BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION: DTEND:20150404 DTSTAMP:20150327T205938 DTSTART:20150307 GEO:52.3703359;4.8801005 LOCATION:Stigter van Doesburg\,Elandsstraat 90 \nAmsterdam\, NL 1016 SH SEQUENCE:0 SUMMARY:Hijacking Karma #3\, Laurence AĆ«gerter\, Brendan Heshka\, Marius Lu t\, Elise van Mourik\, Daniel van Straalen UID:378337 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Foam presents the firs t solo museum exhibition by Noé\;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 uni quely positioned within the field of contemporary photography. She was amon g the selected Foam Talents in 2012\, which resulted in the publication of her portfolio in \;Foam Magazin e #32. Foam has since been closely following her impressive and consist ent development.

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By using a mixture of photography\, film and installation she examines the visual and spatial perception of two- and three-dimensional relationships within the i mage. She combines her layered photographs of serene\, pure\, mysterious la ndscapes with (elements of) modernistic architecture that have an archaic q uality. The landscapes act as a kind of theatrical setting and are characte rized by a surreal aesthetic caused in part by spatial interventions within the sites where the photographic works are produced. The resulting works e voke a sense of alienation and tension due to the incongruous spatial persp ectives within the image that\, nevertheless\, only subtly reveal themselve s.

The Geometrical Determination of the Sunrise \;i s initiated by The New Art Gallery Walsall\, UK and has been produced in co llaboration with Foam.

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With the s upport of l'Ambassade de France aux Pays-Bas.

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Foam presenteert de eerste museale solopresen tatie van Noé\;mie Goudal (Parijs\, 1984). Als é\;é\;n va n de grote talenten van een nieuwe generatie Franse fotografen\, ontwikkeld e ze de afgelopen jaren een eigenzinnige beeldtaal waarmee zij zich op een unieke manier positioneert binnen het veld van de hedendaagse fotografie. Z ij behoorde tot \; de geselecteerde Foam Talents in 2012 wat resulteerd e in de publicatie van haar portfolio in \;Foam Magazine # 32. Sindsdien heeft Foam haar krachtige en consistente ontwikkeling op de voet gevolgd.

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In haar wer k combineert ze fotografie\, film en installatie waarmee ze de visuele en r uimtelijke beleving onderzoekt van \; twee- en driedimensionale verhoud ingen in het beeld. Haar gelaagde foto's van verstilde\, pure en mysterieuz e landschappen combineert ze met (elementen van) modernistische architectuu r die een archaï\;sch karakter hebben. De landschappen doen dienst als een soort theatrale setting en worden gekenmerkt door een \; onwerkelij ke esthetiek die mede wordt veroorzaakt door ruimtelijke ingrepen op de fys ieke plek waar de fotowerken tot stand komen. De uiteindelijke werken zijn vervreemdend en roepen spanning op door de niet kloppende ruimtelijke verho udingen in het beeld\, die zich slechts op zeer subtiele wijze onthullen.
The Geometrical Determination of the Sunrise \;is ee n initiatief van The New Art Gallery Walsall\, UK en tot stand gekomen in s amenwerking met Foam.

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DTEND:20150719 DTSTAMP:20150327T205938 DTSTART:20150529 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:The Geometrical Determination of the Sunrise\, Noemie Goudal UID:378335 END:VEVENT BEGIN:VEVENT DTEND:20150529T210000 DTSTAMP:20150327T205938 DTSTART:20150529T100000 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:The Geometrical Determination of the Sunrise\, Noemie Goudal UID:378336 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Foam proudly presents the firs t international solo exhibition of the Japanese artist duo Nerhol. Nerhol\, set up in 2007\, is a collaboration between graphic designer Yoshihisa Tan aka (1980) and sculptor Ryuta Iida (1981). Nerhol's most recent series\, Mi sunderstanding Focus\, comprises 20 timelapse portraits. By using sculptura l methods\, the artists reveal the plurarity of the portraits which photogr aphy usually obscures. It is an answer to the transcience of today's existe nce\, provoking the constantly dissapearing present.

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Foam organiseert de eerste internationale solotento onstelling van het succesvolle Japanse kunstenaarsduo Nerhol. Nerhol bestaa t sinds 2007 en is een samenwerking tussen grafisch vormgever Yoshihisa Tan aka (1980) en beelhouwer Ryuta Iida (1981). Nerhols nieuwste serie\, Misund erstanding Focus\, bestaat uit 20 time-lapse portretten. Met behulp van scu lpturale technieken\, onthullen de kunstenaars een veelvormigheid in de por tretten die fotografie gewoonlijk verbergt. Het is een antwoord op de vluch tigheid van ons hedendaagse bestaan\, waarin veel dingen al even snel verdw ijnen als ontstaan.

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DTEND:20150621 DTSTAMP:20150327T205938 DTSTART:20150508 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:Foam 3h: Index\, Nerhol UID:378333 END:VEVENT BEGIN:VEVENT DTEND:20150508T210000 DTSTAMP:20150327T205938 DTSTART:20150508T100000 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:Foam 3h: Index\, Nerhol UID:378334 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Foam presents an excep tional and\, until now\, little-known theme in the voluminous oeuvre of the well-known Dutch painter Carel Willink. In the 1930s\, he began to photogr aph the Amsterdam sky from his apartment and studio\,  \;overlooking th e famous Rijksmuseum\, to use as material for sketches. These clouded skies were hidden away for years in his archive of negatives managed by his wido w Sylvia Willink-Quië\;l. There they stayed until last year when Willem van Zoetendaal\, photography expert\, book publisher and exhibition curato r\, dedicated a publication - with Willink-Quië\;l's support - to this very specific work by Willink. This publication has also provided the inspi ration for the Foam exhibition.

