke techniek die de werkelijkheid gedetailleerd weergaf met een vervreemdende, soms zelfs dreigende sfeer. Zijn spectaculaire wolkenpartijen maakten daar een belangrijk onderdeel van uit. Tijdens de schetsperiode die voorafging aan het maken van een schilderij verzamelde hij allerlei soorten beeldmateriaal, zoals ansichtkaarten en foto's uit kranten. Ook gebruikte hij een camera om zijn onderwerpen vast te leggen. De foto's hadden een praktisch doel; het was Willink niet om de fotografie zelf te doen, maar hij gebruikte de foto's als voorstudie voor zijn schilderijen. Zo speurde hij, door zijn atelierraam tegenover het Rijksmuseum, met zijn fototoestel de hemel af naar, volgens eigen zeggen, "schuivende luchten".</p> <p>&nbsp;</p> Wed, 25 Mar 2015 16:28:18 +0000 - Foam - Fotografie Museum - April 3rd - April 12th <p class="Pa1" style="text-align: justify;"><strong>Foam presents a short exhibition on the occassion of the publication of the photobook Shining in Absence. It is a special honour to the photography historian Frido Troost (1960 - 2013), who has recently passed away. Both the book and the exhibition are edited and designed by advertising specialist and curator Erik Kessels. The book is published by AMC Books (London) and will be presented on Thursday April 2, 2015 during the opening of the exhibition.</strong></p> <p class="Pa1" style="text-align: justify;">Troost and Kessels found each other through their shared interest in 'vernacular photography'; the untold stories behind everyday amateur photography. Not only was Troost a photography historian, he was also a teacher at the Gerrit Rietveld Academy and co-owner of ICM (Instituut voor Concrete Materie), which specialized in collecting and selling antique photography.</p> <p class="Pa1" style="text-align: justify;">It would be impossible to capture the diversity of Troost's knowledge and interests in just one book. That's why Kessels decided to focus on something else, namely on that which is no longer there. Because of the absence of the obvious,&nbsp;<em>Shining in Absence</em>&nbsp;forces you to search for meaning. This surprising selection of the apparently empty pages of Troost's collection, provides us with endless possibilities for interpretation.</p> <p style="text-align: justify;"><em>The photobook Shining in Absence is edited and designed by Erik Kessels from the collection of Frido Troost, Institute for Concrete Matter, with thanks to the Archive of Modern Conflict.</em></p> <hr /> <p style="text-align: justify;"><strong>Foam presenteert een kortlopende tentoonstelling ter gelegenheid van de publicatie van het fotoboek Shining in Absence. Het is een bijzonder eerbetoon aan de in 2013 overleden fotografiehistoricus Frido Troost (1960 - 2013). Zowel het boek als de tentoonstelling Shining in Absence &nbsp;is samengesteld en ontworpen door reclamemaker en curator Erik Kessels. Het boek is uitgegeven door AMC Books (Londen) en wordt op donderdag 2 april 2015 gepresenteerd tijdens de opening van de tentoonstelling.</strong></p> <p style="text-align: justify;">Frido Troost en Erik Kessels vonden elkaar in hun gezamenlijke interesse voor vernacular photography: fotografie van alledag, vaak gemaakt door amateurfotografen of onbekende fotografen. Troost was, naast fotografiehistoricus en docent, ook mede-eigenaar van het ICM (Instituut voor Concrete Materie), een foto-antiquariaat in Haarlem dat onder meer fotoalbums en fotocollecties verzamelde en verkocht. Na zijn overlijden werd de gehele verzameling van het ICM aangekocht door het AMC (Archive of Modern Conflict), een vergelijkbaar instituut in Londen.</p> <p style="text-align: justify;">De diversiteit van Frido Troosts verzameling is niet simpel in &eacute;&eacute;n tentoonstelling of boek te vatten. Erik Kessels richtte zich daarom niet zozeer op de verzameling zelf, maar juist op dat wat er niet meer is.&nbsp;<em>Shining in Absence</em>&nbsp;is een fototentoonstelling zonder fotografie en een fotoboek zonder foto's. Door het ontbreken van het voor de hand liggende, dwingt&nbsp;<em>Shining in Absence</em>&nbsp;ons op zoek te gaan naar duiding. De verrassende selectie van de ogenschijnlijk lege bladzijdes uit het verzamelwerk van Troost, biedt ons een eindeloze wereld aan verhalen.</p> <p style="text-align: justify;"><em>Het fotoboek Shining in Absence werd samengesteld en vormgegeven door Erik Kessels uit de collectie van Frido Troost - Instituut voor Concrete Materie, met dank aan het Archive of Modern Conflict.</em></p> <p>&nbsp;</p> Wed, 25 Mar 2015 16:25:11 +0000 - Foam - Fotografie Museum - February 6th - March 29th <p style="text-align: justify;"><strong>A very special photography collection of the noble Van Loon family will be exhibited for the very first time. The exhibition is a collaboration between across the canal neighbours, Museum Van Loon and photography museum Foam. Museum Van Loon is the former residence of the Van Loon family.