ArtSlant - Closing soon en-us 40 Laurence Aëgerter, Dieter Appelt, John Baldessari, John Coplans, John Hilliard, Katrin Korfmann, uwe laysiepen - Art Affairs - April 12th, 2013 - June 22nd, 2013 Mon, 20 May 2013 16:41:59 +0000 Jessica Backhaus - Galerie Wouter van Leeuwen - May 25th, 2013 - June 22nd, 2013 <p style="text-align: justify;" class="test1"><span style="font-size: small;">After 22 years Jessica Backhaus (1970) returned to Berlin to pick up the pieces. Of her life "Once, Still and Forever" is the account of the very personal quest for himself, spit rating in the past, looking around in the present and speculating about the future. At this crossroads in its existence Backhaus was overwhelmed by emotions. The colorful images that she made it as a mosaic. Some instantly recognizable, others remain a puzzle. That's it, puzzle pieces. Because it is the jigsaw of her life. Her images are about the poetry and beauty of everyday things we all too easy to overlook, on what remains of past loves and long forgotten memories. </span><br /><br /><span style="font-size: small;"> Almost her entire photographic development took place when she was abroad. Backhaus left at the age of 16-year-old Berlin to discover the world. In November 1992 she learned the German-French photographer Gisèle Freund know in Paris that a major influence on her later work would be. (Backhaus' book "One Day in November" is a tribute to her famous mentor.) In 1995 Backhaus moved to New York where she assisted in François Halard, Michel Comte and Patrick Demarchelier, before establishing themselves independently and to marry a photographer . When that marriage after thirteen years stranded, Backhaus returned from New York back to Berlin to re-establish. Her life in order This period of personal turmoil and cultural reorientation led to an increased awareness and intensified perception. And "Once, Still and Forever", a study of the ability of the medium of photography to also unobservable capture in images. </span><br /><br /><span style="font-size: small;">Jessica Backhaus exhibited among many more at the National Portrait Gallery (London) and the Martin-Gropius-Bau (Berlin).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><span style="font-family: Verdana;" face="Verdana" size="1"><img src="" height="10" /></span> <span style="font-family: Verdana;" face="Verdana" size="1">The artist will be present at the opening.</span></span></p> <hr /> <p style="text-align: justify;"></p> <p style="text-align: justify;" class="test1"><span style="font-size: small;">Na 22 jaar keerde Jessica Backhaus (1970) terug naar Berlijn om de scherven van haar leven op te rapen. “Once, Still &amp; Forever” is het verslag van de zeer persoonlijke zoektocht naar zichzelf, spittend in het verleden, rondkijkend in het heden en speculerend over de toekomst. Op dat kruispunt in haar bestaan werd Backhaus overweldigd door emoties. De kleurrijke beelden die ze daarvan maakte zijn als een mozaïek. Sommige direct herkenbaar, andere blijven een puzzel. Dat zijn het ook, puzzelstukjes. Want het is de legpuzzel van haar leven. Haar beelden gaan over de poëzie en schoonheid van alledaagse dingen die we al te makkelijk over het hoofd zien, over wat rest van vroegere liefdes en over lang vergeten herinneringen.</span><br /><br /><span style="font-size: small;">Vrijwel haar gehele fotografische ontwikkeling vond plaats toen ze in het buitenland verbleef. Backhaus verliet op 16-jarige leeftijd Berlijn om de wereld te ontdekken. In november 1992 leerde ze in Parijs de Duits-Franse fotografe Gisèle Freund kennen die van grote invloed op haar latere werk zou zijn. (Backhaus’ boek “One Day in November” is een eerbetoon aan haar beroemde mentor.) In 1995 verhuisde Backhaus naar New York waar ze assisteerde bij François Halard, Michel Comte en Patrick Demarchelier, alvorens zich zelfstandig te vestigen en met een fotograaf te trouwen. Toen dat huwelijk na dertien jaar strandde, keerde Backhaus uit New York terug naar Berlijn om haar leven opnieuw op orde te brengen. Die periode van persoonlijke onrust en culturele heroriëntatie leidden tot een verhoogd bewustzijn en geïntensiveerde waarneming. En tot “Once, Still &amp; Forever”, een onderzoek naar het vermogen van het medium fotografie om ook het niet-waarneembare in beelden vast te leggen.</span><br /><br /><span style="font-size: small;">Jessica Backhaus exposeerde onder veel meer in de National Portrait Gallery (Londen) en de Martin-Gropius-Bau (Berlijn).</span></p> <p style="text-align: justify;"><span style="font-family: Verdana; font-size: small;" face="Verdana" size="1"><span style="font-family: Verdana;" face="Verdana" size="1"><img src="" height="10" /> De kunstenaar zal tijdens de opening aanwezig zijn.</span> </span></p> Tue, 04 Jun 2013 15:22:58 +0000 Sue Tompkins - Stigter van Doesburg - May 18th, 2013 - June 22nd, 2013 Mon, 20 May 2013 16:41:57 +0000 Tim Ayres - Stigter van Doesburg - May 18th, 2013 - June 22nd, 2013 Mon, 06 May 2013 20:15:15 +0000 Anutosh, Mark Sturkenboom, Viktor Timofeev, Bob Waardenburg, Michiel Wieggers, Studio Thier&VanDaalen, Eduardo Bettega Curial - Priveekollektie Contemporary Art | Design - May 26th, 2013 - June 23rd, 2013 <pre id="ocr-result"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">Seven years ago we formed the gallery out of our love for art and collectible design.