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Carel Willink (1900-1983) was one of the foremost Dutch painters of mag ic realism and 'imaginary realism'\, as he called his painting style. He co mbined a refined\, masterful technique\, rendering reality in a detailed wa y\, with a disconcerting\, sometimes even threatening atmosphere in his wor k. His spectacular cloud formations were  \;significant in his work. Wh ile 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 W illink\, it wasn't about the photos themselves\, but he used them as prelim inary studies for his paintings. With his camera\, he scanned the skies out side his studio window across from the Rijksmuseum\, searching for\, in his own words\, 'shifting skies'.

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Foam presenteert een bijzonder en tot recent onderbelicht thema u it het omvangrijke oeuvre van de beroemde Nederlandse schilder Carel Willin k. Vanuit zijn appartement en het daarboven gelegen atelier aan de Ruysdael kade/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 negat ievenarchief dat beheerd wordt door de weduwe Sylvia Willink-Quië\;l. T otdat Willem van Zoetendaal\, fotografiekenner\, boeken- en tentoonstelling smaker\, vorig jaar met haar steun een publicatie aan dit heel specifieke w erk van Willink wijdde. Deze publicatie vormt tegelijkertijd de aanleiding voor de tentoonstelling in Foam.

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Carel Willink (1900-1983) was é\;é\;n van de belangrijkste Nederlandse schilders van het magisch- of imaginair realisme\, zoals hij z ijn schilderstijl zelf noemde. In zijn werk combineerde hij een verfijnde\, meesterlijke techniek die de werkelijkheid gedetailleerd weergaf met een v ervreemdende\, soms zelfs dreigende sfeer. Zijn spectaculaire wolkenpartije n maakten daar een belangrijk onderdeel van uit. Tijdens de schetsperiode d ie voorafging aan het maken van een schilderij verzamelde hij allerlei soor ten beeldmateriaal\, zoals ansichtkaarten en foto's uit kranten. Ook gebrui kte 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 fototoeste l de hemel af naar\, volgens eigen zeggen\, "schuivende luchten".

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DTEND:20150614 DTSTAMP:20150327T205938 DTSTART:20150417 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:Shifting Skies - Willinks Clouds Above the Rijksmuseum\, Carel Will ink UID:378331 END:VEVENT BEGIN:VEVENT DTEND:20150417T210000 DTSTAMP:20150327T205938 DTSTART:20150417T100000 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:Shifting Skies - Willinks Clouds Above the Rijksmuseum\, Carel Will ink UID:378332 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Foam prese nts a short exhibition on the occassion of the publication of the photobook Shining in Absence. It is a special honour to the photography historian Fr ido Troost (1960 - 2013)\, who has recently passed away. Both the book and the exhibition are edited and designed by advertising specialist and curato r Erik Kessels. The book is published by AMC Books (London) and will be pre sented on Thursday April 2\, 2015 during the opening of the exhibition.

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Troost and Kessels found each other through their shared interest in 'vernacular photography'\ ; the untold stories behind everyday amateur photography. Not only was Troo st a photography historian\, he was also a teacher at the Gerrit Rietveld A cademy and co-owner of ICM (Instituut voor Concrete Materie)\, which specia lized in collecting and selling antique photography.

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It would be impossible to capture the diversity of Troost's knowledge and interests in just one book. That's why Kessels d ecided to focus on something else\, namely on that which is no longer there . Because of the absence of the obvious\, \;Shining in Absence  \;forces you to search for meaning. This surprising selection of the a pparently empty pages of Troost's collection\, provides us with endless pos sibilities for interpretation.

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Th e photobook Shining in Absence is edited and designed by Erik Kessels from the collection of Frido Troost\, Institute for Concrete Matter\, with thank s to the Archive of Modern Conflict.

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Foam presenteert een kortlopende tentoonstelling ter g elegenheid van de publicatie van het fotoboek Shining in Absence. Het is ee n bijzonder eerbetoon aan de in 2013 overleden fotografiehistoricus Frido T roost (1960 - 2013). Zowel het boek als de tentoonstelling Shining in Absen ce  \;is samengesteld en ontworpen door reclamemaker en curator Erik Ke ssels. Het boek is uitgegeven door AMC Books (Londen) en wordt op donderdag 2 april 2015 gepresenteerd tijdens de opening van de tentoonstelling.

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Frido Troost en Erik Kessels von den elkaar in hun gezamenlijke interesse voor vernacular photography: fotog rafie van alledag\, vaak gemaakt door amateurfotografen of onbekende fotogr afen. Troost was\, naast fotografiehistoricus en docent\, ook mede-eigenaar van het ICM (Instituut voor Concrete Materie)\, een foto-antiquariaat in H aarlem dat onder meer fotoalbums en fotocollecties verzamelde en verkocht. Na zijn overlijden werd de gehele verzameling van het ICM aangekocht door h et AMC (Archive of Modern Conflict)\, een vergelijkbaar instituut in Londen .

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De diversiteit van Frido Troosts ve rzameling is niet simpel in é\;é\;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. \;Shining in Absence  \;is een fototentoonstelling zonder fotografie en een fotoboek zonder foto's. Door het ontbreken van het voor de hand liggende\, dwingt \;Shining in Absence \;ons op zoek te gaan naar duiding. De verrass ende selectie van de ogenschijnlijk lege bladzijdes uit het verzamelwerk va n Troost\, biedt ons een eindeloze wereld aan verhalen.

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Het fotoboek Shining in Absence werd samengesteld en vormgegeven door Erik Kessels uit de collectie van Frido Troost - Instituu t voor Concrete Materie\, met dank aan het Archive of Modern Conflict.

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DTEND:20150412 DTSTAMP:20150327T205938 DTSTART:20150403 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:Shining in Absence - A homage to Frido Troost UID:378329 END:VEVENT BEGIN:VEVENT DTEND:20150403T210000 DTSTAMP:20150327T205938 DTSTART:20150403T100000 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:Shining in Absence - A homage to Frido Troost UID:378330 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A very special photogr aphy collection of the noble Van Loon family will be exhibited for the very first time. The exhibition is a collaboration between across the canal nei ghbours\, Museum Van Loon and photography museum Foam. Museum Van Loon is t he former residence of the Van Loon family. \;After th ree 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 favou r 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 remarkabl e photo collection. With this exhibition Foam sets out not only investigate the role of photography within the Van Loon family\, but also how this col lection relates to the present day. Artist and curator Ernst van der Hoeven has been invited to provide a three dimensional intervention within the ex hibition rooms.