</strong>&nbsp;<strong>After three editions of Foam in Van Loon, in which - during the preparations for a new exhibition Foam-photography was on display in Van Loon, now the favour is returned. Due to restoration activities the museum will be closed for two months. In this period Museum Van Loon will shed light on its remarkable photo collection. With this exhibition Foam sets out not only investigate the role of photography within the Van Loon family, but also how this collection relates to the present day. Artist and curator Ernst van der Hoeven has been invited to provide a three dimensional intervention within the exhibition rooms.</strong></p> <p style="text-align: justify;">The Van Loon photo collection consists of historic interior photography and of both historic and contemporary portrait photography. Renowned artists have portrayed family members: from Felix Nadar and Studio Merkelbach to recently Koos Breukel and Erwin Olaf. From the historic collection it becomes evident that the Van Loon's preferred internationally established photographers who were commissioned by European royalty and families of name. It shows the preferences of high society in the 20<sup>th</sup>&nbsp;century. Highlight is a series of portraits the family had made around the year 1900 by arguably the most famous portraitist of the 19<sup>th</sup>&nbsp;and early 20<sup>th</sup>&nbsp;century: Felix Nadar, which will be on display in its entirety for the very first time.</p> <p style="text-align: justify;">Also, the historic development and relation between painted portraiture and portrait photography becomes apparent. The Van Loon family commissioned painted portraits well into the 20<sup>th</sup>&nbsp;century. From the 19<sup>th</sup>&nbsp;century onwards photographs have been made in addition; from pre WW II formal&nbsp;<em>cartes de visites</em>, studio portraits, children's portraits and family albums to a more personal atmosphere in the post war era. The family demonstrates its appreciation for photography by recent commissions to Koos Breukel and Erwin Olaf.</p> <p style="text-align: justify;">Interior photography gives a splendid view on the inside of Museum van Loon in the 20th century when the house was still lived in. Interiors served representative purposes which becomes evident in the execution of the imagery. The photographs reflect to a large extend the current interior and atmosphere of the museum.</p> <p style="text-align: justify;"><em>This project is supported by the AFK (Amsterdam Fund for the Arts).</em></p> <hr /> <p style="text-align: justify;"><strong>Foam presenteert voor het eerst een tentoonstelling van Museum Van Loon. Na drie edities van Foam in Van Loon, waarbij Foam tijdens het inrichten van een nieuwe tentoonstelling in eigen huis werk liet zien in Van Loon, zijn de rollen nu omgedraaid. Vanwege de restauratie van het stucwerk in de hal zal Museum Van Loon gedurende februari en maart gesloten zijn. In deze tijd zal Museum Van Loon in samenwerking met Foam voor het eerst naar buiten treden met&nbsp; haar bijzondere fotocollectie. Met deze tentoonstelling wil Foam niet alleen de rol onderzoeken die fotografie gespeeld heeft binnen de Amsterdamse regentenfamilie Van Loon, maar ook hoe deze collectie zich verhoudt tot het heden. Beeldend kunstenaar en curator Ernst van der Hoeven is uitgenodigd om in samenwerking met Foam een ruimtelijke interventie in de tentoonstelling te verzorgen.<br /></strong></p> <p style="text-align: justify;">De fotocollectie van Museum Van Loon bestaat uit bijzondere historische interieurfoto's en historische en hedendaagse portretfotografie. Grote namen hebben de familie gefotografeerd: van&nbsp; Felix Nadar, Studio Merkelbach tot recentelijk Koos Breukel en Erwin Olaf. Uit de historische collectie blijkt dat de familie Van Loon een voorkeur had voor internationale gerenommeerde fotografen die de Europese koningshuizen en andere belangrijke families portretteerden. Hierdoor is goed te zien wat de voorkeuren waren van de high society op het gebied van portretfotografie in de 20e eeuw. Het hoogtepunt uit de collectie is een reeks van portretten die de familie rond 1900 lieten maken bij misschien wel de beroemdste fotograaf van de negentiende eeuw: F&eacute;lix Nadar. De serie zal in Foam voor het eerst integraal worden getoond.</p> <p style="text-align: justify;">Daarnaast is binnen de goed bewaarde collectie van Van Loon de historische ontwikkeling en verhouding tussen portretschilderkunst en -fotografie te zien. Tot ver in de twintigste eeuw is de familie Van Loon opdrachten blijven geven aan schilders om hun portretten te laten maken. Vanaf het midden van de negentiende eeuw laat de familie zich ook fotograferen. De portretfotografie varieert van formele carte-de-visites, studio-portretten, kinderportretten en familiealbums van voor de oorlog tot de periode daarna waarin meer in persoonlijke sfeer werd gefotografeerd. De familie laat haar bijzondere waardering voor fotografie blijken door twee nieuwe fotografieopdrachten aan Koos Breukel en Erwin Olaf.</p> <p style="text-align: justify;">De interieurfotografie geeft een prachtig beeld van hoe het interieur van Museum Van Loon er in de 20e eeuw uitzag toen het huis nog bewoond werd. Het interieur speelde een belangrijke representatieve rol voor de familie en dat is terug te zien op de manier waarop het gefotografeerd is. Bovendien weerspiegelen de foto's in grote lijnen de huidige inrichting en sfeer van Museum Van Loon.