Grayson Perry, Winner of the Erasmus Prize 2021; Kunstmuseum, The Hague

On the occasion of the Erasmus Prize award to Grayson Perry (1960), The Hague Kunstmuseum has made a small presentation of his work.

Perry was awarded the Erasmus Prize 2021 amongst others because of his “ability to unite a divided public, showing us that art can be a platform for an open and inclusive debate.”

Indeed Perry goes to great lengths to be liked and to shock, to entertain and to criticize.

He does so using very different materials and genres, as you can see here; his messages are never authoritarian, let alone authoritative.

Although he does use texts, his visual language is very direct but without simplification.

The show itself presents some interesting examples of what Perry is known for, like ceramics, cloths, tapestries etc.

The exhibition being modest, the nature of the work is such that there is visually quite a bit on offer.

Personally i enjoyed it, and it is worth seeing when you happen to be in the museum.

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© Villa Next Door 2022

Contents of all photographs courtesy to Grayson Perry, the owners of the works and Kunstmuseum, Den Haag.

Bertus Pieters

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How Rest the Brave; Nest, The Hague

Ana Montiel

A few days ago i visited How Rest the Brave at Nest to write an article for Villa La Repubblica. Click here to read the article in VLR (in Dutch)

Ana Montiel

As I have written quite extensively about the exhibition in VLR, I just leave you here with some impressions.

Yoojin Lee

Be reminded though that the show is in its last week now, so hurry if you want to see it (which I highly recommend).

Yoojin Lee, background Remco Osório Lobato and Katarina Juricic
Yoojin Lee, background Remco Osório Lobato, Katarina Juricic and Pamela Phatsimo Sunstrum
Mladen Stilinovic
Remco Osório Lobato, background Katarina Juricic and Pamela Phatsimo Sunstrum
Helen Cammock
Helen Cammock
Helen Cammock
Pamela Phatsimo Sunstrum
Danilo Correale
Danilo Correale
Danilo Correale
Mladen Stilinovic
Katarina Juricic
Katarina Juricic
Katarina Juricic
Remco Osório Lobato, background Frida Orupabo

Click here to read the article in Villa La Repubblica (in Dutch)

Pamela Phatsimo Sunstrum

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© Villa Next Door 2022

Contents of all photographs courtesy to all artists and Nest, Den Haag.

Bertus Pieters

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Façades of The Hague #145

Double villa Seinpostduin corner Zeekant, Scheveningen, along the beach.

The building was designed by the beginning of the 20th century by architect Johan Mutters (1858-1930).

Mutters was a fashionable modern architect, interior designer and urban planner of the Art Nouveau era, which is quite obvious in this double villa.

There are more stylish buildings designed by him in The Hague.

Later on he would design in a more Rationalist style.

This particular building was meant to be a hotel (which it partly still is), as part of the development of Scheveningen, turning from a poor fishing village into a posh seaside resort and spa around the turn of the century.

There are influences of half-timbered houses and chalets from Germany to render it a holiday feel.

The building is a municipal architectural monument.

Today it has to compete with horrible monstrosities that seem to have been designed to scare off any evil intrusion from overseas.

© Villa Next Door 2022

All pictures were taken in June 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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Studio Visit #12. Hgtomi Rosa

Last week the artists of Hgtomi Rosa organised an open studio event from Thursday to Sunday.

Hgtomi Rosa are Jan-Dirk Adams, Daniele Formica, Jiao Jiao Li, Yukari Nakamichi, Constantijn Scholten, Laura Snijders and Alex Webber.

They are artists who are not just making art to show it in a gallery, hoping to sell it at a nice price to a nice art lover or collector.

They are artists who are interested in the making of art as a process related to the appreciation of art.

Their works of art are not just developed to become autonomous and authoritative objects; the relations between the viewer, the space, other objects, the reason why a work of art is presented in a certain way, are just as important, if not more important.

To them making art is not just a material process, it is an intellectual or emotive experience in which the viewer can take part.

Within that context these artists don’t just make paintings and drawings, they also make installations, do performances, and they organise situations in which the viewer can feel free to participate and have his/her own experience.

As a viewer you need not feel compelled to participate, but the artists are as interested in your experience with their work as you are in their work.

To them art is something to be shared.

For the occasion each artist presented a new work of art in the front space of the building.

As usual the artists were hospitable, and their studios showed almost inexhaustible streams of ideas and inspiration.

It is important in a city like The Hague to have a bunch of energetic and talented young artists around who want more than the aesthetics of autonomous art.

It is all the more disappointing that in a city like The Hague, with its cosmopolitan aspirations, giving opportunities to these artists isn’t high enough on the agenda, in spite of the things that have indeed been achieved.

Of course, as a young artist you are perfectly well aware of the fact that being an artist is not the easiest way of life.

However, building a normal life is a complicated and expensive business these days, let alone if you want to build a life as an artist.