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The Van Loon photo collection consists of historic interior photography and of both his toric and contemporary portrait photography. Renowned artists have portraye d family members: from Felix Nadar and Studio Merkelbach to recently Koos B reukel and Erwin Olaf. From the historic collection it becomes evident that the Van Loon's preferred internationally established photographers who wer e commissioned by European royalty and families of name. It shows the prefe rences of high society in the 20th \;century. Highlight is a series of portraits the family had made around the year 1900 by arguably t he most famous portraitist of the 19th \;and early 20th  \;century: Felix Nadar\, which will be on display in its entiret y for the very first time.

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Also\, the historic development and relation between painted portraiture and portrait photography becomes apparent. The Van Loon family commissioned painted por traits well into the 20th \;century. From the 19th \;century onwards photographs have been made in addition\; from pre W W II formal \;cartes de visites\, 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 co mmissions to Koos Breukel and Erwin Olaf.

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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 serv ed representative purposes which becomes evident in the execution of the im agery. The photographs reflect to a large extend the current interior and a tmosphere of the museum.

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This pro ject is supported by the AFK (Amsterdam Fund for the Arts).

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Foam presenteert voor het eerst een tentoonstelling van Museum Van Loon. Na drie edities van Foam in Van L oon\, waarbij Foam tijdens het inrichten van een nieuwe tentoonstelling in eigen huis werk liet zien in Van Loon\, zijn de rollen nu omgedraaid. Vanwe ge 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 samenw erking met Foam voor het eerst naar buiten treden met \; haar bijzonder e fotocollectie. Met deze tentoonstelling wil Foam niet alleen de rol onder zoeken die fotografie gespeeld heeft binnen de Amsterdamse regentenfamilie Van Loon\, maar ook hoe deze collectie zich verhoudt tot het heden. Beelden d kunstenaar en curator Ernst van der Hoeven is uitgenodigd om in samenwerk ing met Foam een ruimtelijke interventie in de tentoonstelling te verzorgen .

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De fotocollectie van Museum Van Loon bestaat uit bijzondere historische interieurfoto's en hist orische en hedendaagse portretfotografie. Grote namen hebben de familie gef otografeerd: van \; Felix Nadar\, Studio Merkelbach tot recentelijk Koo s 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. H ierdoor 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 collecti e is een reeks van portretten die de familie rond 1900 lieten maken bij mis schien wel de beroemdste fotograaf van de negentiende eeuw: Fé\;lix N adar. De serie zal in Foam voor het eerst integraal worden getoond.

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Daarnaast is binnen de goed bewaarde collect ie van Van Loon de historische ontwikkeling en verhouding tussen portretsch ilderkunst en -fotografie te zien. Tot ver in de twintigste eeuw is de fami lie Van Loon opdrachten blijven geven aan schilders om hun portretten te la ten maken. Vanaf het midden van de negentiende eeuw laat de familie zich oo k 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 t wee nieuwe fotografieopdrachten aan Koos Breukel en Erwin Olaf.

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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 representatie ve rol voor de familie en dat is terug te zien op de manier waarop het gefo tografeerd is. Bovendien weerspiegelen de foto's in grote lijnen de huidige inrichting en sfeer van Museum Van Loon.

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Dit project is mede mogelijk gemaakt door het AFK (Amsterdams Fond s voor de Kunst).

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DTEND:20150329 DTSTAMP:20150327T205938 DTSTART:20150206 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:A Family Portrayed - Van Loon in Foam UID:378328 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Regine Petersen (Germa ny\, 1976) was selected by an international jury as the most promising phot ographer at the Unseen international photography fair in 2014. As winner of the Outset | Unseen Exhibition Fund\, Petersen has been awarded an exhibit ion in Foam's 3h space for young talent. Foam is proud to present her long- term  \;project Find a Fallen Star in this space. Petersen is inspired by stories about falling meteorites and makes use of her strong narrative q ualities in her work. With her approach she creates a multi-layered narrati ve in which she integrates science and art\, building a bridge between the past and the future.  \;She thus investigates both how memory works ver sus history\, and the relationship between the ordinary and the inexplicabl e. In her publication with the same name\, Find a Fallen Star\, which appea rs with the exhibition\, she combines her own photos with historic and foun d images\, texts and space-related objects.

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In \;Find A Fallen Star\, Petersen uses storie s about falling meteorites as a starting point for her multilayered narrati ve works: a rock which crashed through the roof of a house in Alabama and s tuck a woman\, a group of children in post-War Germany who found a meteorit e and a recent event in India. Petersen visited these places\, interviewed eyewitnesses and elaborated on their stories. She supplements her photograp hic observations with found documents and interviews. Petersen views her wo rk as chapters in a greater story. Just as a meteor can be considered a tim e capsule\, each of her chapters alludes to a specific place and time.

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The first chapter of the project\, \; Stars Fell on Alabama\, won the Alfried Krupp von Bohlen und Halba ch 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\, P etersen completed a Master's degree in Photography from the Royal College o f Art in London. Since then\, her work has been shown in several internatio nal solo and group exhibitions\, including the Rencontres d'Arles\, France (2012) and the Science Operations Center\, UA Lunar &\; Planetary Lab\, Tucson\, USA (2011).

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Outset | Unseen Exhibition Fund
This exhibition has been organized as part of the the Outset | Unseen Exhibition Fund. The Outset | Unseen Exhib ition Fund is a unique partnership between Unseen Photo Fair and Outset Net herlands\, providing a new institutional platform for emerging talent. Scou ting the fair before opening hours\, each year the selection committee sele cts one artist exhibiting at Unseen for a solo exhibition at Foam.

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The Foam 3h exhibitions are supported by the Gieskes-Strijbis Fund and the Van Bijleveltstichting.