</p> <p style="text-align: justify;"><em>Dit project is mede mogelijk gemaakt door het AFK (Amsterdams Fonds voor de Kunst).</em></p> <p>&nbsp;</p> Wed, 25 Mar 2015 16:20:46 +0000 Regine Petersen - Foam - Fotografie Museum - March 20th - May 3rd <p style="text-align: justify;"><strong>Regine Petersen (Germany, 1976) was selected by an international jury as the most promising photographer at the Unseen international photography fair in 2014. As winner of the Outset | Unseen Exhibition Fund, Petersen has been awarded an exhibition in Foam's 3h space for young talent. Foam is proud to present her long-term &nbsp;project Find a Fallen Star in this space. Petersen is inspired by stories about falling meteorites and makes use of her strong narrative qualities in her work. With her approach she creates a multi-layered narrative in which she integrates science and art, building a bridge between the past and the future. &nbsp;She thus investigates both how memory works versus history, and the relationship between the ordinary and the inexplicable. In her publication with the same name, Find a Fallen Star, which appears with the exhibition, she combines her own photos with historic and found images, texts and space-related objects.</strong></p> <p style="text-align: justify;">In&nbsp;<em>Find A Fallen Star</em>, Petersen uses stories about falling meteorites as a starting point for her multilayered narrative works: a rock which crashed through the roof of a house in Alabama and stuck a woman, a group of children in post-War Germany who found a meteorite and a recent event in India. Petersen visited these places, interviewed eyewitnesses and elaborated on their stories. She supplements her photographic observations with found documents and interviews. Petersen views her work as chapters in a greater story. Just as a meteor can be considered a time capsule, each of her chapters alludes to a specific place and time.</p> <p style="text-align: justify;">The first chapter of the project,&nbsp;<em>Stars Fell on Alabama</em>, won the Alfried Krupp von Bohlen und Halbach Prize for Contemporary German Photography in 2012. She was also selected as a finalist for the Prix HSBC prize for photography in 2014. In 2009, Petersen completed a Master's degree in Photography from the Royal College of Art in London. Since then, her work has been shown in several international solo and group exhibitions, including the Rencontres d'Arles, France (2012) and the Science Operations Center, UA Lunar &amp; Planetary Lab, Tucson, USA (2011).</p> <p style="text-align: justify;"><strong>Outset | Unseen Exhibition Fund<br /></strong>This exhibition has been organized as part of the the Outset | Unseen Exhibition Fund. The Outset | Unseen Exhibition Fund is a unique partnership between Unseen Photo Fair and Outset Netherlands, providing a new institutional platform for emerging talent. Scouting the fair before opening hours, each year the selection committee selects one artist exhibiting at Unseen for a solo exhibition at Foam.</p> <p style="text-align: justify;"><em>The Foam 3h exhibitions are supported by the Gieskes-Strijbis Fund and the Van Bijleveltstichting.</em></p> <hr /> <p style="text-align: justify;"><strong>In 2014 werd Regine Petersen (Duitsland, 1976) door een internationale jury geselecteerd als meest veelbelovende fotograaf tijdens de internationale fotografiebeurs Unseen. De beloning voor het winnen van het Outset | Unseen Exhibition Fund is een tentoonstelling in Foam 3h, de ruimte voor jong talent. Met trots presenteert Foam daar haar langlopende project Find a Fallen Star. Petersen laat zich inspireren door verhalen over vallende meteorieten waarbij ze gebruik maakt van haar sterke narratieve kwaliteiten. Door haar benadering cre&euml;ert ze een gelaagd narratief waarbij ze wetenschap en kunst integreert en een brug slaat tussen verleden en toekomst. Hiermee onderzoekt ze zowel de werking van het geheugen versus geschiedenis als de relatie tussen het gewone en het onverklaarbare. Net als in haar gelijknamige publicatie Find a Fallen Star die bij de tentoonstelling verschijnt, combineert zij haar eigen foto's, met historisch en gevonden beeld, tekst en ruimtelijke objecten.</strong></p> <p style="text-align: justify;">In Find A Fallen Star gebruikt Regine Petersen verhalen over vallende meteorieten als uitgangspunt voor haar gelaagde narratieve werken; een steen die door een dak van een huis in Alabama valt en een vrouw raakt, een groep kinderen die een meteoriet vindt in het na-oorlogse Duitsland, en recentelijk een situatie in India. Petersen bezocht de plekken, interviewde ooggetuigen en diepte hun verhalen uit. Ze vulde haar fotografische observaties aan met gevonden documenten en interviews. Petersen ziet haar werken als hoofdstukken van een groter geheel. Zoals een meteoor als tijdscapsule kan worden beschouwd, is iedere hoofdstuk een verwijzing naar een bepaalde plek en tijd.