The tyranny of the market has penetrated all veins of life, it is preached as the common religion of our society, and it wants young artists like these to be competitive, instead of doing what they are good at.

But let’s not get too gloomy (being gloomy definitely doesn’t help), as, after all, the energy and inspiration given by people like these artists is valuable, and it was there to be experienced during the open studio days.

So, if you missed this, be sure to attend next time Hgtomi Rosa presents something!

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© Villa Next Door 2022

Contents of all photographs courtesy to the seven artists

Bertus Pieters

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Pim Piët & others, connection collection; Bos Fine Art, The Hague

bottom: Pim Piët, 1983; middle left to right: 2011, 1993, Kim Lim, 1993; top: Pim Piët, 2021

Pim Piët (1954) is an artist who is fully aware of the fact that he lives in a world with other artists, amongst others.

Pim Piët, 2007

They too shape his artistic framework and he gives in to that with sincere attention.

Pim Piët, 2021

Moreover, he has been a keen art collector during his artistic career.

left to right: Pim Piët, 2020, 2008, 2006, Wieteke Heldens, 2016

Presently at Bos Fine Art he shows a modest retrospective of his own works in combination with examples from his collection of works by others.

Pim Piët, 2012

It gives a very lively idea of his own artistic development, ranging from 1977 to 2022, combined with works by famous names like Ellsworth Kelly (1923-2015) or Lawrence Weiner (1942-2021), and young artists like Wieteke Heldens (1982) and Fabiola van den Berg (1995).

Jan Schoonhoven, 1987

In these works by others there is, of course, a great deal of abstraction, but also of conceptualism, and Piët shares an ironic sense of humour with some of them.

left: Fabiola van den Berg, 2021; right: Pim Piët, 2015

The oldest work by Piët in the exhibition is a work from 1977 which hangs as a kind of tribute next to a painting by Tomas Rajlich (1940), his teacher in the 1970s, who had a decisive influence on his ideas about art making.

left: Tomas Rajlich, 1974; right: Pim Piët, 1977

Since then a lot has happened, and a lot is still happening as his recent works show.

Pim Piët, 1998

There are influences of music and sound, and of non-western cultures, especially the Japanese.

Melissa Cruz García, 2014

The exhibition goes with a fine small but comprehensive catalogue showing most of the exhibited works, but if you want to see the real thing you have to be quick. The works are still on show over the weekend.

left: Marten Hendriks, 1982; right: Pim Piët, 2022

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Contents of all photographs courtesy to Pim Piët, all other artists and Bos Fine Art, Den Haag.

Bertus Pieters

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Thijs Jaeger & Bobbi Oskam, Gris-Gris; HOK Gallery, The Hague

“I’m the last of the best”

– Dr. John, Gris-Gris Gumbo Ya Ya, 1968

Thijs Jaeger

Probably they are neither the last nor the best ones, but every artist should do the best to his/her own standards, and create as if he/she is the last.

Bobbi Oskam

Thijs Jaeger (1990) and Bobbi Oskam (1990) seem to be unlikely partners in a duo-show, but Hok Gallery clearly didn’t mind and they are both their own lasts and bests.

Thijs Jaeger

You could consider works by both artists as manifestations of the inner self, but of course that is much too sweeping a statement to define a common denominator of their imaginative worlds.

Bobbi Oskam

You might say Jaeger uses his incantations to exorcise Oskam’s nasty dreams.

Thijs Jaeger

You might also say Oskam’s drawings are there to bring Jaeger’s objects back to the real world.

Bobbi Oskam

Whatever you want to do or figure out, fate will always knock on your door, undeterred and undeceived by amulets and fetishes.

Thijs Jaeger

Your dreams will haunt you, as reality will also haunt you anyway, and in the end you’d better experience them for what they are and see their aesthetics.

Bobbi Oskam

Well, of course, both artists’ present Gris-Gris show is not all that heavy-hearted.

Thijs Jaeger

Hok Gallery always guarantees a bit of a tongue-in-cheek approach, such that its visitors will never be seriously pounced on by any demons.

Bobbi Oskam

So, feel safe to see it all, today, tomorrow or on Saturday (3-4-5 March).

Bobbi Oskam, Thijs Jaeger

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© Villa Next Door 2022

Contents of all photographs courtesy to Bobbi Oskam, Thijs Jaeger and HOK Gallery, Den Haag.

Bertus Pieters

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Façades of The Hague #144

Buildings with apartments and studios, north façade of the so-called Lissabonplein (Lisbon Square), Kazernestraat.

The square connects the former 18th century courtyard called Het Lissabon (The Lisbon) near Denneweg, with Kazernestraat.

The houses were built mainly in the 1930s with later modifications and additions. It is a particularly peaceful part of the city centre, with arts and crafts studios.

The name Lissabon probably derives from Sephardic Jews who used to live around the former courtyard.

© Villa Next Door 2021

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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