Art in corona times 88. Matthias Grothus & Yaïr Callender, Jam Session; Kadmium, Delft

Studio view; Yaïr Callender

As i initiated this show of works by Matthias Grothus (1982) and Yaïr Callender (1987) at Kadmium, Delft, this report is a bit different.

Matthias Grothus sketching in his studio
Yaïr Callender; studio view
Matthias Grothus; studio view
Yaïr Callender; studio view

The idea was to make a show with objects and/or installations that would cause a sense of wonder, a bit like in a Kunst und Wunderkammer, something both Grothus and Callender would be good at.

Matthias Grothus; studio view
Yaïr Callender; studio view
Matthias Grothus; studio view

We decided to leave a lot of room for improvisation.

Yaïr Callender; studio view
Matthias Grothus; studio view
Yaïr Callender’s works have arrived at the gallery

Callender has his studio in The Hague and Grothus in Zaandam, so it wouldn’t be easy for the artists to visit each other and exchange ideas.

Yaïr Callender’s works have arrived at the gallery
Yaïr Callender’s works have arrived at the gallery

That meant the actual making of the exhibition would be a kind of jam session on the day of installation at the gallery.

Yaïr Callender’s works have arrived at the gallery
First parts of Matthias Grothus’ works have arrived
Parts of Matthias Grothus’ work, waiting to be assembled

Happily the artists got on quite well together and they had a good feel for each other’s works.

Assembling Matthias Grothus’ work is like reconstructing a fossil
The artists attaching Matthias Grothus’ flying creature
… and there it flies!

Although the works were challenging, real problems didn’t happen.

Attaching a work by Yaïr Callender
Yaïr Callender adding some finishing touches

As a result I think some of the tension and the joy of making the exhibition can still be seen.

Matthias Grothus working on the flying creature’s head
The flying creature has a head!

Centre piece is of course Grothus’ flying creature, which is both strong and transparent.

Matthias Grothus fixing the head
It flies head on!

It flies like a phoenix supported by Callender’s works and accompanied by the deep, earthly humming of a sound work by Grothus.

Yaïr Callender
Yaïr Callender

Callender’s works try to let the surrounding world speak for itself.

Yaïr Callender
Yaïr Callender
Yaïr Callender

Although the show was originally planned for last spring (but had to be postponed because of Covid-19), it obviously works very well in this autumn of anxiety, where it might bring a moment of reflection to the viewer.

Yaïr Callender
Yaïr Callender
Matthias Grothus
Matthias Grothus’ sound installation

It has become a show of both deep seriousness and freaky humour.

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© Villa Next Door 2021

Contents of all photographs courtesy to Matthias Grothus, Yaïr Callender and Kadmium, Delft

Bertus Pieters

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Art in corona times 87. After Daan van Golden; PARTS Project, The Hague

Mirthe Klück

Some time ago i visited PARTS Project to write a review about its present exhibition After Daan van Golden. Click here to read the review in VLR (in Dutch).

Mirthe Klück

It is a very full and rich show and as i’ve written quite extensively about it i just leave you here with some details and impressions of it.

Maurice van Es

However there is far more to see than these impressions suggest, so do plan a visit and take your time!

Maurice van Es
Carel Blotkamp
Daan van Golden
Fergus Feehily
Marijn van Kreij
Maja Klaassens
Maja Klaassens
Daan van Golden
Niek Hendrix
Robbin Heyker
Magali Reus
Magali Reus
Magali Reus
Alice Tippit
Daan van Golden
Riëtte Wanders
Just Quist
Annemarie Slobbe
Indigo Deijmann
Indigo Deijmann
Fergus Feehily
Daan van Golden
Richard Aldrich
Marijn van Kreij
Ronald de Bloeme

Click here to read the review in VLR (in Dutch).