</p> <p style="text-align: justify;">Het eerste hoofdstuk van het project Stars Fell on Alabama won in 2012 de Alfried Krupp von Bohlen und Halback Prize for Contemporary German Photography. In 2009 rondde Petersen haar Masterstitel in Photography from the Royal College of Art af in Londen. Haar werk is sindsdien te zien geweest in verscheidene internationale solo- en groepstentoonstellingen, ondermeer bij Rencontres d'Arles, France (2012), Science Operations Center, UA Lunar &amp; Planetary Lab, Tucson, USA (2011). Naast de Alfried Krupp van Bohlen und Halbach Foundation Bursary Prize, ontving zij in 2010 ook de HSBC Prijs.</p> <p style="text-align: justify;"><strong>Outset | Unseen Exhibition Fund</strong><br />Deze tentoonstelling vindt plaats in het kader van het Outset | Unseen Exhibition Fund. Het Outset | Unseen Exhibition Fund is een unieke samenwerking tussen Unseen Photo Fair en Outset Nederland die voorziet in een nieuw institutioneel platform voor jong, opkomend talent. Voordat de beurs opent wordt de beurs gescout door een jaarlijks wisselende jury van jonge internationale curatoren die tijdens de beurs een fotograaf selecteren die een solotentoonstelling krijgt in Foam.</p> <p style="text-align: justify;"><em>De Foam 3h-tentoonstellingen worden mede mogelijk gemaakt door het Gieskes-Strijbis Fonds en de Van Bijleveltstichting.</em></p> <p>&nbsp;</p> Wed, 25 Mar 2015 16:17:51 +0000 Geert Goiris - Foam - Fotografie Museum - March 20th - May 24th <p style="text-align: justify;"><strong>Foam is proud to present the Netherlands' first solo exhibition by Belgian artist Geert Goiris. Very few people in the Netherlands are familiar with his unconventional visual language and serious tone.</strong></p> <p style="text-align: justify;">Goiris occupies a unique position in the field of contemporary photography. His layered photos of sublime landscapes, modernist architecture and reserved portraits possess a strange, unreal beauty with no perception of time and space, and are vaguely reminiscent of the visual language of post-apocalyptic feature films. And yet everything that Goiris photographs is real. Nothing is photoshopped. Many of his photos feature reminders of man's attempts to domesticate nature.</p> <p style="text-align: justify;">Goiris creates powerful images, in which he combines an almost universal perception of beauty with a subtle frisson of danger. As well as being mental images, his photos are records of reality that generate room for stories, associations and suspense in the area of tension between fact and fiction. The exhibition is entirely without daylight, and the oppressive atmosphere is intensified by spatial interventions and interaction between slide shows, framed photos of varying dimensions and enormous prints.</p> <p style="text-align: justify;">Since&nbsp;<em>Reconstruction</em>&nbsp;(Geert Goiris' first exhibition in the FoMu in Antwerp in 2000), solo exhibitions of Goiris' work have been held in Museum M in Leuven (2013), Hamburger Kunsthalle (2010) and during Art Basel (2009/2014). His work has also been included in various group exhibitions, such as in MUHKA, Antwerp, the Gallery of Modern Art in Brisbane, BOZAR in Brussels, Palais de Tokyo in Paris and Manifesta 5 in San Sebastian. In addition, his photos feature in several international collections. Geert Goiris is represented by Galerie Art: Concept in Paris and Galerie Catherine Bastide in Brussels.</p> <p style="text-align: justify;">As part of Flashbulb Memories, Ash Grey Prophecies, Foam, in association with the Royal Academy of Fine Arts, Antwerp and EYE Film Institute, has organised an evening of lectures in Foam on 16 April, and film screenings in EYE of The Thing on 30 April, Mad Max II on 7 May, The Last Wave on 14 May, and The World, The Flesh and the Devil on 29 May.</p> <hr /> <p style="text-align: justify;"><strong>Foam presenteert de eerste solotentoonstelling in Nederland van de Belgische kunstenaar Geert Goiris. Zijn eigenzinnige beeldtaal en zware toonzetting zijn in Nederland nauwelijks bekend.</strong></p> <p style="text-align: justify;">Hij neemt een unieke positie in binnen het veld van de hedendaagse fotografie. Zijn gelaagde foto's van sublieme landschappen, modernistische architectuur en geheimzinnige portretten bezitten een vreemde, onwerkelijke schoonheid waarin tijd en ruimte opgeheven worden en die vaag doen denken aan de beeldtaal van post- apocalyptische speelfilms. Toch is alles wat Goiris fotografeert afkomstig uit de werkelijkheid en komt er geen photoshop aan te pas. Vaak zijn in de foto's sporen aanwezig die herinneren aan de poging van de mens om de natuur te domesticeren.</p> <p style="text-align: justify;">Goiris maakt krachtige beelden waarin hij een bijna universele schoonheidservaring combineert met een subtiel aanwezige dreiging. Zijn foto's zijn registraties van de werkelijkheid, maar ook mentale beelden waarbij de spanning tussen realiteit en fictie ruimte schept voor verhalen, associaties en suspense. In de tentoonstelling wordt het daglicht buitengesloten en de beklemmende sfeer zal ge&iuml;ntensiveerd worden door ruimtelijke ingrepen en door een wisselwerking van dia-projecties, verschillende formaten ingelijste foto's en monumentale afdrukken.