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Untitled, 2011 Led Screen And Laser Cut Paper 42 X 30 X 2,5 © C3 Gallery
Untitled, 2011 Photo On Hahnemuhle Paper 70 X 60 © C3 Gallery
New Romanticism, 2011 Acrylic On Photo 19,5 X 30 Cm. © C3 Gallery
Persona I, II and III, 2011 C Print On Aluminium 30 X 40 Cm © Eke Kriek
Verhoudingen , 2011 Installation With Slideprojector, Slides And Paper 124 X 74 X 40 Cm © C3 Gallery
Untitled, 2011 Mixed Media 188 X 150 X 117 Cm © C3 Gallery

Jan Evertsenstraat 335
1061 XS Amsterdam
November 5th, 2011 - December 23rd, 2011
Opening: November 5th, 2011 4:00 PM - 6:00 PM

Other (outside main areas)
wed - sat 12 - 5 PM
photography, mixed-media, digital, installation, video-art, conceptual, landscape, figurative, modern, sculpture


This autumn in the group exhibition C3 GALLERY shows the work of seven promising artists with whom the gallery collaborates enthusiastically.

Exhibition 05 11 2011 – 23 12 2011

The work of Sayaka Abe (1980, Japan) starts with a question about people, which she meets in her vicinity. She researches their stories and unfolds them by using her own experiences, memories and Japanese background. The events are translated into 3D drawings and installations of intimate spaces made of textile.  

In her work Sara Bjarland (1981, Helsinki) researches the relation between nature and culture. For her most recent series of photographs she collected neglected houseplants that were left on the street. Bjarland is interested in how these plants on the one hand can be a symbol of ‘nature’ as something domesticated that is close to us and on the other hand as a utility object, which can easily be thrown away. By photographing the plants with window blinds and lace curtains, Bjarland tries to show the image of nature as a cultural construction; nature as everyday, romantic, tragic and mysterious.

Celine van den Boorn (1978) creates new versions of photographed landscapes, by painting the people away that occur in it. By doing this, the focus in the image shifts from humans to landscape, and a tension comes into existence between the apparent wild nature, and the still visible traces of the presence of humanity. By forcing back the presence of humans in the landscape new images of a more ideal world are suggested, created by human interference.

Maartje Folkeringa (1978, Sint Anthonis) makes among other (wall) sculptures of materials like polyurethane, polystyrene, textile, foil and glitter. Until mid 2010 these were life size human figures, and themes like social control, non-verbal communication and unwritten rules formed the starting point. Now Folkeringa makes more abstract sculptures. They are colorful and recognizable, but hardly figurative anymore. The starting point for Folkeringa’s installations in C3 is an abundance of chain watches in gold, silver and imitation precious metals.

Eke Kriek (1981) approaches her work as a research, in which the results are presented as a combination of filmic and photographic work. Returning themes in her work are her direct environment, the city, repetition and uniformity. The works in the exhibition show another theme: not the city but untouched nature. Although the subject has been changed (for the moment), her approach remains the same: observation, recording, and new combinations.

Maarten Rots (1982) underlines in his video work and installations ordinary things: matters that are often not dwelled upon. He takes the viewer with him in his moments and gives them the possibility to become more conscious of seeing and questioning their own environment. His work can be called an ‘anti-spectacle’.

The work of Roosmarijn Schoonewelle (1980) consists mostly of drawings on paper. A new direction in her work is collages and installations that she constructs from drawings she made earlier. She makes small-scale works as well as large-scale works, and she mixes and uses a lot of materials next to each other, like oil pastel, ink, gouache and pencil. Her drawings are found in between figurative and abstraction, and have a narrative without giving the viewer an explicit message. A wide spectrum of moods is to be found in the intimate and the at times fierce drawings.


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