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In 2014 werd Regine Petersen (Dui tsland\, 1976) door een internationale jury geselecteerd als meest veelbelo vende fotograaf tijdens de internationale fotografiebeurs Unseen. De beloni ng voor het winnen van het Outset | Unseen Exhibition Fund is een tentoonst elling in Foam 3h\, de ruimte voor jong talent. Met trots presenteert Foam daar haar langlopende project Find a Fallen Star. Petersen laat zich inspir eren door verhalen over vallende meteorieten waarbij ze gebruik maakt van h aar sterke narratieve kwaliteiten. Door haar benadering creë\;ert ze ee n gelaagd narratief waarbij ze wetenschap en kunst integreert en een brug s laat tussen verleden en toekomst. Hiermee onderzoekt ze zowel de werking va n 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.< /p>\n

In Find A Fallen Star gebruikt Regine Petersen verhalen over vallende meteorieten als uitgangspunt voor haar gel aagde narratieve werken\; een steen die door een dak van een huis in Alabam a valt en een vrouw raakt\, een groep kinderen die een meteoriet vindt in h et na-oorlogse Duitsland\, en recentelijk een situatie in India. Petersen b ezocht de plekken\, interviewde ooggetuigen en diepte hun verhalen uit. Ze vulde haar fotografische observaties aan met gevonden documenten en intervi ews. Petersen ziet haar werken als hoofdstukken van een groter geheel. Zoal s een meteoor als tijdscapsule kan worden beschouwd\, is iedere hoofdstuk e en verwijzing naar een bepaalde plek en tijd.

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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 gewee st in verscheidene internationale solo- en groepstentoonstellingen\, onderm eer bij Rencontres d'Arles\, France (2012)\, Science Operations Center\, UA Lunar &\; Planetary Lab\, Tucson\, USA (2011). Naast de Alfried Krupp v an Bohlen und Halbach Foundation Bursary Prize\, ontving zij in 2010 ook de HSBC Prijs.

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Outset | Unseen Exhibition Fund
Deze tentoonstelling vindt plaats in het kade r van het Outset | Unseen Exhibition Fund. Het Outset | Unseen Exhibition F und is een unieke samenwerking tussen Unseen Photo Fair en Outset Nederland die voorziet in een nieuw institutioneel platform voor jong\, opkomend tal ent. Voordat de beurs opent wordt de beurs gescout door een jaarlijks wisse lende jury van jonge internationale curatoren die tijdens de beurs een foto graaf selecteren die een solotentoonstelling krijgt in Foam.

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De Foam 3h-tentoonstellingen worden mede mogeli jk gemaakt door het Gieskes-Strijbis Fonds en de Van Bijleveltstichting.

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DTEND:20150503 DTSTAMP:20150327T205938 DTSTART:20150320 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:Foam 3h:Find a Fallen Star\, Regine Petersen UID:378327 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Foam is proud to prese nt the Netherlands' first solo exhibition by Belgian artist Geert Goiris. V ery few people in the Netherlands are familiar with his unconventional visu al language and serious tone.

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Goiris occupies a unique position in the field of contemporary photograph y. His layered photos of sublime landscapes\, modernist architecture and re served portraits possess a strange\, unreal beauty with no perception of ti me and space\, and are vaguely reminiscent of the visual language of post-a pocalyptic feature films. And yet everything that Goiris photographs is rea l. Nothing is photoshopped. Many of his photos feature reminders of man's a ttempts to domesticate nature.

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Goiris creates powerful images\, in which he combines an almost universal percept ion of beauty with a subtle frisson of danger. As well as being mental imag es\, his photos are records of reality that generate room for stories\, ass ociations 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.

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Since \;Reconstruction \;(Geert Goiri s' first exhibition in the FoMu in Antwerp in 2000)\, solo exhibitions of G oiris' work have been held in Museum M in Leuven (2013)\, Hamburger Kunstha lle (2010) and during Art Basel (2009/2014). His work has also been include d in various group exhibitions\, such as in MUHKA\, Antwerp\, the Gallery o f 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: Conc ept in Paris and Galerie Catherine Bastide in Brussels.

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As part of Flashbulb Memories\, Ash Grey Prophecies\, Fo am\, in association with the Royal Academy of Fine Arts\, Antwerp and EYE F ilm 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 Ma y.

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Foam presenteert d e eerste solotentoonstelling in Nederland van de Belgische kunstenaar Geert Goiris. Zijn eigenzinnige beeldtaal en zware toonzetting zijn in Nederland nauwelijks bekend.

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Hij neem t 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 wa arin tijd en ruimte opgeheven worden en die vaag doen denken aan de beeldta al van post- apocalyptische speelfilms. Toch is alles wat Goiris fotografee rt afkomstig uit de werkelijkheid en komt er geen photoshop aan te pas. Vaa k zijn in de foto's sporen aanwezig die herinneren aan de poging van de men s om de natuur te domesticeren.

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Goiri s maakt krachtige beelden waarin hij een bijna universele schoonheidservari ng combineert met een subtiel aanwezige dreiging. Zijn foto's zijn registra ties van de werkelijkheid\, maar ook mentale beelden waarbij de spanning tu ssen realiteit en fictie ruimte schept voor verhalen\, associaties en suspe nse. In de tentoonstelling wordt het daglicht buitengesloten en de beklemme nde sfeer zal geï\;ntensiveerd worden door ruimtelijke ingrepen en door een wisselwerking van dia-projecties\, verschillende formaten ingelijste f oto's en monumentale afdrukken.

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Sinds  \;Reconstruction \;(2000)\, de eerste tentoonstelling van Geert Goiris in het FoMu in Antwerpen\, presenteerde Goiris zijn werk in s olotentoonstellingen bij onder andere Museum M In Leuven (2013)\, Hamburger Kunsthalle (2010) en tijdens Art Basel (2009/2014). Daarnaast was zijn wer k 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 i nternationale collecties. Geert Goiris wordt vertegenwoordigd door Galerie Art: Concept in Parijs en Galerie Catherine Bastide in Brussel.