</p> <p style="text-align: justify;">Sinds&nbsp;<em>Reconstruction</em>&nbsp;(2000), de eerste tentoonstelling van Geert Goiris in het FoMu in Antwerpen, presenteerde Goiris zijn werk in solotentoonstellingen bij onder andere Museum M In Leuven (2013), Hamburger Kunsthalle (2010) en tijdens Art Basel (2009/2014). Daarnaast was zijn werk opgenomen in diverse groepstentoonstellingen zoals in MUHKA, Antwerpen, Gallery of Modern Art in Brisbane, BOZAR in Brussel, Palais de Tokyo in Parijs en Manifesta 5 in San Sebastian. Zijn werk is opgenomen in diverse internationale collecties. Geert Goiris wordt vertegenwoordigd door Galerie Art: Concept in Parijs en Galerie Catherine Bastide in Brussel.</p> <p style="text-align: justify;">In het kader van&nbsp;<em>Flashbulb Memories, Ash Grey Prophecies</em>&nbsp;organiseert Foam in samenwerking met Koninklijke Academie voor Schone Kunsten, Antwerpen en &nbsp;EYE Film Instituut een lezingenavond in Foam op 16 april en filmvertoningen in EYE vanThe Thing&nbsp;op 30 april,&nbsp;Mad Max II&nbsp;op 7 mei, 14 mei&nbsp;The Last Wave, 29 mei,&nbsp;The World, The Flesh and the Devil.</p> <p>&nbsp;</p> Wed, 25 Mar 2015 16:13:46 +0000 Harm van den Dorpel, Jodi, Geoffrey Lillemon, Rafael Rozendaal, Lillian F. Schwartz, Peter Struycken - Upstream Gallery - March 20th - April 25th <p style="text-align: justify;">Upstream Gallery Amsterdam proudly presents the exhibition <em>Shifting Optics II</em>, a sequel to the group exhibition signaling the fading boundaries between digital and analogue art practices (September 2014). That exhibition introduced a new generation of artists who effortlessly switch between digital and non-digital media. Art magazine De Witte Raaf: "That is what makes <em>Shifting Optics</em> in Upstream Gallery so important. Really signaling presentations, with new positions and angles, are indeed rare. This international group exhibition with eight artists shows a generation in full width and with high-quality work".</p> <p style="text-align: justify;"><br />With<em> Shifting Optics II</em>, the rapid developments in this field are combined with works by artists who pioneered in the application of digital technology in the 20th century. This combination demonstrates the urgency and topicality of these early works and simultaneously provides an art historical context to the youngest developments.<br /><br />Artists such as Lillian F. Schwartz and Peter Struycken discovered the artistic potential of algorithms in the 1960s and collective JODI researched the Internet as a canvas in the 1990s. Thus they spread the way for a new generation of artists who combine virtual reality with other media in a seemingly effortless manner, the Internet as their ubiquitous and inexhaustible source of inspiration. Shifting Optics II shows these multidisciplinary developments in the field of digital arts in all their depth.</p> <p style="text-align: justify;">Harm van den Dorpel<br />Harm van den Dorpel (NL, 1981) studied artificial intelligence before attending art school. His background as a computer programmer is reflected in his work, in which algorithms and information systems play a major role. Besides websites Van den Dorpel creates sculptures based on material he found online. They look like the immediate materialization of 3D-renderings. A recent series of digitally manipulated whiteboards with magnetic elements is inspired by work methods used by teams developing software, but are timeless nonetheless because of their focus on composition.<br /><br />JODI<br />JODI is an art collective consisting of Joan Heemskerk (NL, 1968) and Dirk Paesmans (BE, 1965). They are widely acknowledged as the founder of, an experimental 1990s art movement. Not only have they investigated the possibilities of the Internet as artistic platform since it&rsquo;s beginning, they were also very early in critically reflecting on the medium itself.<br />JODI&rsquo;s works are characterized by digital chaos; their motto is "no content".<br />The work (2008) is based on the application Google Maps, used daily by millions of people for orientation purposes. But JODI has fully appropriated the system, discarding it of all logic. As a result, the maps become extremely disorienting, with icons creating random geometrical shapes. The site consists of a happily chaotic mess of information that is made completely useless.<br /><br />Geoffrey Lillemon<br />Geoffrey Lillemon (US, 1981) created a triptych specifically for Upstream Gallery, consisting of an oil painting interwoven with virtual reality. Digital performance artist Sheast plays a leading role. In an ominous psychedelic parallel reality, experienced through an Oculus Rift, the absurdist origins of the painting are unveiled.<br />Lillemons work is regularly exhibited in art institutions and the artist is also known for successful collaborations with a.o. Bernard Willhelm and Miley Cyrus. His motto: &ldquo;We work with the macabre and applied sciences because the most futuristic idea we can experience is death. Therefore we explore themes of sexuality and birth as a means of braking tomorrow&rsquo;s heartless technology with an intimate reality that is happening now&rdquo;.