Façades of The Hague #78

The railway line from Amsterdam to Rotterdam via The Hague was built in the mid nineteenth century, east of the city, outside the then built-up area.

Nowadays, of course, there are many residential and industrial areas around and east of the railway.

These urban developments have caused many traffic problems, and here are some pictures of one of the solutions.

This is the tramway tunnel and crossing, just south of Hollands Spoor railway station, under and along the railroad, built in 1995.

The whole complex exists of a tunnel, a viaduct and ramps.

© Villa Next Door 2018

All pictures were taken in March 2017

Bertus Pieters

Façades of The Hague from #72 onwards: https://villanextdoor2.wordpress.com/category/facades-of-the-hague/

Façades of The Hague #1 – 71: https://villanextdoor.wordpress.com/category/facades-of-the-hague/

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De opmaat (The Anacrusis / The Start Off), The First 10 Years of LhGWR; LhGWR, The Hague

For an anacrusis ten years may be a bit long but LhGWR has probably found itself cocooned in its gallery and wants to fly out now like a butterfly.

Of course that should be respected, but on the other hand it is a bit sad to see a good platform for photography go, as this is LhGWR’s last exhibition in its gallery.

It is sad because LhGWR like no other place in The Hague, and like just maybe a few other places in the country, has shown its audience what style is in contemporary photography.

Style in photography is not stylishness or an aesthetic hype; it is a way of finding balance in a chaotic world, basically by means of looking through a lens.

Photography, as such, is a reflective medium par excellence, both technically and philosophically.

In this last bow LhGWR shows works by ten of its artists with whom they have intensively co-operated through the years.

The works presented are by Karianne Bueno, Sarah Carlier, Pierre Derks, Sjoerd Knibbeler, Thomas Kuijpers, Lana Mesić, Krista van der Niet, Daan Paans, Marleen Sleeuwits and Nadine Stijns.

The exhibition lets the works speak for themselves without bothering much about names and titles (so i stick to that same principle in this case), but to regular visitors they will be recognisable or even familiar.

In the mean time i hope to see and hear more of future initiatives by LhGWR, maybe even in this village of pomp and rubbish.

© Villa Next Door 2018

Contents of all photographs courtesy to the artists and to LhGWR, Den Haag

Bertus Pieters

Postings about LhGWR in Villa Next Door 2: https://villanextdoor2.wordpress.com/tag/lhgwr/

Postings about LhGWR in Villa Next Door: https://villanextdoor.wordpress.com/tag/liefhertje-en-de-grote-witte-reus-lhgwr/

Postings about LhGWR in Villa La Repubblica (in Dutch): https://villalarepubblica.wordpress.com/tag/lief-hertje-en-de-grote-witte-reus-lhgwr/

E-Witness, Women and War; Quartair, The Hague

Shin Young-seong

E-Witness is a one week event organised in co-operation with amongst others the artist initiative Art Ze-An from Seoul, South Korea and Theatre of Wrong Decisions from the Netherlands and hosted by the Institute of Social Studies (ISS) and Quartair.

Shin Young-seong

Quartair has the exhibition part.

Ha Min-su
Ha Min-su

The show reflects on the role of women in war.

Heo Eun-young
Heo Eun-young

According to the exhibition text the cardinal question is “How can we analyze mechanisms of power and abuse both from the past and the present, towards the future?”

Theatre of Wrong Decisions
Theatre of Wrong Decisions

As usual the way to find an answer is more interesting than the answer itself.

Chung Kyung-mi
Chung Kyung-mi

It results in an interesting exhibition with works varying from very expressive to very hermetic.

Chung Kyung-mi
Shim Jung-ah

The works by the Koreans reflect, as far as it is manifest, on the victim role of Korean women during the Japanese occupation and the Korean War.

Shim Jung-ah
Shim Jung-ah

With such a heavy and still open historic trauma it is probably difficult not to reflect on.

Shim Jung-ah
Kim Su-hyang

As such the danger is that too little attention is given to the present position of women in war, or even at war, and to a diversion from the victimhood that is too narrow a focus to assess the role of women (or others) in war.

Kim Su-hyang
Kim Su-hyang

Most works are interesting, but some need more explanation.

Kim Su-hyang
Min Cheol-hong

For instance, the untitled video work by Min Cheol-hong looks quite wonderful but what is the connection with the issue?