<br /> We’d like to celebrate this anniversary with you. <br />Anutosh - drawing, painting Eduardo Bettega Curial - sculptural object Studio Thier&amp;VanDaalen - collectible design RaR i.c.w. t.e. collection - porcelain Mark Sturkenboom - collectible design Viktor Timofeev - drawings, painting Bob Waardenburg - drawings Michel Wieggers - drawings, wall sculpture</span></pre> Fri, 24 May 2013 18:39:36 +0000 Wilfredo Prieto, Oscar Abraham Pabón, Leticia El Halli Obeid, Alfredo Márquez, Abraham Cruzvillegas, Jonathas de Andrade, Laercio Redondo - Stedelijk Museum (Bureau Amsterdam) - April 27th, 2013 - June 23rd, 2013 <p style="text-align: justify;"><span style="color: #000000; font-size: small;">For <i>The Right to the City</i> guest curator Madelon van Schie selected work by seven artists from Latin America. The works all examine the use of urban space and <a href="" class="dic" alt="202 definitions of life"><span style="color: #000000;">life</span></a> in the city in their own way. The artists see themselves as allies of the marginalized city dwellers of Buenos Aires, Lima, Mexico City, Recife, Santa Cruz de la Sierra and Brasilia, respectively. With that alliance as their point of departure, they deal with <a href="" class="dic" alt="87 definitions of theme"><span style="color: #000000;">theme</span></a>s including the relation between the centre and periphery, squatting and self-construction, and the design and use of the city. Each and every one of the artworks included in the exhibition is a unique, often unexpected, and sometimes <a href="" class="dic" alt="175 definitions of play"><span style="color: #000000;">play</span></a>ful contribution to what ‘the right to the city’ means.</span></p> <p class="flindent" style="text-align: justify;"><span style="color: #000000; font-size: small;">Latin America is the most urbanized region in the world, where 80% of the population live in a city. The exponential growth of many cities in Latin America during the second half of the twentieth century led to tensions between official and unofficial urban development which remain a constant in the region down to this day. It is in part as a reflection of this that ‘le droit à la ville’, a concept enunciated in 1968 by the French philosopher and sociologist Henri Lefebvre (1901-1991) from which the title of this exhibition is derived, has become highly influential in Latin America. The core of the concept is the <span style="color: #000000;">basic </span>right to access to space and to participate in urban <a href="" class="dic" alt="202 definitions of life"><span style="color: #000000;">life</span></a>.</span></p> <p class="flindent" style="text-align: justify;"><span style="color: #000000; font-size: small;">Presently this concept is also understood in a<a href="" class="dic" alt="39 definitions of broad"><span style="color: #000000;">broad</span></a>er sense. For instance, the social geographer David Harvey argues that the ‘right to the city’ encompasses much more than just access to the city and full participation in urban<a href="" class="dic" alt="202 definitions of life"><span style="color: #000000;">life</span></a>. It also includes, he suggests, the right to change yourself by changing the city. <i>The Right to the City</i> connects principles of this sort with the work of the seven artists both to illuminate the present situation in Latin American cities, and to provide examples of different ways in which an alternative use of the city could improve the lives of city dwellers.</span></p> <p class="flindent" style="text-align: justify;"><span style="color: #000000; font-size: small;">Jonathas de Andrade’s video <i>The Uprising</i> will have its première in this exhibition. The work is a record of a clandestine horse race through the orderly, modern city centre of Recife, and the effects this race had there. The installation<i>Lembrança de Brasilia</i> by Laercio Redondo, which is comprised of a mural, printed panels and other<a href="" class="dic" alt="73 definitions of elements"><span style="color: #000000;">elements</span></a>, refers back specifically to the construction of Brazil’s capital. With his floor sculpture <i>Salta Charcos</i> Oscar Abraham Pabón, presently a resident at the Rijksakademie, provides a possible model for greater equality between residents in the centre and the outer neighbourhoods of a metropolis. In similar ways, all the works <a href="" class="dic" alt="175 definitions of play"><span style="color: #000000;">play</span></a> with picking apart the <a href="" class="dic" alt="101 definitions of power"><span style="color: #000000;">power</span></a>relationships that define the construction and representation of the city.