<br /><br />Rafa&euml;l Rozendaal<br />Rafa&euml;l Rozendaal (NL, 1980) attracts over 32 million visitors per year with his web-based artworks. The websites are often interactive and are undeniable characteristic of our current times, while at the same time referring to 20th century abstract painting.<br />The last years Rozendaal has been exploring ways of expanding his artistic practice beyond the Internet. Physical manifestations of his work include a series of lenticular paintings and the abstract browsing tapestries, which are based on a plugin that turns the Internet into a brightly colored, abstract geometric space.<br /><br />Lillian F. Schwartz<br />Lillian F. Schwartz (US, 1927) is an absolute pioneer when it comes to the development of digital applications in visual arts. In collaboration with academic researchers she developed the basic principles of computer-generated animation techniques and virtual reality. Her work was the first in its medium acquired by the MoMA.<br />Schwartz's work is characterized by a fundamental urge to experiment and a never-ending quest for the creative potential of new technologies. With the video Trois Visage (1977) Schwartz introduced the artistic use of digital picture processing to television.<br /><br />Peter Struycken<br />Peter Struycken (NL, 1939) has been using computers to create artworks since the late since the late 1960s. Structure and logic constitute fundamental decisive elements in his working method.<br />Although Struycken generally works in a non-figurative manner, his most well-known work is probably the portrait (1981) of former queen Beatrix, which still adorns Dutch postage stamps to this day. Besides an artist Struycken also works as a color expert. He created many iconic works in public space in The Netherlands and installations that made use of computer-controlled light in a revolutionary way. From Struycken a major work from the &lsquo;70s is shown, a spectacular wall-sized set of 29 screenprints on paper as well as a great work from the &lsquo;80s consisting of 6 cibachrome prints.</p> <p style="text-align: justify;">The opening will take place on Friday, March 20th from&nbsp;17:00 until 21:00.</p> Sun, 29 Mar 2015 10:12:03 +0000 Egs, Nug, Niels Shoe Meulman - Galerie Gabriel Rolt - March 14th - April 18th <p style="text-align: justify;"><strong>Galerie Gabriel Rolt is proud to present&nbsp;<em>Abstract Vandalism</em>, a group exhibition with new works by Egs, Nug and Shoe.</strong>&nbsp;</p> <p style="text-align: justify;">&lsquo;It&rsquo;s my uneducated guess that half of all emerging visual artists have &ndash;at some point- used the street as a medium. To group all these artists as one movement is nonsense. True, graffiti/street art is the only undeniable art movement since pop art, but where urban attitude was once a unifier, now ideas and styles are very divided. It&rsquo;s time for a separate direction we call Abstract Vandalism.&rsquo; - Niels Shoe Meulman in&nbsp;<em>Abstract Vandalism, a manifesto.</em>&nbsp;</p> <p style="text-align: justify;">Joseph Beuys&rsquo; theory that every person is an artist, is a strong one. Every human act is potentially artistic. And in addition, every attempt to create, automatically destroys something else in the process. So, all art is vandalism, but what about vice versa?</p> <p style="text-align: justify;">It&rsquo;s not so hard to see that planting a flag on the moon in vandalism. With every mark we leave, we are damaging natural perfection. Every expression of existence created by humans, every sign, every statue, every legacy is also an act of destruction. Ever since that first cave painting, we are all going round in a spiral of vandalizing vandalism that was vandalized so many times before.&nbsp;</p> <p style="text-align: justify;">There are those who think they can see the difference between art and vandalism. Those who give permission to build a train system through a landscape but say it&rsquo;s not permitted to paint these trains (unless it&rsquo;s paid for and called advertising, of course)</p> <p style="text-align: justify;">In 1974, Norman Mailer glorified the art of vandalism in&nbsp;<em>The Faith of Graffiti,&nbsp;</em>which likened tagging in New York City to the work of Giotto and Rauschenberg. New York&rsquo;s authorities responded by coating subway walls with Teflon paint, jailing taggers and requiring hardware stores to keep spray paint under lock and key.&nbsp;</p> <p style="text-align: justify;">All this is nothing new but it&rsquo;s about time for the public outside the elitist art world (no offence) to realize that beauty can exist anywhere in the realm between creation and destruction. The difference between art and vandalism is only in the eye of the law upholder.&nbsp;</p> <p style="text-align: justify;">Niels Shoe Meulman in&nbsp;<em>Abstract Vandalism, a manifesto.</em></p> Wed, 25 Mar 2015 16:04:04 +0000 Jiyen Lee, Ji Eun Kim, Jung Lee, Wonkun Jun - Galerie Ron Mandos (Amsterdam) - April 1st - May 2nd <p style="text-align: justify;"><strong>A new initiative (B2) from guest curators Jeannette ten Kate and Edwin van Wijngaarden have organised, in collaboration with Galerie Ron Mandos, an exhibition of four young Korean artists. Along with the exhibition, there will be several onsite events.