Art in corona times 81b. Graduation Show 2021; Royal Academy of Art (KABK), The Hague

THIS IS PART 2 OF 2 OF A TOUR OF THE GRADUATION SHOW 2021. CLICK HERE TO SEE PART 1

Sienna Matijas

Continuation of a visit i made to the Hague Royal Academy (KABK) to write a review for Villa La Repubblica. Click here to read the review in VLR (in Dutch)

Sienna Matijas

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

Sienna Matijas

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

Sienna Matijas
Sienna Matijas
Anna Hijmans
Anna Hijmans
Anna Hijmans
Anna Hijmans
Anna Hijmans
Anna Hijmans
Wumen Ghua
Wumen Ghua
Wumen Ghua
Wumen Ghua
Serene Hui
Serene Hui
Serene Hui
Serene Hui
Serene Hui
Juliana M. Hernández
Jakob Ganslmeier
Jakob Ganslmeier
Jakob Ganslmeier
Jakob Ganslmeier
Anca Bârjovanu
Catelijne Boele
Catelijne Boele
Catelijne Boele
Catelijne Boele
Catelijne Boele
Catelijne Boele
Ryan Lim
Ryan Lim
Ryan Lim
Ryan Lim
Ryan Lim
Ryan Lim
Ryan Lim
Ryan Lim
Ryan Lim
Ryan Lim
Ryan Lim

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

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 Royal Academy of Art (Koninklijke Academie van Beeldende Kunsten), Den Haag

Bertus Pieters

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Art in corona times 81a. Graduation Show 2021; Royal Academy of Art (KABK), The Hague

THIS IS PART 1 OF 2 OF A TOUR OF THE GRADUATION SHOW 2021. CLICK HERE TO SEE PART 2.        

I visited the Hague Royal Academy (KABK) to write a review for Villa La Repubblica about the Graduation Show 2021. Click here to read the review in VLR (in Dutch).

Hattie Wade

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

Hattie Wade

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

Sina Dyks
Sina Dyks
Sina Dyks
Sina Dyks
Sina Dyks
Peter Pflügler
Peter Pflügler
Peter Pflügler
Peter Pflügler
Peter Pflügler
Ayiley Hammond
Ayiley Hammond
Sophia Maria Favela
Ellen Wittkampf
Ellen Wittkampf
Ellen Wittkampf
Guglielmo Bozzoli Parasacchi
Guglielmo Bozzoli Parasacchi
Guglielmo Bozzoli Parasacchi
Guglielmo Bozzoli Parasacchi
Guglielmo Bozzoli Parasacchi
Ellen Yiu
Ellen Yiu
Ellen Yiu
Ellen Yiu
Ellen Yiu
Ellen Yiu
Ellen Yiu
Ellen Yiu
Ellen Yiu
Ellen Yiu
Joseph Palframan
Joseph Palframan
Joseph Palframan

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

Joseph Palframan

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 Royal Academy of Art (Koninklijke Academie van Beeldende Kunsten), Den Haag

Bertus Pieters

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Façades of The Hague #136

Blocks of social housing Jacob Catsstraat, corners Albert Cuypstraat and Hoefkade, west side of the street. Most of the neighbourhood dating from the end of the 19th century and the first quarter of the 20th century was broken down in the 1980s and new housing was built.

The blocks on these pictures were designed by Álvaro Siza (1933), who had a good reputation in co-operating with future inhabitants of social housing projects, in collaboration with architects Jeroen Geurst (1960) and Rens Schulze (1960).

They were built in 1989-1993. In the rigorous façade of the block Siza very much stuck to the Dutch 19th century urban tradition of red-brown bricks and the Hague tradition of recesses with steep stairs in the façades.

© 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 80. Popel Coumou, Paper and Light; Fotomuseum, The Hague

This is without doubt one of the finest exhibitions on show in The Hague at the moment.

Photographer Popel Coumou (1978) has made an installation for the Fotomuseum (Museum for Photography) in which she focuses on the modern architecture of the next door Kunstmuseum (formerly Gemeentemuseum) and the Fotomuseum itself.

At the same time she shows the way she works, which very much implies the use of paper and light, as the title of the show suggests.

Basically she makes paper collages of architecture, of which she makes photographs, as she also does with handmade still-lives.

That already gives a different idea of what reality, space and architecture are.

In this show she presents amongst others the collages themselves, with light shining through them, heightening the illusion of real space and architecture.

On the other hand she has also made life-sized collages in the exhibition space itself, by which, as a visitor, you become part of this world of illusionistic architecture.

Her work is firmly based on an essentialist modernism in which all redundant elements are eliminated. 

Sharp graphic lines and abstraction define her works.

Nevertheless, and in the best modernist tradition, her work is full of wonder.

Her works also come to life in this show because of the changing light, which is, of course, part of architecture and space in general too.

Struck by the work, the show took me far more time than i expected.

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© Villa Next Door 2021

Contents of all photographs courtesy to Popel Coumou and Fotomuseum, Den Haag

Bertus Pieters

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Art in corona times 79. Show curated by Robbin Heyker; Superweakness, The Hague

Anatole de Benedictis

What is a strong exhibition?

Anatole de Benedictis

Is it an exhibition in which the audience is enriched with knowledge and philosophy?

Mara Alsters

Is it an exhibition in which the audience will be completely overcome by an extraordinary aesthetic experience?

Mara Alsters

Is it an exhibition in which all works of art take their proud place in a solemn parade of greatness?

Daniele Formica

Is it an exhibition in which all works are hanging and standing orderly in line to give the audience an idea of objectivity?