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In het kader van \;Flashbulb Memories\, Ash Grey Prophecies \;organiseert Foam in samenwerking met Koninkl ijke Academie voor Schone Kunsten\, Antwerpen en  \;EYE Film Instituut een lezingenavond in Foam op 16 april en filmvertoningen in EYE vanThe Thin g \;op 30 april\, \;Mad Max II \;op 7 mei\, 14 mei \;The La st Wave\, 29 mei\, \;The World\, The Flesh and the Devil.

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  \;

DTEND:20150524 DTSTAMP:20150327T205938 DTSTART:20150320 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:Flashbulb Memories\, Ash Grey Prophecies\, Geert Goiris UID:378326 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Upstream Gallery Amsterdam pro udly presents the exhibition Shifting Optics II\, a sequel to the group exhibition signaling the fading boundaries between digital and analog ue art practices (September 2014). That exhibition introduced a new generat ion of artists who effortlessly switch between digital and non-digital medi a. Art magazine De Witte Raaf: "That is what makes Shifting Optics in Upstream Gallery so important. Really signaling presentations\, with ne w positions and angles\, are indeed rare. This international group exhibiti on with eight artists shows a generation in full width and with high-qualit y work".

With Shifting Optics II\, the rapid developmen ts in this field are combined with works by artists who pioneered in the ap plication of digital technology in the 20th century. This combination demon strates the urgency and topicality of these early works and simultaneously provides an art historical context to the youngest developments.

Artists such as Lillian F. Schwartz and Peter Struycken discovered the art istic potential of algorithms in the 1960s and collective JODI researched t he Internet as a canvas in the 1990s. Thus they spread the way for a new ge neration of artists who combine virtual reality with other media in a seemi ngly effortless manner\, the Internet as their ubiquitous and inexhaustible source of inspiration. Shifting Optics II shows these multidisciplinary de velopments in the field of digital arts in all their depth.

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Harm van den Dorpel
Harm van den Dorpel (NL\, 1 981) studied artificial intelligence before attending art school. His backg round as a computer programmer is reflected in his work\, in which algorith ms and information systems play a major role. Besides websites Van den Dorp el creates sculptures based on material he found online. They look like the immediate materialization of 3D-renderings. A recent series of digitally m anipulated whiteboards with magnetic elements is inspired by work methods u sed by teams developing software\, but are timeless nonetheless because of their focus on composition.

JODI
JODI is an art collective consisting of Joan Heemskerk (NL\, 1968) and Dirk Paesmans (BE\, 1965). The y are widely acknowledged as the founder of net.art\, an experimental 1990s art movement. Not only have they investigated the possibilities of the Int ernet as artistic platform since it&rsquo\;s beginning\, they were also ver y early in critically reflecting on the medium itself.
JODI&rsquo\;s w orks are characterized by digital chaos\; their motto is "no content".
The work geogoo.net (2008) is based on the application Google Maps\, used daily by millions of people for orientation purposes. But JODI has fully ap propriated the system\, discarding it of all logic. As a result\, the maps become extremely disorienting\, with icons creating random geometrical shap es. The site consists of a happily chaotic mess of information that is made completely useless.

Geoffrey Lillemon
Geoffrey Lillemon (U S\, 1981) created a triptych specifically for Upstream Gallery\, consisting of an oil painting interwoven with virtual reality. Digital performance ar tist Sheast plays a leading role. In an ominous psychedelic parallel realit y\, experienced through an Oculus Rift\, the absurdist origins of the paint ing are unveiled.
Lillemons work is regularly exhibited in art institu tions and the artist is also known for successful collaborations with a.o. Bernard Willhelm and Miley Cyrus. His motto: &ldquo\;We work with the macab re 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 tha t is happening now&rdquo\;.

Rafaë\;l Rozendaal
Rafa&eum l\;l Rozendaal (NL\, 1980) attracts over 32 million visitors per year with his web-based artworks. The websites are often interactive and are undeniab le characteristic of our current times\, while at the same time referring t o 20th century abstract painting.
The last years Rozendaal has been ex ploring ways of expanding his artistic practice beyond the Internet. Physic al manifestations of his work include a series of lenticular paintings and the abstract browsing tapestries\, which are based on a plugin that turns t he Internet into a brightly colored\, abstract geometric space.

Lillian F. Schwartz
Lillian F. Schwartz (US\, 1927) is an absolute pio neer when it comes to the development of digital applications in visual art s. In collaboration with academic researchers she developed the basic princ iples of computer-generated animation techniques and virtual reality. Her w ork was the first in its medium acquired by the MoMA.
Schwartz's work is characterized by a fundamental urge to experiment and a never-ending que st for the creative potential of new technologies. With the video Trois Vis age (1977) Schwartz introduced the artistic use of digital picture processi ng to television.

Peter Struycken
Peter Struycken (NL\, 193 9) has been using computers to create artworks since the late since the lat e 1960s. Structure and logic constitute fundamental decisive elements in hi s working method.
Although Struycken generally works in a non-figurati ve manner\, his most well-known work is probably the portrait (1981) of for mer queen Beatrix\, which still adorns Dutch postage stamps to this day. Be sides an artist Struycken also works as a color expert. He created many ico nic works in public space in The Netherlands and installations that made us e of computer-controlled light in a revolutionary way. From Struycken a maj or 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 consisti ng of 6 cibachrome prints.

DTEND:20150425 DTSTAMP:20150327T205938 DTSTART:20150320 GEO:52.3533661;4.8997768 LOCATION:Upstream Gallery\,Van Ostadestraat 294 \nAmsterdam\, 1073 TW SEQUENCE:0 SUMMARY:Shifting Optics II\, Harm van den Dorpel\, Jodi\, Geoffrey Lillemon \, Rafael Rozendaal\, Lillian F. Schwartz\, Peter Struycken UID:378325 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Galerie Gabriel Rolt i s proud to present \;Abstract Vandalism\, a group exhibition w ith new works by Egs\, Nug and Shoe. \;

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&lsquo\;It&rsquo\;s my uneducated guess that half of all em erging visual artists have &ndash\;at some point- used the street as a medi um. 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 u rban attitude was once a unifier\, now ideas and styles are very divided. I t&rsquo\;s time for a separate direction we call Abstract Vandalism.&rsquo\ ; - Niels Shoe Meulman in \;Abstract Vandalism\, a manifesto.& nbsp\;

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Joseph Beuys&rsquo\; theory th at every person is an artist\, is a strong one. Every human act is potentia lly artistic. And in addition\, every attempt to create\, automatically des troys something else in the process. So\, all art is vandalism\, but what a bout vice versa?