</strong></p> <p style="text-align: justify;">About the exhibition:&nbsp;<br /><em>Korean Contemporary: Fusion</em> unveils new Asian developments in the field of international contemporary art. The Korean based works display a diversity of themes and materials. which showcase similarities and connections between Asian and Western art. This is done through various techniques such as installations, videos, photographs, collages and paintings which will be held in Galerie Ron Mandos. The South Korean based artists thus create a surprising mix of an international visual language, with which they are having transcended their cultural background and are taking part in the global contemporary art conversation.</p> <p style="text-align: justify;">Jiyen Lee (Seoul, 1979) explores time and space that have no beginning or end in her photographic work, Ji Eun Kim (Seoul, 1977) states that the basic structures central to our living environment are key elements to her work, Jung Lee (Seoul, 1972) attempts to capture the effect of language in an image, and Wonkun Jun (Seoul, 1970) bases his paintings on the effect of color. With their own concepts and balanced way of working, the artists have proved to deliver a surprising contribution to the global art scene. They have taken part in global exhibitions in Singapore and Hong Kong (Espace Louis Vuitton), London (Saatchi Gallery), New York (Doosan Gallery) and Dusseldorf (Museum Kunst Palast). &nbsp;Their work will be showcased for the first time in the Netherlands.</p> <p style="text-align: justify;">About B2:<br />Jeannette ten Kate and Edwin van Wijngaarden form a remarkable duo having already made their mark in their own industries. Ten Kate as an art consultant and director of Art&rsquo;s Club and Van Wijngaarden with his fashion label, Just B. They now cooperate together and have launched a new initiative called B2. Their aim is to provide a platform for young emerging artists from the Far merge their careers into the Western art world. B2 organises artists residencies, supports artists in their choices for further education, as well as organizes symposiums and lectures around the exhibitions of the artists.&nbsp;</p> <p style="text-align: justify;"><em>Korean Contemporary: Fusion</em> is spearheaded by B2 and will take place at Galerie Ron Mandos, already regarded for its international base of renowned and emerging artists. To coincide with this remarkable exhibition there will be many events in the gallery between March 28 and May 1, 2015, Prinsengracht 282.&nbsp;</p> Wed, 25 Mar 2015 16:01:42 +0000 Matthew Day Jackson - GRIMM Gallery - April 11th - May 30th Wed, 25 Mar 2015 15:57:25 +0000 Pauline Boudry & Renate Lorenz - Ellen de Bruijne Projects - March 7th - May 16th <p style="text-align: justify;"><em>There is not simply &ldquo;the enemy&rdquo;, and it is not always &ldquo;over there.&rdquo; Rather, the enemy might be a lover, a friend; it might dwell in the heart, and resist being pinned down to the position of perpetrator &ndash; or victim; and named war, or capitalism, or patriarchy one might like to fight it over there, while enjoying its profits right here.</em>&nbsp;&ndash;Antke Engel</p> <p style="text-align: justify;">A curtain, two performers, inside the remnants of an old public swimming pool. The performers claim to be representatives of an underground organization. The curtain is set up for their anonymity. The public is long gone, the place seems abandoned. Once the curtain is removed, another one appears. This one, pink zebra, fuses the war technique of camouflage with the stylishness of homo-outfits and becomes a showcase for the entrance of large amounts of smoke. The dense smoke perhaps stems from bombings, or it is set off as a signal during a political demonstration. Later a speech is delivered, based on a text by Jean Genet. Its topic? The desire for a proper faultless enemy. It opens up the question of how to move forward in a war or a fight for resistance without any declared and &lsquo;visible&rsquo; enemy.</p> <p style="text-align: justify;">Do the curtains and fumes grant the &ldquo;right to opacity&rdquo; (Edouard Glissant) to the bodies that they mask and disguise? Or do they blur the dividing lines between same and other, between accomplices and enemies?</p> <p style="text-align: justify;">Performance: Ginger Brooks Takahashi, Werner Hirsch</p> <h2 style="text-align: justify;">To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation</h2> <p style="text-align: justify;">Six performers are pushing towards a paradigm shift in the future. They are following the score &ldquo;To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation,&ldquo; which the composer Pauline Oliveros wrote in 1970 after reading the text &ldquo;Scum Manifesto&ldquo; by Valerie Solanas (who is also known for shooting Andy Warhol).