</span></p> <p style="text-align: justify;"></p> <p class="flindent" style="text-align: justify;"><span style="color: #000000; font-size: small;"><b>Madelon van Schie</b> (1982, Amsterdam, The Netherlands) is an art historian who obtained her research master in Latin American studies at the University of Amsterdam. Previously she has been working as an independent (co)curator on the exhibition ‘May Your Wish Come True’ (2012) en ‘Into the Green’ (2011). Next to that she is co-author of <i>Notities van Onderweg</i> (2012), a publication about the <a href="" class="dic" alt="202 definitions of life"><span style="color: #000000;">life</span></a> and work of Dutch artist Cornelius Rogge. In cooperation with the CEDLA she is working on a contribution for a publication on the changing society in Lima under the title The New Face of Lima. Patterns of Cholification. In this article she focuses on the <a href="" class="dic" alt="38 definitions of influence"><span style="color: #000000;">influence</span></a> of these societal changes on <a href="" class="dic" alt="251 definitions of contemporary"><span style="color: #000000;">contemporary</span></a> art in Peru.</span></p> <p class="flindent" style="text-align: justify;"><span style="color: #000000; font-size: small;">‘The Right to the City’ is accompanied by SMBA Newsletter nr. 132, with an introduction by Madelon van Schie and contribution by Christien Klaufus. The SMBA Newsletter is bilingual (EN/NL) and available for free in SMBA and as pdf on</span></p> <hr /> <p style="text-align: justify;"><span style="color: #000000; font-size: small;">Voor <i>The Right to the City</i> selecteerde gastcurator Madelon van Schie werk van zeven kunstenaars uit Latijns-Amerika. Zij affiliëren zich met gemarginaliseerde stedelingen in respectievelijk Buenos Aires, Lima, Mexico-Stad, Recife, Santa Cruz de la Sierra en Brasilia en brengen van daar uit <a href="" class="dic" alt="76 definitions of vraag"><span style="color: #000000;">vraag</span></a>stukken aan de orde over de verhouding tussen centrum en periferie, kraken en zelfbouw en de stedelijke <a href="" class="dic" alt="205 definitions of vorm"><span style="color: #000000;">vorm</span></a>geving. De in de tentoonstelling opgenomen kunstwerken zijn stuk voor stuk unieke, vaak onverwachte, en soms speelse invullingen van ‘het recht op de stad’. Ze getuigen van het vermogen van het <a href="" class="dic" alt="37 definitions of individu"><span style="color: #000000;">individu</span></a> om de stad op kleinschalig niveau naar <a href="" class="dic" alt="134 definitions of eigen"><span style="color: #000000;">eigen</span></a> hand te zetten.</span></p> <p class="flindent" style="text-align: justify;"><span style="color: #000000; font-size: small;">Latijns-Amerika is de meest geürbaniseerde regio ter wereld, waar tachtig procent van de bevolking in een stad woont. De exponentiële groei van veel steden in Latijns-Amerika in de tweede helft van de twintigste eeuw heeft een tot op de dag van vandaag voortdurende spanning tussen officiële en informele stadsuitbreidingen tot gevolg. Mede daardoor heeft het principe van ‘le droit à la ville’ uit 1968 van de Franse filosoof en socioloog Henri Lefebvre, waaraan de titel van de tentoonstelling is ontleend, veel invloed in Latijns-Amerika gekregen. De kern ervan bestaat uit het<a href="" class="dic" alt="45 definitions of basis"><span style="color: #000000;">basis</span></a>recht op toegang tot <a href="" class="dic" alt="142 definitions of ruimte"><span style="color: #000000;">ruimte</span></a> en participatie in het stedelijk <a href="" class="dic" alt="92 definitions of leven"><span style="color: #000000;">leven</span></a>.</span></p> <p style="text-align: justify;"></p> <p class="flindent" style="text-align: justify;"><span style="color: #000000; font-size: small;">Tegenwoordig wordt dit <a href="" class="dic" alt="44 definitions of concept"><span style="color: #000000;">concept</span></a> ook wel in bredere zin begrepen. Sociaalgeograaf David Harvey betoogt bijvoorbeeld dat het ‘recht op de stad’ veel meer behelst dan toegang tot de stad en een volwaardige deelname aan het stedelijke<a href="" class="dic" alt="92 definitions of leven"><span style="color: #000000;">leven</span></a> alleen. Het omvat, zo stelt hij, ook het recht om jezelf te veranderen door de stad te veranderen. <i>The Right to the City</i> verbindt zulke principes met het werk van de zeven kunstenaars om zowel de huidige situatie in Latijns-Amerikaanse steden te belichten, als om voorbeelden te geven van de verschillende manieren waarop een alternatief gebruik van de stad het <a href="" class="dic" alt="92 definitions of leven"><span style="color: #000000;">leven</span></a> voor de stedeling kan verbeteren.</span></p> <p class="flindent" style="text-align: justify;"><span style="color: #000000; font-size: small;">De video <i>The Uprising</i> van Jonathas de Andrade gaat op deze tentoonstelling in première. Het werk is een registratie van een clandestiene paardenrace in het moderne, ordentelijke stadscentrum van Recife en wat deze race daar teweegbrengt. De <a href="" class="dic" alt="111 definitions of installatie"><span style="color: #000000;">installatie</span></a> <i>Lembrança de Brasilia</i> van Laercio Redondo, dat onder andere uit een wandschildering en bedrukte panelen bestaat, brengt <a href="" class="dic" alt="70 definitions of specifiek"><span style="color: #000000;">specifiek</span></a> de bouw van de Braziliaanse hoofdstad in de herinnering. Oscar Abraham Pabón, momenteel resident aan de Rijksakademie, geeft met zijn vloersculptuur<i>Salta Charcos</i> een mogelijk model voor een grotere gelijkheid tussen inwoners in het centrum en de buitenwijken van de metropool. Op vergelijkbare <a href="" class="dic" alt="60 definitions of wijze"><span style="color: #000000;">wijze</span></a> spelen alle werken met het tornen van de machtsverhoudingen die de opbouw en de representatie van een stad bepalen.