Ronald de Bloeme

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© Villa Next Door 2021

Contents of all photographs courtesy to all artists, the estate of Daan van Golden, all owners of the works and PARTS Project, Den Haag

Bertus Pieters

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Art in corona times 86. Erik Pape, Things That Struck Me; Galerie Maurits van de Laar, The Hague

Erik Pape (1942) shows paintings, sketchbooks and videos at Galerie Maurits van de Laar. If you want to see it, you have to be quick, as tomorrow (Sunday, October 10) will be the finissage already.

There is a strange dichotomy in Pape’s paintings. On one hand they show that it is not important what subject you choose for a painting, on the other hand they show that it is of the utmost importance.

For years Pape painted and drew elements of Place Stalingrad in Paris. But why that square in that city?

Today he paints “Things That Struck Me” while strolling in Paris from his lodgings to his working place and back.

Again, it doesn’t seem of any importance how futile or kitschy these “Things” are, or whether they were seen in Paris or not, but then again it also makes a great difference.

Moreover, the kitschier and the more insignificant the better, one might think looking at his paintings.

Even then, these objects seem to become even more mysterious, in a strange mix of near-wistfulness, near-humour, near-admiration, near-rejection and something indefinable.

He also shows something of his wanderings in Paris in videos, both in colour and in black-and-white.

They have the same atmosphere as his paintings and also give them context, but at the same time they stand on their own.  

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© Villa Next Door 2021

Contents of all photographs courtesy to Erik Pape and Galerie Maurits van de Laar, Den Haag

Bertus Pieters

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Façades of The Hague #138

Seven blocks of flats along 2de Sweelinckstraat, Lübeckstraat, Valeriusstraat, Stadhouderslaan and Stadhoudersplantsoen.

Designed by Jan Wils (1891-1972), they were built in the 1950s.

The German occupation left deep scars in The Hague.

The building by the Germans of the Atlantic Wall (the Antlantikwall) along the western European coast left one of the most significant scars still visible today.

Parts of the western suburbs of the city were demolished by order of the Germans for the building of the defensive wall.

Not just the houses were destroyed, social and suburban structures were erased too.

Part of the project was a deep anti-tank-trench which ran amongst others through the present Stadhoudersplantsoen.

After the Germans left, different plans were made to rebuild the area.

A plan by architect and urban planner Willem Dudok (1884-1974) to restructure the area was taken as the base for renewal.

Dudok, of course, was a famous modern architect in the Netherlands.

Architect of the wonderful and still functioning Hilversum Town Hall, he was also renowned for his achievements in urban planning already before the War.

Dudok however didn’t design any of the new buildings in this area when restructuring post-war The Hague.

Jan Wils was one of the architects who made designs for the new buildings.

Wils, during his long career, started out with Jugenstil.

When he was in his twenties he moved to The Hague where he worked for Hendrik Petrus Berlage, probably the most influential Dutch architect during the Interwar period, and responsible, amongst others, for the design of the (nearby) Gemeentemuseum, now Kunstmuseum.

Through Berlage he discovered the work of Frank Lloyd Wright, which had a great influence on him.

Wright’s work strengthened his idea that man and his surroundings should be central in architecture and not architecture itself.

For a short time he was associated with Theo van Doesburg and De Stijl.

Already before WWII he was engaged in social housing construction and designing residential buildings in general.

As such he is seen as one of the founders of the so-called Nieuwe Haagse School (New Hague School).

Therefore the choice of Wils as one of the architects for the restructuring of this area was obvious.

His low blocks of flats in a lush green area, were a clear modernist break with the original 19th century idea of chic façades along the street with private backyards and very limited public space.

© Villa Next Door 2021

All pictures were taken in March 2020.

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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Art in corona times 85. Palm tree & Skroderider; Billytown, The Hague

Nishiko

Billytown is combining two exhibitions.

Jeroen Jacobs
Marius Lut

Its spacious main exhibition Palm tree is almost absorbing its smaller but more dense show (traditionally called the Kitchen show) Skroderider, made by the New York based artists run platform Lie Lay Lain.

Marius Lut

Billytown has removed a wall and so you automatically walk into the smaller exhibition.