</p> <p style="text-align: justify;">Oliveros&lsquo;s composition asks the performers to choose five pitches each and to play very long tones, modulated or unmodulated. In the middle section of the piece the performers are invited to imitate each other&lsquo;s pitches and modulations. The cues in this piece are given collectively through light &ndash; a red section is followed by a yellow and a blue section, and there are two additional cues given by strobe light. If anyone becomes dominant, the rest of the group should come up and absorb that dominance back into the texture of the piece, &ldquo;expressing at the deep structure what the SCUM Manifesto meant. &hellip; It was really out of that understanding of both community and the individual&ndash;which was in her manifesto&ndash;that became the principle, or the philosophy, of the music that I began to write.&ldquo; (Oliveros)</p> <p style="text-align: justify;">The piece &ldquo;To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation&ldquo; values the unpredictable and unknowable possibilities that might be activated by not specifying pitches and rhythms. Nothing is known in advance of making the music. The instructions are chosen in order to insist on &ldquo;a continuous circulation of power&ldquo; (Oliveros) between listening and sounding &ndash; a give and take that requires, as Oliveros says, an unusual attention to the relationship between oneself and others. The film introduces the 16mm-camera as an additional performer, who constantly moves and interacts with individuals or groups of performers. The whole performance of the piece is shot in one continuous take, while only the editing process introduces extreme close ups which highlights a fetishist interest into details of bodies, instruments and costumes.</p> <p style="text-align: justify;">The work poses the question of the possibilities and limits of a politics of musical and filmic forms. Can sounds, rhythms and light produce queer relations? Can they become revolutionary?</p> <p style="text-align: justify;">Performance: Rachel Aggs, Peaches, Catriona Shaw, Verity Susman, Ginger Brooks Takahashi, William Wheeler</p> Wed, 25 Mar 2015 15:55:42 +0000 Bonno van Doorn, Daan Gielis, Katherina Heil - Boetzelaer|Nispen - March 6th - April 18th <p style="text-align: justify;">The exhibition &ldquo;It could be the goldfish is mistaking the bowtie for a football&rdquo; brings together 3 young artists from Germany, Belgium and the Netherlands. The following quotes are taken from a conversation between the artists that took place. They form the framework for the exhibition.</p> <p style="text-align: justify;"><strong>Bonno van Doorn:</strong><br />&ldquo;Matisse and Brancusi both show me the joy of making art and let me see without thinking.<br />Something I really miss nowadays when I look at art. Everything is so chewed out and explained&rdquo;</p> <p style="text-align: justify;"><strong>Katherina Heil</strong><br />&ldquo;If we believe the words of Oscar Wilde, then art is the only genuine in the world, while the artist is the one that never is. Sure I agree, although it is a bit too absolute for me. What I like about a thing, especially if it doesn&rsquo;t look like anything specific, is that I can think anything or everything about it, and that I can actually take the freedom to do so.&rdquo;</p> <p style="text-align: justify;"><strong>Daan Gielis</strong><br />&ldquo;It is a question to ourselves as artists in what way we want to guide an audience and how much we want to tell them. Maybe we should think of an artwork as a manmade construction instead of a formal and a conceptual side. Someone once told me that an artwork is like a glass. Your glass can be as pretty as you want but if there is no room for a liquid there is no use for it. With this way of thinking it is well possible that your work doesn&rsquo;t show a certain preoccupation with problematics but it still is a construction that hides a method, a way of thinking and an inevitable engagement with a possible audience.&rdquo;</p> <p style="text-align: justify;">Bonno van Doorn<br />&ldquo;Recently I read something funny it was like: When a child is born it&rsquo;s being taught to walk, and when a child knows how to walk it&rsquo;s being taught to sit still. I can&rsquo;t help it that people start to think this or that when they look at (my) art, but I want them to look further then what they have learned or know, or maybe they know it actually without knowing, but they are just made stupid when growing up.&rdquo;</p> <p style="text-align: justify;">Katherina Heil<br />&ldquo;Within my practice I refer to an analytic mindset on the one hand and my intuition on the other, bringing forth the reflection on its springs and its possible merit. I like this contradiction or friction between these two sides and it helps to define my objectives. But yes, I need this intuitive part to claim and obtain more freedom&hellip; in order to be free.&rdquo;</p> <p style="text-align: justify;">Daan Gielis<br />&ldquo;For me personally it&rsquo;s often a problem that people don&rsquo;t want to look past that quick story and forget about the oeuvre that&rsquo;s being built. Especially with young artists like us. It&rsquo;s not a gimmick that we&rsquo;re trying to sell here, but a long term relationship with an audience. An attitude is a nice way of putting it as this is exactly describing a way of thinking about work and not a classifiable and explainable gimmick.&rdquo;</p> Wed, 25 Mar 2015 15:53:42 +0000