</span></p> <p style="text-align: justify;"></p> <p class="flindent" style="text-align: justify;"><span style="color: #000000; font-size: small;"><b>Madelon van Schie</b> (1982, Amsterdam) is kunsthistoricus en rondde een onderzoeksmaster Latijns-Amerika studies af aan de Universiteit van Amsterdam. Eerder werkte ze als zelfstandig (co)curator aan de tentoonstellingen ‘May Your Wish Come True’ (2012) en ‘Into the Green’ (2011). Daarnaast is ze coauteur van ‘Notities van Onderweg’ (2012), een publicatie over het werk van de Nederlandse kunstenaar Cornelius Rogge. Op dit moment werkt ze samen met het CEDLA aan de afronding van een bijdrage voor een bundel over de veranderende samenleving in Lima, getiteld ‘The New Face of Lima. Patterns of Cholification’. Hierbij richt ze zich op de invloed van deze sociale veranderingen op de hedendaagse kunst in Peru.</span></p> <p class="flindent" style="text-align: justify;"><span style="color: #000000; font-size: small;">Bij ‘The Right to the City’ verschijnt SMBA Nieuwsbrief nr. 132 met een introductie door Madelon van Schie en een essay van Christien Klaufus. Deze nieuwsbrief is tweetalig Nederlands/Engels en gratis verkrijgbaar bij de tentoonstelling, en online op</span></p> <p class="flindent"></p> Mon, 06 May 2013 16:40:17 +0000 Group Show - Vous Etes Ici - June 9th, 2013 - June 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Neue Stille #1 is An exhibition dedicated to the art of silence, experiment and contemplation</span></p> <p style="text-align: justify;"><span style="font-size: small;">Presented by Klerkx Art Agency and Vous Etes Ici</span></p> Sat, 25 May 2013 16:16:55 +0000 Coen Vunderink - Galerie Gabriel Rolt - May 25th, 2013 - June 26th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Galerie Gabriel Rolt is pleased to present <em>It’s not a house, it's a home!</em>, a show of new paintings by Groningen-based artist Coen Vunderink. This will be Vunderink’s first solo exhibition at the gallery, running from Saturday May 25<sup>th</sup> through June 26<sup>th</sup>.</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong> </strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">The paintings on view are inspired by Vunderink’s fascination for MRI-scans; mysterious medical pictures of the human brain, black and white with ominous specks of colour that may or may not contain devastating information for the patient.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Using bare canvas as both the medium and the first layer, Vunderink applies vibrating layers of spray-painted photographic negatives picturing everyday objects and materials like carpets, lace, flowers or doormats. This creates photogram-like, monochrome imagery that is both familiar and abstract. To these images, Vunderink adds sparse, expressive brushstrokes, using traditional homemade egg tempera because of its transparency and subdued lighting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The series on display recall Man Ray’s rayography and El Lissitzksy’s constructivist photograms, as well as paintings by Francis Bacon, who used rayographic images for the postures of some of his painted figures. Like Bacon, Vunderink aspires to ‘peer into’ the human mind, crossing the chasm between image and experience, appearance and emotion, the outward and the inward – much like the MRI-scans that inspired this series of paintings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Classifying Vunderink’s work is difficult, and quite deliberately so. For at its heart is the interplay between mediums and art forms such as sculpture, photography and painting. By using photographic and sculptural works as source material for his paintbrush-and-egg-tempera paintings, he straddles the line between material and image, figuration and abstraction, tradition and modernity. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Vunderink’s artistic methods have evolved intuitively and experimentally. Yet the works they create have a deliberate duplicity that serves to express the artist’s ambivalence about both reason and emotion, or order and chaos, as well as his wonder at life and the possibilities of art.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Coen Vunderink was born in 1979 in Dalfsen (NL). </em><em>He graduated from the Minerva Academie Groningen in 2007 and followed the residency program at the Ateliers in Amsterdam from 2009 to 2011. Recent exhibitions include </em><em>Psychopomp Counsel </em><em>at the Ateliers, Amsterdam (2011), Summershow at Galerie Gabriel Rolt (2011), </em><em>Everything's alright forever, Paradise Row Gallery, London (2012), The Royal Price of painting, Amsterdam (2012) and Prospects and Concepts, Mondriaan Fonds, Rotterdam (2013)</em></span></p> Tue, 25 Jun 2013 14:48:20 +0000 Ksenia Galiaeva - Ellen de Bruijne Projects - May 25th, 2013 - June 29th, 2013 <div style="text-align: justify;"><span style="font-size: small;"><strong>Ksenia Galiaeva</strong> is interested in the <em>time duration</em> theory of the French philosopher Henri Bergson, where duration, ‘inner time’, is the opposite of measurable time. Duration is a continuous flow of ageing combined with the continuous growth of memory of a person's past, with no dividing line between the past and the present. Both duration and memory are deeply embedded in perception. Galiaeva is also fascinated by the way memories change through repetition: how family stories can grow to mythical proportions, how their colour and meaning changes through time and personal experience, and how one can influence and steer memory in different directions.