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Annet Gelink Gallery

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Portrait of an American Town

by Nicola Bozzi
We've seen marginalized America before. We've had the chance to appreciate its nuances and its sharp contrasts, the poor yet soulful black communities and the star-spangled-banner-wearing white ones, with their drinking habits and skating rebel kids. We've seen the cool and the creepy, often guided by the glamorizing and at times surreal gaze of the Larry Clarks and Harmony Korines. Muzi Quawson's is a different type of look. For an outsider, the British artist and photographer achieves a surprising level of intimacy, unveiling a less boisterous reality than her American colleagues, an everyday th... [more]
Posted by Nicola Bozzi on 7/18/12
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Anya Gallaccio: highway

by Andrea Alessi
I’m almost ashamed to admit that I’ve met more Europeans who’ve navigated the lonesome roads and vast tracts of land west of the Mississippi than I have Americans. I guess I’ve always assumed that road tripping and the symbolic freedom of the Wild West are part of my cultural heritage, even though the most I’ve done is fly over the Great Plains, snow-peaked mountains, and once pristine deserts of my home country. Scottish artist Anya Gallaccio is one such European who’s driven through the expansive landscapes and national parks of some of the U.S.A.’s more geometric states. Her understated a... [more]
Posted by Andrea Alessi on 10/17/11
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Ryan Gander

by Nicola Bozzi
Zurich Art Prize-winner Ryan Gander plays with a sort of pop-minimalism that is reminiscent of his fellow Englishman Martin Creed. The former, though, has a more direct and emotional connection to people  - even if at times only in a figurative sense - rather than to things themselves. Gander's solo show at Annet Gelink exemplifies such polarity, with a conceptual approach that spans from a romantic re-reading of known figures to an iconoclastic negation of graphic detail. And, somehow, maintaining a focus – even if at times ironic – with human scale. If we are tempted to perceive his scul... [more]
Posted by Nicola Bozzi on 5/2/11
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Roger Hiorns

by Nicola Bozzi
Turner Prize nominee Roger Hiorns likes to do strange things to objects. The first thing you see when you enter his solo show at Annet Gelink is a cremated airplane engine, pulverized and arranged in little dunes on the gallery's floor. An object so big and powerful - and whose sheer presence would have filled the room with sculptural tension - is reduced to an inoffensive mound. The space left empty sharpens the contrast, making the vacancy almost embarassing. (Image: Roger Hiorns, Untitled, 2010, Pewter, foam, compressor , 50 x 33 x 33 cm. Courtesy Annet Gelink.Photograph: Ilya Rabinovich )... [more]
Posted by Nicola Bozzi on 1/24/11
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Missing Colours:David Maljkovic

Annet Gelink Gallery proudly presents ´Missing Colours´, the third solo exhibition of David  Maljkovic. With ´Missing Colours´, David Maljkovic (Croatia, 1973) has taken a new road  within his investigation of the history and the future of modernistic concepts. His place of  residence Novi Zagreb – a part of the town that was built in the Socialist period – was point of  departure for this new exhibition. Colour plays the leading role in ´Missing Colours´. Inspired by a key scene from the Yugoslav  comedy ´Balkan Spy´ (1984) in which an artist throws coloured paint against the gr... [more]
Posted by Abhilasha Singh on 11/22/10
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Carlos Amorales: Vertical Earthquake

by Andrea Alessi
Carlos Amorales’ Vertical Earthquake is about halfway through its run at the Annet Gelink Gallery this week. Amorales’ meticulous line drawings referencing Mexico City’s 1985 earthquake – which the artist personally experienced as a teenager – were perhaps my favorite works that I saw this opening month. If Amsterdam readers have not already stopped into Annet Gelink this season, I highly recommend the visit. Amorales uses a personal methodology (literally) revolving around ten zigzagging rulers to create his latest installment of wall drawings, a medium typical for the artist. Eac... [more]
Posted by Andrea Alessi on 9/27/10
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Kiki Lamers

by Andrea Alessi
      Kiki Lamers’s paintings require patience, most likely from the artist during their creation, and certainly from their viewers. Take Girl’s Head (1-5), for example. This series of closely cropped portraits depicts the same adolescent girl in five subtly different “poses”. The paintings are achromatic, dark, and repetitive, distinguishable by the angle of the subject’s face or the hoods of her eyelids. With her chin in the air she looks confident, defiant. Leaning to the right she appears calm and virginal. With wide, upward facing eyes, she seems vulnerable. These subtle depictions of expre... [more]
Posted by Andrea Alessi on 3/28/10
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Yael Bartana at Annet Gelink Gallery

by Andrea Alessi
    Previously, in the Mary Koszmary (Nightmares) trilogy: Before an empty Warsaw stadium, left-wing Polish activist Slawomir Sierakowski has given an impassioned speech calling for the three million Jews who left Poland after the war to return. The key message: 3,000,000 Jews can change the lives of 40,000,000 Poles. Sierakowski has promised the wondrous things that might follow this reunion. If you want, we’ll travel to the moon together. We left off with Sierakowski and a group of school children proudly circling the stadium to a hopeful rendition of the Polish national anthem… … Two year... [more]
Posted by Andrea Alessi on 1/27/10
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Defining Existence

by Athena Newton
    On September 5 2009, the Annet Gelink Gallery opened the new season with works from young and talented hopefuls Muzi Quawson (b.1978) and Ry Rocklen (b.1978). Each exhibition is separated into two, very distinct sections: Quawson’s mid-American tribute features in the main section of the gallery; Rocklen’s (seemingly) buoyant three-piece installation showcases downstairs in the bakery. In both the content and context of these two shows, a frission of emotional response is aroused. Muzi Quawson (1978) The Old Home Filmed in the Glasgow in northeastern Montana, The Old Home (2009) provocatively... [more]
Posted by Athena Newton on 9/8/09
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Cowboy Semiotics

by Andrea Alessi
      The cowboy is a potent symbol in contemporary art. He is a fading hero, located somewhere between the positions of imagination and authenticity, nostalgia and neo-conservatism. Consider Richard Prince’s Marlboro men, reproductions that complicate ideas of reality and fiction. And there is Bruce Nauman, a man whose own mysterious persona seamlessly combines the myth of the lone cowboy with that of the hermetic artist. Consequently, I had cowboy semiotics on the mind when I entered the screening of Muzi Quawson’s The Old Home at the Annet Gelink Gallery and saw a man in a ten-gallon hat... [more]
Posted by Andrea Alessi on 9/28/09