Nina Canell
Jeroen Jacobs

Palm tree is based on a story about a palm tree (wouldn’t you guess?) and it deals with the seen and unseen objects that surround us in daily life.

Jeroen Jacobs

You may think of them as unimportant but in fact they are the props that influence our ideas and feelings, both by their appearance and by their context, maybe even by their invisibility.

Sepus Noordmans

It results in an exhibition with works varying from the very visible concrete structures by Jeroen Jacobs to the sometimes almost too unobtrusive small objects by Nishiko.

Peggy Franck
Peggy Franck

Other part-taking artists are Nina Canell, Peggy Franck, Marius Lut, Sepus Noordmans and Michael E. Smith.

Michael E. Smith

The title Skroderider of the Kitchen show derives from a plant character from a 1990s science fiction novel and deals with the materiality of things.

Sara Enrico
Sara Enrico
Viola Yesiltac

It is another very diverse show in which both the quality and the meaning (one could say the life) of materials play a role.

Viola Yesiltac
Viola Yesiltac
Joseph Buckley

There are works by Joseph Buckley, Sara Enrico, Erin Johnson and Viola Yesiltac.

Joseph Buckley
Erin Johnson
Sara Enrico

Jacobs makes his concrete come to life on the cushions in the hall.

Jeroen Jacobs
Jeroen Jacobs

In the stairway a video loop by Smith creates a flashing atmosphere.

Michael E. Smith
Michael E. Smith

A work by Skroderider-show’s JosephBuckley even overlaps the Palm tree exhibition.

Joseph Buckley

On the second floor, which houses the Billytown-artists’ studios and the impressive Peter van Beveren Library, the exhibited works merge with the other objects.

Books Are Bridges

In spite of the two titles it is difficult to see the two shows as separate.

left to right: Sepus Noordmans, Jeroen jacobs, Books Are Bridges

There is of course a higher density of objects in Skroderider and one doesn’t have to search for the works like in Palm tree.

Jeroen Jacobs

After the quest for objects in the main show the almost overcrowded Skroderider show confronts you with objects that are emphatically present.

Marius Lut

That is a good strategy to shift the emphasis of the context that objects and space create, to the actual appearance of objects and their meaning.

Nishiko

As such both shows are together almost classical Billytown exhibitions in that as a twofold unit they deal with space and how objects behave in it.

Nishiko

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© Villa Next Door 2021

Contents of all photographs courtesy to all artists, Lie Lay Lain, New York, and Billytown, Den Haag

Bertus Pieters

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Art in corona times 84. Toscania, Tosca Niterink; HOK Gallery, The Hague

Happily after the worst corona periods and lock-downs HOK Gallery has found a new place at Westeinde for its activities.

Compared to its last stamp sized spot this is a royal palace.

It is now situated in a street full of artistic activities.

It can even support a relaxing seating area and enough space for its expanding collection of booklets, some of which are real collectors’ items.

At the moment HOK shows works by Tosca Niterink (1960).

To a Dutch audience born in the 1970s (or even earlier or later) she is a legendary alternative TV-star of the 1980s and early 1990s.

Recently she started painting, and bearing in mind she is a beginner it is not a bad start, her subjects being mostly other famous or infamous TV-stars.

The finissage will be next Friday night (during Hoogtij) with a fashion show.

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© Villa Next Door 2021

Contents of all photographs courtesy to Tosca Niterink and HOK-Gallery, Den Haag

Bertus Pieters

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Art in corona times 83. Robin Rhode; Museum Voorlinden, Wassenaar

I visited Robin Rhode’s present great show at Museum Voorlinden to write a review for Villa La Repubblica. Click here to read the review in VLR (in Dutch).

As i have written already quite extensively about the show in VLR, i just leave you here with the pictures, without comments, but with the strong recommendation to visit this wonderful exhibition if you are able to.

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

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© Villa Next Door 2021

Contents of all photographs courtesy to Robin Rhode, all owners of the works and Museum Voorlinden, Wassenaar

Bertus Pieters

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Façades of The Hague #137

Bridge in Laan van Meerdervoort over the Verversingskanaal (Drain Channel) in between Conradkade and Suezkade, usually called Conradbrug (Conrad Bridge).