</span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">In her recent series of photographs, Ksenia Galiaeva leads us back again to her familiar settings with her parents and their dog in the colourful Russian surroundings of their summerhouse. They are the characters through which Galiaeva investigates the flow of time, continuity and memory. By using her knowledge of the family micro-cosmos she actually enables herself to project her ideas onto her characters. </span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">During the exhibition<strong> two thematic dinners</strong> will be held by Galiaeva in collaboration with Otark, a food collective based in Antwerp (</span><wbr><span style="font-size: small;">. ‘Autobiographical Fiction’ will give a taste of the narrative of identity, family myths and the ego of perception. In the words of Ksenia, autobiography is a tool to give life meaning. ‘After Eight’ will be about looking in the dark - the role doubt plays in one’s imagination and the way it triggers memory to produce associations. Ksenia Galiaeva has a new blog-like website dedicated to those subjects: </span></wbr></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>Ksenia Galiaeva</strong><span color="#000000" style="color: #000000;"> was born in 1976 in Pskov, Russia. She moved to the Netherlands to study at the Academy for Art and Design in ‘s-Hertogenbosch, and received her MFA at Post Sint Joost, Breda. In 2010 she was a resident at Leipzig International Art Programme and in 2012 at Arts Initiative Tokyo. Ksenia Galiaeva now lives and works in Amsterdam, NL and Antwerp, BE. She teaches at the photography department of the Willem de Kooning Academy in Rotterdam. This year Ksenia Galiaeva was long listed for the Prix de Rome. Her work has been exhibited in solo and group shows, amongst others: Unter dem Baum, ICM Haarlem (solo); Point de Vue, 200 jaar Kunstakademie ‘s-Hertogenbosch, Stedelijk Museum ‘s-Hertogenbosch; Proeftuin, G.A.N.G. Arnhem. Her work was also part of the travelling exhibition Voth, in Yaroslavl Art Museum, Krasnoyarsk Museum Centre,NCCA Jekaterinburg, Moscow MOMA - RU; Stedelijk Museum 's-Hertogenbosch – NL.</span></span></div> <div style="text-align: justify;"><span style="font-size: small;">Artist’s website:</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 thematic dinners</strong> will take place on June 20th (After Eight) and June 27th (Autobiographical Fiction’). Walk in from 18:30, dinner starts at 19:00. Price: €20. </span></div> <div style="text-align: justify;"><span style="font-size: small;"> </span></div> <div style="text-align: justify;"><span style="font-size: small;">On the occasion of the show a <strong>new edition</strong> will be released with 7 special photographs, edition 20+2AP.</span></div> Wed, 22 May 2013 16:33:26 +0000 Dick Verdult - Annet Gelink Gallery - May 25th, 2013 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Annet Gelink Gallery</strong> proudly presents <strong><em>Internet and Elvis will never die</em></strong>, her first solo exhibition by <strong>Dick Verdult</strong>. In a world eager for answers, Verdult's work easily intimidates. But exactly by cherishing the question, Verdult's work opens up a different way of thinking, encompassing a reality where the truth constantly turns.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Due to his father's work for a multinational, Verdult travelled the world. Before his 20<sup>th </sup>birthday Verdult had already moved 20 times over, living in countries as divergent as Guatemala, Argentina, South Africa and France. This global, fragmentary lifestyle determines and is part of his rhizomatic practice as an artist. As an anthropologist of his own culture Verdult carefully selects elements from different cultures, displaying them in unusual and surprising juxtapositions. One could say that his work is not so much made up from objects, but from relations created between different people and materials. Interaction becomes form.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">In Verdult's universe one does not travel from A to B, everything happens all the time and simultaneously. With the current exhibition <em>Internet and Elvis will never die </em>the white cube is transformed into an environment of light, movement and sound - bringing together different works, furniture, lamps, a fridge and multiple projection devices. Verdult calls the exhibition his third aviary (the first and second being <em>In the name of Antwan </em>(Van Abbemuseum, 2011) and <em>Was Li Arbey Oswal pregnant?