Min Cheol-hong
Han Soong-hoon

Even one of the most beautiful works in the show, Bouquet of Memories by Kim Su-hyang, surely has more to say than just itself.

Han Soong-hoon
Hwang Seon-young

The works are still on show over this weekend.

Hwang Seon-young

© Villa Next Door 2018

Contents of all photographs courtesy to the artists and to Quartair, Den Haag

Bertus Pieters

Anne Forest, I am with name; Heden, The Hague

Two years ago Anne Forest (1983) had an exhibition in Heden about which i wrote that her work had “matured considerably,”  that her style was “immediately recognisable” but “also manoeuvrable.”

Well, in her present show at Heden one could say she is still manoeuvring at different levels.

In two paintings she seems to make more of a perspective space around her figures and there she enters uncertain terrain that seems to be alien to her icon-like style.

Are these the margins of her style?

That is all the more important as her best works create a space of their own around them by themselves.

© Villa Next Door 2018

Content of all pictures courtesy to Anne Forest and Heden, Den Haag

Bertus Pieters

Façades of The Hague #77

Façade of an apartment block, Dunne Bierkade, originally first half of the 19th century.

It underwent some changes, most notably in converting the ground floor into a restaurant.

For a long time the house served as temporary lodgings for the homeless or the penniless and its ground floor as a restaurant for the less well to do.

Since 2009 it housed the reputable vegetarian restaurant De Zon (The Sun), which closed its doors last summer.

It has been replaced afresh by a new restaurant recently.

© Villa Next Door 2018

All pictures were taken in March 2017

Bertus Pieters

 

Façades of The Hague from #72 onwards: https://villanextdoor2.wordpress.com/category/facades-of-the-hague/

Façades of The Hague #1 – 71: https://villanextdoor.wordpress.com/category/facades-of-the-hague/

Ossip Zadkine, Zadkine by the Sea; Museum Beelden aan Zee, The Hague

1914

The Russian-born French sculptor Ossip Zadkine (1888/90-1967) has a special relationship with the Netherlands, in particular with Rotterdam, where his monument The Destroyed City, placed in 1953, became the ultimate modernist war monument (click here to see some pictures of the monument in situ).

1967
1967

Presently a prestigious retrospective of his work is on show in Museum Beelden aan Zee.

1921
1919
1919

Zadkine is clearly the proverbial artist of the second quarter of the 20th century with a lot of expressionism and cubism and a touch of Modigliani in his portraits.

1929
1936
1923

As such he was an inventive craftsman and a prolific artist, and there is a lot to be admired in the show.

1930
1924
1939

However, his prolific output also makes his work a bit predictable which becomes clear in this exhibition of one hundred works (!), crammed into this otherwise very spacious museum.

1937
1937
1935

The presentation is more or less chronological in a kind of makeshift galleries and more loosely arranged in the left over open space, an approach that tries to bring some order in this forest of sculptures.

1943
1943
1948

As such the presentation lacks good sightlines which might have expressed the special qualities of certain works in dialogue with each other.

1951
1951
1951

What lyrical power the individual works may have, is destroyed by this massive, wholesale approach.

1929
1929
1956

However, for the aficionados who just want to see a lot of Zadkine this is probably their best chance.

1950

© Villa Next Door 2018

Content of all photographs courtesy to the estate of Ossip Zadkine, all owners and to Museum Beelden aan Zee, Den Haag

Bertus Pieters

All Power to the People! Emory Douglas and the Black Panthers; West, The Hague

I went to All Power to the People! at West, an exhibition about the Black Panther Party, its newspaper The Black Panther and its designer and illustrator Emory Douglas (1943), to write a review for Villa La Repubblica. Click here to read the review (in Dutch).

Here are some impressions of the show (as far as the dark season allowed me to produce them).

As i have written quite extensively about the exhibition in VLR, i leave you here with these pictures, but of course it is better to go there and take a look yourself.

©Villa Next Door 2018

Content of all photographs courtesy to all parties concerned including Emory Douglas and West, Den Haag.

Bertus Pieters

Cedric ter Bals, Shary Boyle, Susanna Inglada & Marjolijn van der Meij; Galerie Maurits van de Laar, The Hague

Marjolijn van der Meij

Probably the best word to describe the works of the present exhibition at Maurits van de Laar’s Gallery is ‘awkward,’ but in a very positive way.