In 1937 this bridge was built to give a more solid base for the increasing and heavier car traffic in The Hague’s main western thoroughfare.

In the background Cornerhouse

The bridge was designed by Antoon Pet (1885-1954) who, as a structural engineer and architect, was a civil servant in The Hague from 1919 until 1951.

Right in the background the first floors of Panoramaflat

It is a very robust bridge and at the time it was the biggest bridge (at a hundred feet) in The Hague.

It is still a local landmark, as are the two modernist buildings at the north side of the bridge: Cornerhouse (Jan Grijpma, 1929) and Panoramaflat (Piet Zanstra, 1962).

The bridge is embellished with different features, like a strange place inscribed with MANNEN (MEN), which may remind you of a forgotten war monument, but which are probably the remains of a public toilet. [Scroll down for a reaction by Casper de Weerd]

The bridge has also been provided with some sculptures, which was a fine tradition before WWII.

At the north side is a sculpture by Joop van Lunteren (1882-1958) of a boy with a toy sailboat made of a Dutch clog.

Wooden shoes were still in common use by the time.

A boy making a toy sailboat can be seen as a symbol of human, in particular Dutch and male endeavour.

It adds to the symbolism of the then modern bridge as well.

In the middle of the bridge is a monumental granite sculpture by Dirk Wolbers (1890-1957) called Veilig in’t verkeer (Safe in Traffic).

It represents a mother ready to steer her daughter and son through the busy traffic.

The traffic itself is symbolised by two small toy-like cars.

She stands there as an attractive young mother preparing her children for life in modern traffic in particular and in modern times in general.

As such they cross the bridge towards the future.

As for Wolbers himself: he died in a car crash.

At the south side of the bridge is another sculpture by Van Lunteren, representing a girl with a rabbit.

As a pendant of the boy with the sailboat at the other side, she obviously symbolises feminine compassion with creatures that need our care.

As such the whole bridge has become a symbol of modernity with traditions that have changed as a result of that modernity.

© 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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Art in corona times 82b. Sonsbeek 20→24, Arnhem, Sonsbeek and Zypendaal Parks

THIS IS PART 2 OF 2 OF A TOUR OF SONSBEEK 20→24. PART 2 IS A TOUR OF SONSBEEK AND ZYPENDAAL PARKS. CLICK HERE TO SEE PART 1 ABOUT THE CITY CENTRE.

The Black Archives – Villa Sonsbeek

Continuation of a visit i made to Sonsbeek 20→24, Arnhem to write a review for Villa La Repubblica. Click here to read the review in VLR (in Dutch)

The Black Archives – Villa Sonsbeek

Due to time shortage (and to the rainy weather) i only made pictures of a limited number of presentations.

HISK Students – Sonsbeek Park

As i have written already quite extensively about the show in VLR, i just leave you with the pictures, without comments.

HISK Students – Sonsbeek Park
HISK Students – Sonsbeek Park
HISK Students – Sonsbeek Park
Mae-ling Lokko, Gustavo Crembil – Sonsbeek Park
Mae-ling Lokko, Gustavo Crembil – Sonsbeek Park
Mae-ling Lokko, Gustavo Crembil – Sonsbeek Park
Mae-ling Lokko, Gustavo Crembil – Sonsbeek Park
Olu Oguibe – Sonsbeek Park
Olu Oguibe – Sonsbeek Park
Wendelien van Oldenborgh, Erika Hock – Sonsbeek Park
Wendelien van Oldenborgh, Erika Hock – Sonsbeek Park
Wendelien van Oldenborgh, Erika Hock – Sonsbeek Park
Jennifer Tee – Sonsbeek Park
Jennifer Tee – Sonsbeek Park
Jennifer Tee – Sonsbeek Park
Jennifer Tee – Sonsbeek Park
Jennifer Tee – Sonsbeek Park
Jennifer Tee – Sonsbeek Park
raumlabor – Sonsbeek Park
raumlabor – Sonsbeek Park
raumlabor – Sonsbeek Park
raumlabor – Sonsbeek Park
raumlabor – Sonsbeek Park
raumlabor – Sonsbeek Park
Werker Collective, Gleb Maiboroda, studio bonbon – Zypendaal Park
Werker Collective, Gleb Maiboroda, studio bonbon – Zypendaal Park
Werker Collective, Gleb Maiboroda, studio bonbon – Zypendaal Park
Justine Gaga – Zypendaal Park
Justine Gaga – Zypendaal Park
Justine Gaga – Zypendaal Park
Farkhondeh Shahroudi – Zypendaal Park
Farkhondeh Shahroudi – Zypendaal Park