</em> (Arti &amp; Amicitae, 2013)). In Verdult's perception an aviary is "an artificial volume that suggests peace, logic and hierarchy to the one looking in from outside". Stepping inside the aviary "the perspective flips immediately and pleasantly". The aviary thus creates a situation whereby each viewer can take a different selection out of the existing elements to create his own poetic composition.</span><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Verdult has produced many independent films, worked as a filmmaker and editor for VPRO television, in addition to founding several art groups, including the IBW (Instituut voor Betaalbare Waanzin (Institute for Affordable Lunacy)) and Festicumex, a festival for a non-existent music genre. With ease, Verdult flits from large scale collaborations to working as an independent artist. Next to this, Dick Verdult is also a musician. Under the name Dick El Demasiado he released his first CD in 2002 and he has since become, through his performances, albums and concerts, a cult figure in Latin American music, well known in lands as far afield as Russia and Japan for his <em>Cumbias Lunaticas</em> and <em>Experimentales</em>. </span></p> <p style="text-align: justify;"><span style="font-size: small;">In <em>Internet and Elvis will never die</em> Verdult offers us a means to weave sense with poetry and Internet with Elvis. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Dick Verdult (Eindhoven, 1954) studied from 1973-77 at Université Paris VIII Vincennes, departments Film and, Plastic Arts in Paris. Recently, he had an extensive solo-exhibition at the Van Abbemuseum (2011-2012). He represented the Netherlands in Gwangju Biennale 2012, and he is preparing for an exhibition at the end of this year at Museo El Chopo in Mexico.</span></p> Mon, 10 Jun 2013 09:25:34 +0000 Chemi Rosado Seijo - Annet Gelink Gallery - May 25th, 2013 - June 30th, 2013 <div class="description"> <p style="text-align: justify;"><span style="font-size: small;">In the Bakery Annet Gelink Gallery proudly presents the second exhibition by Chemi Rosado Seijo (Vega Alta, 1973). Rosado Seijo shows new works, which represent a retreat to the artist's roots. In his hometown in the Northern Tropical forest of Puerto Rico, Chemi left pre-prepared white canvases in the forest, registering the passing of time. Humidity, animals, insects, larva, rain, sun and other elements left their mark.  </span></p> <p style="text-align: justify;"><span style="font-size: small;">After some time, the artist eliminates the loose parts with a small paint-brush, whilst adding a white edge all around the canvas. Here, he adds a text describing the process of the painting endurance and its references to other artists. For instance <em>45 days in the tropical Forest, Under the Pomarroso, with Andy, Julio and DJ Maria. Bo. Maricaeo VA PR 06 </em>refers to both the tree where the artist left the blank canvas, and its time frame. The names refer to Andy Warhol, Julio Suarez and Mariahuana, who have influenced the artist for this work. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Rosado Seijo also shows sculptures of found objects, which lie on the bakery's floor. These objects, which he found in the tropical forest, are contrary to what one might expect, made from materials such as metal or plastic - materials usually not associated with nature. But in the course of time - similar to the paintings - nature took over, covering the unnatural surfaces with vegetation and those elements belonging to the tropical forest.</span></p> <p></p> </div> Wed, 22 May 2013 16:08:45 +0000 Yonatan Vinitsky, Rachel Adams (1985 UK), Pieterjan Ginckels, Joe Scanlan, P. Struycken, Fransje Killaars, Ger Van Elk, Erik Andriesse, Curdin Tones - Galerie de Expeditie - May 18th, 2013 - June 30th, 2013 Mon, 10 Feb 2014 16:48:14 +0000 Arnout van Albada - Galerie Mokum - June 1st, 2013 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Na de duo-tentoonstelling van Douwe Elias en Robert Vorstman is de galerie geheel toegewijd aan de solo-expositie van Arnoud van Albada. <em><strong>Van 1 juni tot en met 30 juni presenteert Galerie Mokum met trots zijn nieuwste werk.</strong></em> In de bijzondere schilderijen van Arnoud spelen contrasten in structuur en kleur een grote rol. Niet elk detail wordt uitgewerkt; het gaat in de eerste plaats om de 'suggestie van aanwezigheid'. <em><strong>De tentoonstelling wordt, in aanwezigheid van de kunstenaar, zaterdag 1 juni om 17 uur, culinair journalist Johannes van Dam, maar deze is wegens ziekte verhinderd. </strong></em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em><strong><br /></strong></em><strong>Arnout van Albada over zijn werk:</strong><br />‘Ik kan niet gewoon zomaar wat gaan schilderen; dat wordt niets. Ik moet er echt door geraakt worden, ik moet verliefd worden op het onderwerp. Gelukkig blijft die verliefdheid tijdens het proces overeind. En naarmate je verder komt in het schilderij wordt het ook interessanter; je probeert de essentie eruit te halen. Je probeert erachter te komen wat het zo bijzonder maakt. Dat kan in de vorm zitten, zoals bij 'Jelo-o Lemon': zo’n vorm is voor mij architectuur. Door een laag standpunt te kiezen krijgt het iets monumentaals. Eenvoud is belangrijk, maar ook de spanning die je met bepaalde voorwerpen kunt creëren. Vaak gaat het om tegenstellingen, daardoor krijgt het iets intiems. Het mag best een beetje wringen, maar niet te veel. Het gaat uiteindelijk toch om de schoonheid.