The in-between is probably the biggest part of the World as we see it.
Even bodily contact only seems to underscore that fact.
However, seen as a spiritual space the in-between is a vast reservoir of emotion, thinking, feeling and the unknown between the self and the rest of the world; the in-between is in fact the immaterial Other.
As an artist you are able to materialise these aspects and as such make a vessel for these thoughts.
Joran van Soest (1994), who graduated last year from the arts academy in ‘s-Hertogenbosch, is quite literally working on a vessel at the moment: a zeppelin.
Of course since the Hindenburg disaster civil aviation with zeppelins has come to a dramatic standstill, but the idea of a big ship steadily ploughing the waves of the enormous aerial ocean that surrounds our planet appeals to the imagination, as it does to Van Soest’s.
Whether he will succeed in making an airworthy airship may be doubtful, but that is not really important.
The spin-off of the project, materialising things, physical experimenting in and with the Other will probably be its main result.
In the 17th century Baron Van den Boetzelaer, who signed the command to lift the protection of the De Witt brothers, which led to their cruel murder, lived here.
In the early 18th century it was redesigned and rebuilt more or less to its present state by an unknown architect in a prestigious late Louis XIV style.
During the second quarter of the 18th century it was owned by the Anglo-Dutch Stephanus Laurentius Neale, who introduced coffee cultivation in the Dutch colony of Suriname and who became exceedingly rich.
Some years after he sold the palace in 1752, he owned four coffee plantations with more than 200,000 coffee trees, 200 sugar cane fields and (yes, you expected it!) more than 450 slaves.
As the title implies, the works on show all have a strong sense of place, which results in a kind of inner landscapes, cityscapes and architectural interiors.
Zoete is the only one who explicitly depicts human beings in his landscapes, which seem to be very simple, especially compared to Cornelissen’s and Smits’ works.
However, that simplicity is deceptive as the concepts of his works are extremely balanced, such that there is no place for hidden details, but plenty of room for interpretation.
His figures and animals are very lively and his compositions could be described as both melodic and rhythmic.
Cornelissen’s works, monumental as they sometimes may be, are probably best described as inner spaces.
Knowledge and culture often play a referential role.
Even linear perspective itself retains its more or less intellectual aspect as if inherited from Renaissance artists.
Apart from two sculptures, Smits shows some impressive drawings, most of them cityscapes.
It might be enticing to some to refer to Smits’ empty cities and buildings as dystopias, but i think his architectural capriccios show buildings as individuals and cities as living organisms, which is a much wider scope than the trendy dystopia idea.
Generally it is a very full and brilliant show.
Be sure to take your time when visiting as the works are full of detail.
In Stroom’s Ondertussen (In the Mean Time) series Evelina Rajca (1984) shows some of her works of her project Speculative Ecologies and Intelligent Energy Harvesting Entities.
I must say i didn’t fully grasp the exhibition’s accompanying text.
As far as i can correlate the text with the works on show she is interested in self regulatory systems in non-living objects, or the systems that keep them “alive”, and how these systems can be improved, and especially how they can improve themselves.
The objects on show are interesting and may give you a taste of what she is working on.
Some of you may have experienced the wonderful noise making work on the wall already in 2016 at the Amsterdam Rijksakademie.