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

Farkhondeh Shahroudi – Zypendaal Park

THIS IS WHERE PART 2 OF 2 ENDS. CLICK HERE TO SEE PART 1

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© Villa Next Door 2021

Contents of all photographs courtesy to all artists and the curatorial team of Sonsbeek 20→24, Arnhem

Bertus Pieters

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Art in corona times 82a. Sonsbeek 20→24, Arnhem. Part 1: City centre

THIS IS PART 1 OF 2 ABOUT SONSBEEK 20→24. PART 1 IS A TOUR IN THE CITY CENTRE. CLICK HERE TO SEE PART 2 ABOUT SONSBEEK AND ZYPENDAAL PARKS.    

Oscar Murillo – St Eusebius Church

I visited Arnhem to write a review for Villa La Repubblica about the Sonsbeek 20→24 show. Click here to read the review in VLR (in Dutch).

Oscar Murillo – St Eusebius Church

Due to time shortage i only made pictures of a limited number of presentations.

Oscar Murillo – St Eusebius Church

As i have written already quite extensively about the show in VLR, i just leave you with the pictures, without comments.

front Ibrahim Mahama; back Antonio José Guzman – St Eusebius Church
Ibrahim Mahama – St Eusebius Church
Ibrahim Mahama – St Eusebius Church
Ibrahim Mahama – St Eusebius Church
Ibrahim Mahama – St Eusebius Church
Antonio José Guzman – St Eusebius Church
Antonio José Guzman – St Eusebius Church
Antonio José Guzman – St Eusebius Church
Mithu Sen – St Eusebius Church
Mithu Sen – St Eusebius Church
Mithu Sen – St Eusebius Church
Mithu Sen – St Eusebius Church
Ndidi Dike – De Groen Collection
Ndidi Dike – De Groen Collection
Ndidi Dike – De Groen Collection
Ndidi Dike – De Groen Collection
Libita Sibungu – De Groen Collection
Libita Sibungu – De Groen Collection
Libita Sibungu – De Groen Collection
Ndidi Dike – De Groen Collection
Ndidi Dike – De Groen Collection
Omer Wasim – De Groen Collection
Omer Wasim – De Groen Collection
Omer Wasim – De Groen Collection
Omer Wasim – De Groen Collection
Anne Duk Hee Jordan – De Groen Collection
Alida Ymele – Showroom Arnhem
Alida Ymele – Showroom Arnhem
Alida Ymele – Showroom Arnhem
Willem de Rooij presents Pierre Verger – Showroom Arnhem
Buhlebezwe Siwani – Showroom Arnhem
Buhlebezwe Siwani – Showroom Arnhem
Kudzanai-Violet Hwami – Showroom Arnhem
Ellen Gallagher – Waalse Kerk
Ellen Gallagher – Waalse Kerk
Olu Oguibe – Gele Rijders Plein

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

Olu Oguibe – Gele Rijders Plein

THIS IS WHERE PART 1 OF 2 ENDS. CLICK HERE TO SEE PART 2

Now that you’ve come here, you might as well subscribe to Villa Next Door (top right of the page)!

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© Villa Next Door 2021

Contents of all photographs courtesy to all artists and the curatorial team of Sonsbeek 20→24, Arnhem

Bertus Pieters

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