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mijn schilderijen moet je niet te veel willen interpreteren. De eenvoud en het monumentale karakter van mijn composities zie ik zelf als hun belangrijkste kwaliteit. Esthetiek en intellectuele boodschappen kun je maar beter gescheiden houden. Net als kunst en politiek. Gecombineerd gaat het al gauw vervelen of wordt het pretentieus. Wat mij betreft is een kunstwerk geslaagd als het tijdloos is. Daar ben ik steeds naar op zoek: het tijdloze beeld.’</span></p> Tue, 04 Jun 2013 15:23:05 +0000 Leopold Kessler - Galerie West - May 31st, 2013 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><b>In his work, Leopold Kessler gives connecting factors for a new society. A society in which things are more logical, and offer comfort in a playful way. The value of goods is disputed and someone who looks at his work, also wonders why the public space is as it is. Kessler shows his work at West in a solo presentation of different videos and a new site-specific work. The exhibition as a manifestation in which the value of the artefact is disputed and the freedom of movement is tested.</b></span><br /><br /><span style="font-size: small;"> Leopold Kessler explores the boundaries between the individual and society and between private and public. He makes minor interventions on the street or in an exhibition space. Interventions that can be subtle, but always accurate and site-specific. His interventions are, as it were, added in the cracks of the public space. A skater pool becomes a dump station for furniture and old street signs are repaired. For the Singapore Biennale he 'marked' one capsule of a giant wheel in the city centre with a sign that says Police. In this way, he questions how society functions and its mechanisms of control.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In parallel he explores everyday life by making sculptures, monuments, of ordinary objects. These are, for instance, located in a park, hanging on a facade of a building or stand in the middle of the street. Just like that, he surprises the trespasser. The works often function as triggers for reactions or as tools for focusing on specific, sometimes hidden phenomena. Recordings on video show that the artist is dealing with the conditions of social behaviour and the organisation of cohabitation. With his work Kessler comments on life, questions the notion of someone's property and gives the viewer reason to fantasize. In addition, he shows recognizable and sometimes funny sides of the bourgeoisie and gives conditions for a discrete revolution.</span><br /><br /><span style="font-size: small;"> At West he will show a series of video works that question the limits of rules and their necessity. What exactly defines limits of the public environment? What is mine, what is yours? How do we behave at home and abroad? In the video 'Sharpening' (2010), it becomes painfully clear that the bourgeois, urbanite might be an egoist. The sharpening of the points of a fence is a striking comment by the artist. In the work 'Life of others' (2009) he explains the ambiguity of people exposed. We would like to take a look at the living environment of other people. But how would we feel if tourists would come and have a look in our house? The piece 'Monument of interspecific friendship'(2012) is a life-size statue of a Gorilla and an Orang-utan shaking hands. The monument reflects the ratio of foreign varieties and the dream of equality on earth. And makes us dream of a world in which we all can live in peace.</span><br /><br /><span style="font-size: small;"> <b>Leopold Kessler</b> (1976, Munich) lives and works in Vienna. He had recently, among others, the following exhibitions: Kunsthaus Baselland, Basel; Centro de Arte Dos de Mayo, Madrid; Secession, Vienna; Museum of contemporary Art, Belgrade; Malmö Konsthall; Mocak, Cracow; Kunsthalle Vienna; Centre Pompidou, Paris; Singapore Biennale; galerie Andreas Huber, Vienna and at the New Galerie in Paris.</span><br /><br /><span style="font-size: small;"> <b>We invite you to the opening of the exhibition, in the presence of the artist, on Friday May 31 from 7 till 11 pm.</b> The opening coincides with Hoogtij, the cultural tour of The Hague.</span></p> <hr /> <p style="text-align: justify;"><span style="font-size: small;">Leopold Kessler geeft in zijn werk aanknopingspunten voor een nieuwe samenleving. Een samenleving waarin dingen logischer zijn, en comfort bieden op een speelse manier. De waarde van de goederen wordt betwist en iemand die naar zijn werk kijkt, vraagt zich ook af waarom de openbare ruimte is zoals die is. Kessler toont bij West zijn werk in een solopresentatie van verschillende video's en een nieuw site-specific werk. De tentoonstelling is als een protest waarbij de waarde van het artefact wordt betwist en de bewegingsvrijheid zichtbaar op de proef wordt gesteld.