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It&rsquo\;s not so h ard to see that planting a flag on the moon in vandalism. With every mark w e leave\, we are damaging natural perfection. Every expression of existence created by humans\, every sign\, every statue\, every legacy is also an ac t of destruction. Ever since that first cave painting\, we are all going ro und in a spiral of vandalizing vandalism that was vandalized so many times before. \;

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There are those who th ink they can see the difference between art and vandalism. Those who give p ermission to build a train system through a landscape but say it&rsquo\;s n ot permitted to paint these trains (unless it&rsquo\;s paid for and called advertising\, of course)

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In 1974\, No rman Mailer glorified the art of vandalism in \;The Faith of Graffi ti\, \;which likened tagging in New York City to the work of Giott o and Rauschenberg. New York&rsquo\;s authorities responded by coating subw ay walls with Teflon paint\, jailing taggers and requiring hardware stores to keep spray paint under lock and key. \;

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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 exis t anywhere in the realm between creation and destruction. The difference be tween art and vandalism is only in the eye of the law upholder. \;

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Niels Shoe Meulman in \;Abstract Vandalism\, a manifesto.

DTEND:20150418 DTSTAMP:20150327T205938 DTSTART:20150314 GEO:52.3519271;4.9020278 LOCATION:Galerie Gabriel Rolt\,Tolstraat 84 \nAmsterdam\, 1073 SE SEQUENCE:0 SUMMARY:Abstract Vandalism\, Egs\, Nug\, Niels Shoe Meulman UID:378324 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A new initiative (B2) from guest curators Jeannette ten Kate and Edwin van Wijngaarden have organ ised\, in collaboration with Galerie Ron Mandos\, an exhibition of four you ng Korean artists. Along with the exhibition\, there will be several onsite events.

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About the exhibitio n: \;
Korean Contemporary: Fusion unveils new Asian devel opments in the field of international contemporary art. The Korean based wo rks display a diversity of themes and materials. which showcase similaritie s and connections between Asian and Western art. This is done through vario us techniques such as installations\, videos\, photographs\, collages and p aintings which will be held in Galerie Ron Mandos. The South Korean based a rtists thus create a surprising mix of an international visual language\, w ith which they are having transcended their cultural background and are tak ing part in the global contemporary art conversation.

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Jiyen Lee (Seoul\, 1979) explores time and space that have no beginning or end in her photographic work\, Ji Eun Kim (Seoul\, 1977) s tates that the basic structures central to our living environment are key e lements to her work\, Jung Lee (Seoul\, 1972) attempts to capture the effec t of language in an image\, and Wonkun Jun (Seoul\, 1970) bases his paintin gs on the effect of color. With their own concepts and balanced way of work ing\, the artists have proved to deliver a surprising contribution to the g lobal art scene. They have taken part in global exhibitions in Singapore an d Hong Kong (Espace Louis Vuitton)\, London (Saatchi Gallery)\, New York (D oosan Gallery) and Dusseldorf (Museum Kunst Palast).  \;Their work will be showcased for the first time in the Netherlands.

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About B2:
Jeannette ten Kate and Edwin van Wijngaarden form a remarkable duo having already made their mark in their own industri es. 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 a nd have launched a new initiative called B2. Their aim is to provide a plat form for young emerging artists from the Far East.to merge their careers in to the Western art world. B2 organises artists residencies\, supports artis ts in their choices for further education\, as well as organizes symposiums and lectures around the exhibitions of the artists. \;

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Korean Contemporary: Fusion 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 Marc h 28 and May 1\, 2015\, Prinsengracht 282. \;

DTEND:20150502 DTSTAMP:20150327T205938 DTSTART:20150401 GEO:52.3707031;4.8824684 LOCATION:Galerie Ron Mandos (Amsterdam)\,Prinsengracht 282 \nAmsterdam\, 10 16 HJ SEQUENCE:0 SUMMARY:Korean Contemporary: Fusion\, Jiyen Lee\, Ji Eun Kim\, Jung Lee\, W onkun Jun UID:378322 END:VEVENT BEGIN:VEVENT DTEND:20150401T140000 DTSTAMP:20150327T205938 DTSTART:20150401T120000 GEO:52.3707031;4.8824684 LOCATION:Galerie Ron Mandos (Amsterdam)\,Prinsengracht 282 \nAmsterdam\, 10 16 HJ SEQUENCE:0 SUMMARY:Korean Contemporary: Fusion\, Wonkun Jun\, Ji Eun Kim\, Jiyen Lee\, Jung Lee UID:378323 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150530 DTSTAMP:20150327T205938 DTSTART:20150411 GEO:52.3575334;4.8888493 LOCATION:GRIMM Gallery\,Frans Halsstraat 26 \nAmsterdam\, 1072 BR SEQUENCE:0 SUMMARY:Core and Strip\, Matthew Day Jackson UID:378320 END:VEVENT BEGIN:VEVENT DTEND:20150411T200000 DTSTAMP:20150327T205938 DTSTART:20150411T170000 GEO:52.3575334;4.8888493 LOCATION:GRIMM Gallery\,Frans Halsstraat 26 \nAmsterdam\, 1072 BR SEQUENCE:0 SUMMARY:Core and Strip\, Matthew Day Jackson UID:378321 END:VEVENT BEGIN:VEVENT DESCRIPTION:

There is not simply &ldquo \;the enemy&rdquo\;\, and it is not always &ldquo\;over there.&rdquo\; Rath er\, 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 vic tim\; and named war\, or capitalism\, or patriarchy one might like to fight it over there\, while enjoying its profits right here. \;&ndash\; Antke Engel

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A curtain\, two performer s\, inside the remnants of an old public swimming pool. The performers clai m 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-outfit s and becomes a showcase for the entrance of large amounts of smoke. The de nse 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 b y 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 w ithout any declared and &lsquo\;visible&rsquo\; enemy.

