From 29 June 2013 to 12 January 2014, the Stedelijk Museum Schiedam will present the exhibition entitled Ronald de Bloeme, Daan van Golden, JCJ Vanderheyden. Naast elkaar, tegelijkertijd (Juxtaposed, Simultaneous). Common engagement, shared visual fascinations and far-reaching interest in one another’s work form the starting points of the exhibition.
Ronald de Bloeme (Leeuwarden, 1971), Daan van Golden (Schiedam, 1936) and JCJ Vanderheyden (’s Hertogenbosch, 1928 – 2012) use mutually related visual languages that concentrate on the perception of reality, depicted in reduced, abstract forms.
The work of Van Golden focuses primarily on the choice of image and an extremely careful implementation of the art of painting. With VanderHeyden, perception is allied to order within the painting. De Bloeme is mainly concerned with the reinterpretation of logos, advertising and other expressions of our consumer society. The exhibition displays the work of the artists next to one another, in various ways, so that not only striking correspondences but also the unique character of each artist’s work becomes clearly visible.
Daan van Golden and JCJ Vanderheyden developed their visual language in the 1960s, but their work is still topical today. The intensification of the perception that is characteristic of the work of Daan van Golden, and the analytic research of visible reality translated into paintings by JCJ Vanderheyden, are also present in the work of a younger generation of artists. Another correspondence in the work of Van Golden and Vanderheyden is that the distinction between realism and abstraction is applied much less strictly. This is also evident in the work of Ronald de Bloeme.
All three artists have their own fascinations, rooted in visible reality and in the wholly individual way in which they process these fascinations. In their choice of theme, they share a preference for the visual language of the media, of art itself, and of decorative patterns. These form the basis for new abstractions, visual cut-outs and blow-ups that offer a new perspective on reality. Such features form the thread of the exhibition, which can be read as a ‘visual essay’ on the correspondences and differences between the oeuvres. In this context, attention is drawn to the role of perception, the appropriation and processing of existing images, and the activity of painting itself.
The paintings, photographs and prints of JCJ Vanderheyden focus on perception and what our memory does with it. Minimal shapes dominate the appearance of his paintings and can be interpreted as frames, portals, crosses, horizons and diamond patterns. Photos of landscapes are reduced to painted dichotomies with the blue of the sky above and the landscape in white below. His painted grids, the so-called Checkerboards, are derived from chessboards, pixels on television screens and printed matter, formations of other paintings (his own) or Chromosome structures, for example. One of the last Checkerboards (Scarlet and White, 2011), which he made for an exhibition with Ronald de Bloeme, has been included in this exhibition. Vanderheyden’s style of painting is varied; he deploys a loose brushstroke technique as well as applying the monochrome plane. This determines to a large extent the final character of his paintings.
Daan van Golden
Daan van Golden isolates forms taken from reality. He limits himself to a number of motifs from everyday reality, art and popular culture, and reproduces them in a reserved and extremely concentrated way. Separated from their original context, they assume abstract qualities. His painted patterns of handkerchiefs and wrapping paper, accurately copied right down to the finest details, set the tone for his oeuvre after 1964 and are now widely acclaimed. Van Golden reproduces existing images and is not interested in originality, convinced as he is that there is currently little or nothing to add to the imagery of the great artists down through the history of art. As a result of his concentrated perception and the precise elaboration of this perception in his painting, Van Golden is able to evoke intense visual sensations.
Ronald de Bloeme
Ronald de Bloeme belongs to a younger generation than Daan van Golden and JCJ Vanderheyden. He copies, reproduces and deforms fragments taken from logos, wrappings and advertising, which he subsequently carefully arranges into new painted representations. Of the original images, some fragments remain recognizable whereas others become abstract. De Bloeme uses the images that he has selected and deformed as the building blocks of new compositions. His work can also be understood as a complex remix of formal painting and popular culture. Neither of the two approaches manages to gain the upper hand. The paintings are recognizable and alienating at the same time – it seems as if the spectator is driving past a billboard at high speed.
Naast elkaar, tegelijkertijd
Gedeelde fascinaties, verwante beeldende principes en een verregaande belangstelling voor elkaars werk vormen de hoofdingrediënten voor de tentoonstelling Ronald de Bloeme, Daan van Golden, JCJ Vanderheyden. Naast elkaar, tegelijkertijd .Ronald de Bloeme (1971), Daan van Golden (1936) en JCJ Vanderheyden (1928 - 2012) hanteren verwante beeldtalen waarin de waarneming van de werkelijkheid centraal staat, weergegeven in gereduceerde, geabstraheerde vormen.
In het werk van Van Golden staat vooral de keuze voor de afbeelding en een uiterst zorgvuldige handeling van het schilderen centraal. Bij Vanderheyden is dit de waarneming gekoppeld aan de ordening binnen het schilderij. En bij De Bloeme de herinterpretatie van logo’s, reclame, en andere uitingen van onze consumentenmaatschappij. In de tentoonstelling wordt het werk van de kunstenaars op verschillende wijzen naast elkaar gepresenteerd, waardoor niet alleen opmerkelijke verwantschappen, maar ook het unieke karakter van ieders werk zichtbaar wordt.