Marjolijn van der Meij
Marjolijn van der Meij
Marjolijn van der Meij
Marjolijn van der Meij
Shary Boyle
Shary Boyle

One could also define it as radical theatricality; the crumpling of her subjects by Marjolijn van der Meij (1970), the exaggeration of her scenes by Shary Boyle (1972), the intensifying of the interaction between her actors by Susanna Inglada (1983) and the firm anachronising of the present day and the First World War by Cedric ter Bals (1990).

Shary Boyle
Shary Boyle
Susanna Inglada
Susanna Inglada
Susanna Inglada

In the front gallery especially Van der Meij steals the show with her crumpled Arcadian kitsch presented on shiny silk, extremely over-the-top in a way that it becomes extremely down-to-earth again.

Susanna Inglada
Cedric ter Bals
Cedric ter Bals
Cedric ter Bals
Cedric ter Bals
Cedric ter Bals

In the lower part of the gallery Ter Bals makes a colourful carnival of death, destruction and reincarnation.

Shary Boyle

© Villa Next Door 2018

Contents of all photographs courtesy to the artists and to Galerie Maurits van de Laar, Den Haag

Bertus Pieters

Façades of The Hague #76

Office building Casuariestraat corner Bleijenburg.

Built during the first half of the 1970s, it is a typical example of modernist property development architecture.

It is anonymous and simple in its concept, not designed for a certain public function, but as a skeleton to earn money with.

In spite of that there is a quaint kind of elegance in the façade with its regular relief-like vertical ribs.

It’s a pity the surface of the concrete has got a tan; originally whitish grey, now it is like essentialist modernity’s old age (also with the somehow very postmodern quasi-old fashioned lanterns, placed more recently on the pavement).

© Villa Next Door 2018

All pictures were taken in March 2017

Bertus Pieters

Façades of The Hague from #72 onwards: https://villanextdoor2.wordpress.com/category/facades-of-the-hague/

 

Façades of The Hague #1 – 71: https://villanextdoor.wordpress.com/category/facades-of-the-hague/

Manor Grunewald, Laura Jatkowski & Ricardo van Eyk, Be My Billy; Billytown, The Hague

Manor Grunewald

At first sight one may not think of Manor Grunewald (1985), Laura Jatkowski (1990) and Ricardo van Eyk (1993) as partners in a group show.

Manor Grunewald
Manor Grunewald
Manor Grunewald
Manor Grunewald

However, in Billytown’s new gallery space they seem to be the perfect trio to open a potentially challenging program of exhibitions.

Laura Jatkowski
Laura Jatkowski
Laura Jatkowski
Laura Jatkowski

The emphasis of the show is characteristically on the merging of making and thinking and its spatial consequences.

Left to right: Manor Grunewald, Laura Jatkowski, Ricardo van Eyk
Ricardo van Eyk
Ricardo van Eyk
Ricardo van Eyk

All three artists focus both on the overall impression of their works as well as on the details.

Ricardo van Eyk
Ricardo van Eyk
Ricardo van Eyk

Conceptual thinking is mixed with the possibilities of the used materials, in Jatkowski’s case even acoustics and video.

Laura Jatkowski
Front: Laura Jatkowski; back: Manor Grunewald
Left to righ, Ricardo van Eyk, Laura Jatkowski
Front: Laura Jatkowski; back: Ricardo van Eyk

The day i visited to make these photos the autumn weather was grey and gloomy, which made it next to impossible to make some clear pictures in spite of the building’s  big windows.

Front: Laura Jatkowski; back: Ricardo van Eyk
Ricardo van Eyk
Ricardo van Eyk
Left to right: Manor Grunewald, Ricardo van Eyk, Laura Jatkowski

On the other hand, it gave the works and the space a more monumental and concise character.

Left to right: Ricardo van Eyk, Manor Grunewald
Laura Jatkowski
Laura Jatkowski
Laura Jatkowski

On the whole it is a very promising first show in a new chapter of Billytown’s existence.

Laura Jatkowski

© Villa Next Door 2018

Content of all photographs courtesy to the artists and Billytown, Den Haag

Bertus Pieters