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Do the curtains and fumes grant the &ldquo\;right to opac ity&rdquo\; (Edouard Glissant) to the bodies that they mask and disguise? O r do they blur the dividing lines between same and other\, between accompli ces and enemies?

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Performance: Ginger Brooks Takahashi\, Werner Hirsch

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To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation

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Six performers are pushing towards a par adigm shift in the future. They are following the score &ldquo\;To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation\,&ldquo\; wh ich the composer Pauline Oliveros wrote in 1970 after reading the text &ldq uo\;Scum Manifesto&ldquo\; by Valerie Solanas (who is also known for shooti ng Andy Warhol).

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Oliveros&lsquo\;s co mposition asks the performers to choose five pitches each and to play very long tones\, modulated or unmodulated. In the middle section of the piece t he performers are invited to imitate each other&lsquo\;s pitches and modula tions. 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 t wo 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 te xture 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 wr ite.&ldquo\; (Oliveros)

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The piece &ld quo\;To Valerie Solanas and Marilyn Monroe in Recognition of their Desperat ion&ldquo\; values the unpredictable and unknowable possibilities that migh t be activated by not specifying pitches and rhythms. Nothing is known in a dvance of making the music. The instructions are chosen in order to insist on &ldquo\;a continuous circulation of power&ldquo\; (Oliveros) between lis tening and sounding &ndash\; a give and take that requires\, as Oliveros sa ys\, an unusual attention to the relationship between oneself and others. T he film introduces the 16mm-camera as an additional performer\, who constan tly moves and interacts with individuals or groups of performers. The whole performance of the piece is shot in one continuous take\, while only the e diting process introduces extreme close ups which highlights a fetishist in terest into details of bodies\, instruments and costumes.

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The work poses the question of the possibilities and l imits of a politics of musical and filmic forms. Can sounds\, rhythms and l ight produce queer relations? Can they become revolutionary?

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Performance: Rachel Aggs\, Peaches\, Catriona Shaw\ , Verity Susman\, Ginger Brooks Takahashi\, William Wheeler

DTEND:20150516 DTSTAMP:20150327T205938 DTSTART:20150307 GEO:52.3724598;4.8774859 LOCATION:Ellen de Bruijne Projects\,Rozengracht 207 A \nAmsterdam\, 1016 LZ SEQUENCE:0 SUMMARY:Solo Exhibition\, Pauline Boudry & Renate Lorenz UID:378319 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition &ldquo\;It coul d be the goldfish is mistaking the bowtie for a football&rdquo\; brings tog ether 3 young artists from Germany\, Belgium and the Netherlands. The follo wing quotes are taken from a conversation between the artists that took pla ce. They form the framework for the exhibition.

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Bonno van Doorn:
&ldquo\;Matisse and Branc usi both show me the joy of making art and let me see without thinking.
Something I really miss nowadays when I look at art. Everything is so che wed out and explained&rdquo\;

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Katherina Heil
&ldquo\;If we believe the words of Oscar Wild e\, 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. Wh at I like about a thing\, especially if it doesn&rsquo\;t look like anythin g specific\, is that I can think anything or everything about it\, and that I can actually take the freedom to do so.&rdquo\;

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Daan Gielis
&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 con struction instead of a formal and a conceptual side. Someone once told me t hat 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 p reoccupation with problematics but it still is a construction that hides a method\, a way of thinking and an inevitable engagement with a possible aud ience.&rdquo\;

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Bonno van Doorn
& 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&rsqu o\;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 fu rther 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\;

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Katherina Heil
&ldquo\;Within my p ractice 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 m erit. 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 clai m and obtain more freedom&hellip\; in order to be free.&rdquo\;

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Daan Gielis
&ldquo\;For me personally it&rs quo\;s often a problem that people don&rsquo\;t want to look past that quic k story and forget about the oeuvre that&rsquo\;s being built. Especially w ith young artists like us. It&rsquo\;s not a gimmick that we&rsquo\;re tryi ng to sell here\, but a long term relationship with an audience. An attitud e is a nice way of putting it as this is exactly describing a way of thinki ng about work and not a classifiable and explainable gimmick.&rdquo\;

DTEND:20150418 DTSTAMP:20150327T205938 DTSTART:20150306 GEO:52.3707973;4.8694664 LOCATION:Boetzelaer|Nispen\,De Clercqstraat 64 \nAmsterdam\, 1052NJ SEQUENCE:0 SUMMARY:It could be the goldfish is mistaking the bowtie for a football\, B onno van Doorn\, Daan Gielis\, Katherina Heil UID:378318 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;I believe in miracles& rdquo\;\, Douglas Gordon&rsquo\;s 1994 work and Annet Gelink&rsquo\;s motto in all matters of life and art. Since the foundation of Annet Gelink Galle ry\, 15 years ago\, this belief has driven the gallery on to great things. Back to the Future presents 15 artists of the gallery&rsquo\;s past\, prese nt and future to see what miracles still lie ahead.

In 1996 Anne t Gelink entered the Art History books after Maurizio Cattelan stole the wo rks that formed Paul de Reus&rsquo\; show as well as the entire contents of her former part owned gallery\, Bloom Gallery\, for his show at the Appel Arts Centre. After earning her stripes at Bloom Gallery she \;went on t o found Annet Gelink Gallery and ever since has been at the forefront of co ntemporary art. Annet Gelink Gallery has served as a breading ground for yo ung talent\, with Yael Bartana\, David Maljkovic and Ryan Gander all starti ng at the gallery. The gallery has also supported the careers of Anya Galla ccio\, Carla Klein and Roger Hiorns and in recent years that of emerging ta lent such Meiro Koizumi and Antonis Pittas. With a passion for art and thro ugh following her intuition\, Annet Gelink provides visitors with shows tha t challenge ways of looking at the world. By not compromising what she beli eves in she has also has created a place of exploration: a world of many di fferent answers.