</span></p> <p style="text-align: justify;" class="plat"><span style="font-size: small;">Leopold Kessler verkent de grenzen tussen het individu en de samenleving en de publieke en private ruimte. Hij doet kleine ingrepen op straat of in een expositieruimte. Ingrepen die soms moeilijk te zien zijn, maar altijd nauwkeurig en site-specifiek. Zijn interventies worden, als het ware, toegevoegd in de barsten van de openbare ruimte. Een ‘skatepool’ wordt een stortplaats voor meubels en oude straatnaamborden worden gerepareerd. Voor de Singapore Biennale had hij een capsule van een reuzenwiel in het centrum van de stad gemarkeerd met de letters ‘Police’. Op deze manier bevraagt hij de functie van de maatschappij en de mechanismen van controle.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Parallel daaraan verkent hij het dagelijks leven door het maken van sculpturen, monumenten, of alledaagse voorwerpen. Deze zijn bijvoorbeeld te zien in een park, hangend aan een gevel van een gebouw of staan midden op straat. Op die manier verrast hij de voorbijganger. De werken fungeren als ‘trigger’, roepen reacties op of maken opmerkzaam op specifieke, soms verborgen verschijnselen. De video’s laten zien dat de kunstenaar onderwerpen als, het sociaal gedrag van mensen en de organisatie van een samenleving onder de loep neemt. Met zijn werk geeft Kessler commentaar op de consumptiemaatschappij en wat iemands eigendom is. Daarbij treedt hij op tegen beschermende maatregelen voor de burgerij en geeft voorwaarden voor een discrete revolutie. <br /></span></p> <p style="text-align: justify;" class="plat"><span style="font-size: small;">Bij West toont hij videowerken die de grenzen van regels en de noodzaak ervan in twijfel te brengen. Wat definieert precies grenzen van de publieke omgeving? Wat is van mij, wat is van jou? En hoe gaan we daar mee om. Bij de video ‘Sharpening’ (2010), wordt het pijnlijk duidelijk dat de bourgeoisie, de stedeling, een egoïst kan zijn. Het aanscherpen van de punten van een hek is een raak commentaar van de kunstenaar. In het werk ‘Life of others’ (2009) legt hij de ambiguïteit van mensen bloot. Wij willen graag een kijkje nemen in de leefomgeving van andere mensen. Maar hoe zouden we het vinden als toeristen bij ons thuis zouden komen kijken?</span></p> <p style="text-align: justify;" class="plat"><span style="font-size: small;">Het werk ‘Monument of interspecific friendship’ (2012) is een levensgroot beeld van een gorilla en een orang-oetan die elkaars hand schudden. Het monument reflecteert op de verhouding van de verschillende rassen en de droom van gelijkheid op aarde. En laat ons dromen van een wereld waarin we allemaal in vrede kunnen leven. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Leopold Kessler</strong> (1976, <ins cite="mailto:Main%20Account" datetime="2013-05-13T12:15">M</ins>ünchen) woont en werkt in Wenen. Hij had recent exposities bij o.a.: Kunsthaus Baselland, Basel; Centro de Arte Dos de Mayo, Madrid; Secession, Wenen; Museum of contemporary Art, Belgrado; Malmö Konsthall; Mocak, Krakow; Kunsthalle Wenen; Centre Pompidou, Parijs; Singapore Biennale; galerie Andreas Huber, Wenen en bij de New Galerie in Parijs. <br /></span></p> <p style="text-align: justify;"><span style="font-size: small;">Graag nodigen we u uit voor de opening, in aanwezigheid van de kunstenaar, op vrijdag 31 mei van 19<ins cite="mailto:Main%20Account" datetime="2013-05-13T12:17"> </ins>tot<ins cite="mailto:Main%20Account" datetime="2013-05-13T12:17"> </ins>23 uur. De opening valt samen met Hoogtij, de kunstwandelroute van Den Haag.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Voor persfoto’s en meer informatie kunt u contact opnemen met Marie-José Sondeijker.</span></p> Tue, 04 Jun 2013 15:23:01 +0000 Marc Lagrange - Galerie Rademakers - June 1st, 2013 - July 4th, 2013 <p style="text-align: justify;"><span style="font-size: small;">A solo exhibition of Marc Lagrange '<i>Diamonds &amp; Pearls</i>' combined with his book presentation, which is a Dutch scope. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Belgian photographer Marc Lagrange has quickly gained a reputation as one of the most original and talented nude photographers around. Taking a distinctive approach to setting voluptuous scenes, the Antwerp-based photographer meticulously composes timeless settings — with each location and prop carefully chosen to enhance the romantic and revealing mood. Building trust and chemistry with his models, Lagrange is daring but never crosses into mere titillation. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span>15th - 16th of June 2013 is the last chance to see the complete show of Marc Lagrange at our gallery. The following week some of his works will travel to other international locations. A selection of the exhibition will be available until July 4th.</p> Fri, 14 Jun 2013 15:14:13 +0000 Groupshow - Flatland Gallery - May 25th, 2013 - July 6th, 2013 <p>Groupshow with the near-monochrome backgrounds in Dutch landscapes and Cowboys by Jeroen Allart, including close-ups of birds in solitude that have a painterly feel of cut-outs. In his defiantly flat open air paintings and the birds, there is a doubleness that rings so true for a country like The Netherlands.<br />In this groupexhibition, mounted in the new gallery of Flatland in Amsterdam, suspense is key. With Jeroen Allart, Ruud van Empel, Ari Versluis &amp; Ellie Uyttenbroek (Exactitudes), Johan Grimonprez, Rob Hornstra, Jocelyn Lee, Carolein Smit and Cornelie Tollens.</p> Fri, 24 May 2013 17:22:35 +0000