Daniele Formica

Is it an exhibition in which the audience will be so terribly moved by what they have seen, that a selling point of handkerchiefs at the exit will be commercially viable?

Bram De Jonghe

Is it an exhibition in which the gloves will be off and the audience will be knocked out?

Bram De Jonghe

Is it an exhibition in which the audience will feel socially and democratically connected and will be better citizens?

Bram De Jonghe

Is it an exhibition in which the curator will lead like an autocratic Mahler-conductor?

After a lost but a zillion times copied painting by Jean-Jacques Henner (1829-1905)

Is it an exhibition which gives a view on post-colonialism, gender-inequality, the destruction of ecosystems and blackness and whiteness?

Mirthe Klück

Is it an exhibition which proves its integrity by unreadable introductions which include all words necessary to be contemporary?

Bernice Nauta

Is it an exhibition which is so exhaustively educational that the audience will feel happy like in a kindergarten?

Bram De Jonghe

At Superweakness curators are asked to make a “weak” exhibition.

Wim De Pauw

In this case it was artist Robbin Heyker’s (1976) turn.

Wim De Pauw

The original idea of the series at Superweakness was to make exhibitions without much fuss, and that will be on show for only one or two days.

Wim De Pauw

That part of the super-weakness is lost already in this show, as it lasts some two weeks.

Philip Akkerman

Besides, it is of course up to you as an audience to see if this exhibition is so weak that it will not enrich your knowledge, philosophically or otherwise,

Camila Oliveira Fairclough

that you will not be overcome by the aesthetic experience,

Robbin Heyker

that you will find no solemn greatness in the works of art,

Ton Schuttelaar

that you will have no idea of objectivity while looking around,

Daniele Formica

that you need no hanky for your emotions,

Wim De Pauw

that you will not be knocked out,

Wim De Pauw

that you feel as disconnected as always,

Wim De Pauw

in which the curator has no conductorial aura,

Wim De Pauw

that will give you no view on anything at all,

Henk Visch

in which there is nothing to read to tell you what you see, and that doesn’t try to educate you.

Henk Visch

Go and tell me later (why should i always do the dirty work telling you); it is at Willem Dreespark 312, The Hague and open on Saturday June 26 13:00-19:00 hrs; Thursday July 1 13:00-18:00 hrs and on Friday July 2 13:00-19:00 hrs.

Henk Visch

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© Villa Next Door 2021

Contents of all photographs courtesy to all artists and to Superweakness, Den Haag

Bertus Pieters

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Art in corona times 78. Mickey Yang, Upaya; KM21, The Hague

To write an article for Villa La Repubblica about Mickey Yang’s (1988) present show (amongst others) i visited KM21 in The Hague. Click here to read the article in VLR (in Dutch).

As i’ve written quite extensively about the exhibition in VLR i leave you here with these few pictures.

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

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 Mickey Yang and KM21, Den Haag

Bertus Pieters

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Façades of The Hague #135

Office building, Lange Voorhout.

It was designed by architect Jo Limburg (1864-1945) and built in 1910 for Martinus Nijhoff publishers and booksellers.

Limburg was an architect from The Hague and responsible for some remarkable buildings in this city, such as Herengracht 9 (1915-1916), Maerlant-Lyceum (1926), the building in which the present day restaurant of the Mauritshuis Museum is (1930), and a few others in which Limburg’s development from a more or less neo-classicist to a more modernist style can be seen.

As a Jew he was forced to go into hiding during World War II. He probably died while in hiding during the Bombing of the Bezuidenhout in 1945.

This particular façade is also a token of the lifelong friendship of Limburg and artist Willem van Konijnenburg (1868-1943) who designed the six remarkable sculptures which decorate the building.

There doesn’t seem to be a particular meaning to the individual figures. (If there is, please tell)

They all look neo-renaissance and they may be connected to thinking, philosophy, wisdom, priesthood, etc. but they carry no attributes as such.

Nowadays only the façade of the building remains as a state monument, the building behind it is new and it accommodates the Onderzoeksraad Voor Veiligheid (OVV; Dutch Safety Board).

© 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 77. Mel Chan, Chrysanthemums and Prince Edward; SinArts Gallery, The Hague

To write an article for Villa La Repubblica about Mel Chan’s present show (amongst others) i visited SinArts Gallery in The Hague. Click here to read the article in VLR (in Dutch).

Chrysanthemums and Prince Edward is still on show over the next weekend, so you have to hurry to see it.

As i’ve written quite extensively about the exhibition in VLR, i leave you here with these few pictures; suggesting you’ll see the rest in real.

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

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 Mel Chan and SinArts Gallery, Den Haag

Bertus Pieters

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Art in corona times 76. Shigeo Arikawa, Parade of Pumpkins; Galerie Helder, The Hague

Our eyes and brains seem to co-operate as a perfect team.

Our eyes can cover a wide panorama in around and in front of us, and our brains immediately give the interpretation of what we can see in terms of our tasks of survival.

However, as you can see in Shigeo Arikawa’s (1982) present show at Galerie Helder, as soon as some change in your vision occurs, your perception becomes blurred, and you need your personal experiences  and feelings – the tools that are always there even when you think they are not – to re-interpret what you are seeing.

In his most recent works Arikawa gives you a helping hand if you are able to read his lips.

However apart from that, there is in these works also a wonderful lyrical, almost dreamlike aspect, but, well, that is of course my interpretation. Go and have a look yourself to have your own!

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© Villa Next Door 2021

Contents of all photographs courtesy Shigeo Arikawa and Galerie Helder, Den Haag

Bertus Pieters

VILLA NEXT DOOR IS NOT RESPONSIBLE FOR ANY ADVERTISING ON THIS PAGE!!