Her recent new project is Ed van der Elsken Arc hives\, a new gallery space next door to the main gallery\, that keeps the legacy and archive of Dutch photographer Ed van der Elsken publicly accessi ble and as alive and vibrant as the photographs themselves. With Annet havi ng worked with the estate of Van der Elsken for over 20 years and with the growing interest in Van der Elsken&rsquo\;s work\, opening this new space f elt like a natural progression. Taking his works as a starting point\, exhi bitions are set up in collaboration with individuals from the worlds of fas hion\, art and literature. Each is invited to come with their own response to Ed&rsquo\;s work or to make a selection from Van der Elsken&rsquo\;s arc hive. Past artists that have shown at Ed van der Elsken Archives include No buyoshi Araki and well-known cinematographer Robby Mü\;ller. The curren t show is by Johannes Schwartz.

Back to the Future presents the opportunity to reflect on as well as celebrate the past 15 years and the co ming years. The works on display in Back to the Future each deal in their o wn way with how the past constitutes the future. All the artists in the sho w each present a different fragment the gallery&rsquo\;s story.

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Co me celebrate the opening of our new group show 'Back to the Future' with a cocktail!

DTEND:20150523 DTSTAMP:20150327T205938 DTSTART:20150327 GEO:52.371217;4.877114 LOCATION:Annet Gelink Gallery\,Laurierstraat 187-189 \nAmsterdam\, NL 1016 PL SEQUENCE:0 SUMMARY:Back To The Future\, Marina Abramovic\, Ulay\, Rita Ackermann\, Mar ia Barnas\, Yael Bartana\, Ryan Gander\, Roger Hiorns\, Joan Jonas\, Meiro Koizumi\, Rezi Van Lankveld\, Erik van Lieshout\, David Maljkovic\, Antonis Pittas\, Wilfredo Prieto\, Dick Verdult\, Erik Wesselo UID:378316 END:VEVENT BEGIN:VEVENT DTEND:20150327T200000 DTSTAMP:20150327T205938 DTSTART:20150327T180000 GEO:52.371217;4.877114 LOCATION:Annet Gelink Gallery\,Laurierstraat 187-189 \nAmsterdam\, NL 1016 PL SEQUENCE:0 SUMMARY:Back To The Future\, Marina Abramovic\, Rita Ackermann\, Maria Barn as\, Yael Bartana\, Ryan Gander\, Roger Hiorns\, Joan Jonas\, Meiro Koizumi \, David Maljkovic\, Antonis Pittas\, Wilfredo Prieto\, Ulay\, Rezi Van Lan kveld\, Erik van Lieshout\, Dick Verdult\, Erik Wesselo UID:378317 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For their solo exhibition To Photograph the Details of a Dark Horse in Low Light\, internationally highly acclaimed artists Ada m Broomberg (South Africa\, 1970) and Oliver Chanarin (Great Britain\, 1971 ) lead viewers through a meandering and disturbing history lesson on the re lationship between photography and race.

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In response to a commission to 'document' Gabon\, Broomberg &\; Chanarin made several tri ps to the West African country to photograph a series of rare initiation ri tuals\, using only Kodak film stock that had expired in the 1960's. In the late 1970's the French-Swiss filmdirector Jean Luc Godard famously claimed that this early colour film was inherently 'racist'\, because it was better at depicting white rather than black skin. Using outdated chemical process es Broomberg &\; Chanarin salvaged just a single frame from the many rol ls of expired film they exposed during these trips. This piece called Ektac hrome 78 serves as a starting point for the exhibition.

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Another key work in the exhibition is a billboard-sized photograph of Shirley\, a 1950 's model for the Kodak Eastman Company. Her portrait was distributed to pho tography labs all over the world as a visual reference for correct exposure . Shirley became a benchmark for 'normal' Caucasian skin. In the eighties\, Kodak eventually developed a colour film that was capable of rendering dar ker tones. The company director described this film as being able to "photo graph the details of a dark horse in low light."

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Kodak Ektachrome 7 8 and Shirley are presented alongside works whose parameters were dictated to Broomberg &\; Chanarin by archival material of their deceased family friend\, amateur photographer and anatomist\, Dr. Rosenberg. After their tr ips to West Africa they inherited his darkroom equipment. Some of his notes were about making photographic test strips to determine the correct exposu re time. Broomberg &\; Chanarin followed these instructions to produce a series of oversized darkroom experiments they call Strip Tests.

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Th e connection between photography and racism is further explored in the Pola roid Revolutionary Workers Movement series. In 1970\, Caroline Hunter\, a y oung chemist working for the Polaroid Corporation based in the United State s\, stumbled upon evidence that her company indirectly supported the aparth eid regime in South Africa. Polaroid was able to provide their ID-2 camera system to the South African state\, to efficiently produce images for the i nfamous passbooks\, which the black population was required to carry with t hem. The camera included a boost button designed to increase the flash when photographing subjects with dark skin\, and two lenses which allowed for t he production of a portrait and profile image on the same sheet of film. Hu nter and her partner Ken Williams formed the Polaroid Workers Revolutionary Movement\, and successfully campaigned for a boycott of the apartheid gove rnment. Broomberg &\; Chanarin's series of Polaroids\, made with a renov ated Polaroid ID camera\, considers the proposition that prejudice might be inherent in the medium of photography itself.

DTEND:20150603 DTSTAMP:20150327T205938 DTSTART:20150320 GEO:52.3639575;4.8932944 LOCATION:Foam - Fotografie Museum\,Keizersgracht 609 \nAmsterdam\, 1017 DS SEQUENCE:0 SUMMARY:To Photograph the Details of a Dark Horse in Low Light\, Adam Broom berg & Oliver Chanarin UID:378144 END:VEVENT END:VCALENDAR