Art in corona times 14. Chung-Hsi Han, Inge Reisberman and Eelke van Willegen, Metamorphosis; Kadmium, Delft

Eelke van Willegen

Nature and the world around us change constantly, as, indeed, we do ourselves too, even without knowing or noticing it.

Chung-Hsi Han

Changes may go slowly or abruptly and they make us change our views, perspectives and moods.

Eelke van Willegen
Chung-Hsi Han

The idea of metamorphosis is part of our lives.

Chung-Hsi Han
Chung-Hsi Han

As such it is an extremely wide ranging concept, especially for an exhibition, like the one presently at Kadmium called Metamorphosis.

Eelke van Willegen
Eelke van Willegen

Maybe the most metamorphosis related work in the show is Inge Reisberman’s (1959) video Top of the lake which immerses you for almost seven minutes into a dreamlike state wherein colours and shapes slowly change, lighten up or fade away.

Chung-Hsi Han
Inge Reisberman

Strongest works on show by Chung-Hsi Han (1958) are, in that respect, Metamorphosis IX and X, both existing of four landscape-like drawings which more or less flow into each other.

Chung-Hsi Han
Eelke van Willegen

In Eelke van Willegen’s (1974) sculptures metamorphosis is present like in any other work of art; after all, making art is, in itself, a matter of changing materials and ideas or reshaping them.

Eelke van Willegen
Eelke van Willegen

However that is no problem as Van Willegen’s sculptures almost literally shape the whole exhibition.

Inge Reisberman
Eelke van Willegen (sculpture), Chung-Hsi Han (drawings)

The show itself was opened in April, mid-Covid-19 crisis, but Kadmium itself is spacious enough to receive a few visitors and to keep a five feet distance.

Eelke van Willegen (sculptures), Chung-Hsi Han (drawings)

© Villa Next Door 2020

Contents of all photographs courtesy to all artists and Kadmium, Delft.

Bertus Pieters

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Façades of The Hague #112

Building Casuariestraat corner Schouwburgstraat, used as a campus by Leiden University.

The building itself is officially said to be built around 1700, however, the way it looks, it is probably late 19th century or even later.

It has been used as State Archive and as the library of the Ministry of Foreign Affairs.

From 1990 to 2010 it housed De Illusie (“The Illusion”) a so called culturele broedplaats (“cultural breeding ground”), a squatted powerhouse for art and music.

I remember its early days as an exhibition spot, with its strange empty archive room and its narrow staircases.

One of the oldest artists initiatives in The Hague and excellently located in between the Royal Academy and the museums in the city centre, De Illusie was vacated for Leiden University in spite of serious objections by The Hague’s cultural institutions.

© Villa Next Door 2020

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 13. focus loslaten | ontspannen (let loose focus | relax); Trixie, The Hague

Let loose focus | relax

 

I don’t know. Maybe it’s the generational divide. I brought my camera to Trixie, in case there would be something to make pictures of. But there wasn’t anything worth photographing without becoming cynical. And i don’t want to become cynical about something i still believe was made with some kind of attention and care. I was offered some camomile tea and i walked around with it, looking at the kitsch hanging on the walls. Then some music started which didn’t make me feel “encouraged to self reflect while visiting the space,” as the invitation stated. Indeed, self reflecting i was thinking, what the heck am i doing here? I had come to a place with things that didn’t interest me, with a bunch of people that were busy amongst themselves, which reminded me of the 1970s. To be short: i felt obsolete and so i left the place.

Maybe you’ll have another and more precious experience than i had if you pay focus loslaten | ontspannen a visit which is still possible Friday and over the weekend. (opened 16.00 – 22.00 hrs; because of Covid-19 measures you have to send them an e-mail to tell when you would like to come; tea and waffles are present)

© Villa Next Door 2020

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

Bertus Pieters

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Art in corona times 12. In & Out (and Unlocked/Reconnected); Galerie Helder, The Hague

Cian Yu Bai

Galerie Helder presently has a show case of its artists, amongst whom two new ones.

Cian Yu Bai
Cecilia Vissers

One of them is Cian-Yu Bai (1984), whose works are partly based on memory but work out like beautiful improvisations.

Cecilia Vissers
Cecilia Vissers

The other new artist is Cecilia Vissers (1964) whose work may remind you of hardcore Minimalism.

Cecilia Vissers
Cecilia Vissers

However there is much elegance in her compositions and the rough but soft looking surfaces make her work quite rich and interesting.

Inez Smit

Of the presented works by the other artists i only show a few as Helder will change some of the works during the exhibition.

Inez Smit
Stephan van den Burg

As such the gallery has found its own way to reconnect with its audience.

Elka Oudenampsen
David Engel

It also takes part in the national artistic Unlocked/Reconnected project with a very homely work by Stephan van den Burg (1974). (scroll up to see his work)

Melle Aussems
Melle Aussems

It is good to see the gallery reopened and indeed to see some known works as well as new works.

© Villa Next Door 2020

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

Bertus Pieters

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Art in corona times 11. The Ongoing Conversation #7 (and Unlocked/Reconnected); 1646, Page Not Found, Stichting Ruimtevaart, The Hague

Mazen Ashkar

Doing a Master in Artistic Research is not an easy matter, as what is “artistic” and what is “research?”

Mazen Ashkar
Mazen Ashkar

Generally too many artists are claiming to be researching.

Georgie Brinkman

While art can be the result of inner or outer research – or one may need to research in order to make art –, stressing the research in art means the research itself is emphatically part of the art you show.

Georgie Brinkman

However, in the end it is just the materiality of what you show that should make the difference.

Georgie Brinkman

As a viewer you don’t give a damn if a work of art is the result of any research; that only starts to matter if, as a viewer, you become part of the research.

Daphne Monastirioti

To engage the viewer you need all the conventional conditions and techniques.

Daphne Monastirioti

There is the material object you want to show, there is the space you want to show it in, there are the acoustics of the space and there is time, the space of time you want to engage the viewer in.

Daphne Monastirioti

Whether you are good at Mid-Atlantic English non-speak or not, doesn’t make any difference.

Carmen Roca Igual

When showing your work as an artist, you are in fact artistically naked, you can hide almost nothing, and even if you do, the hiding itself becomes part of your artistic nakedness.

Carmen Roca Igual

That counts for any artist, whether you are a conventional painter or a maker of intricate video installations.

Carmen Roca Igual

(Well, that was Dad’s sermon, i guess)

Serene Hui

Ten students of the Royal Academy’s Master Artistic Research department showed their work last weekend.

Serene Hui

Under the title The Ongoing Conversation 1646 usually co-operates with the Academy to give the MA students a platform.

Serene Hui

This time 1646 expanded the co-operation with its neighbours Page Not Found and Stichting Ruimtevaart which worked out very well.

Leonie Brandner

At 1646 itself Mazen Ashkar, Georgie Brinkman, Daphne Monastirioti and Esther Arribas presented their works.

Leonie Brandner

There are no pictures of Arribas’ work here as she had organised a digital performance with sound, however, her website gives you some idea of what she is up to.

Leonie Brandner

1646 is also taking part in the national artistic online Unlocked/Reconnected show, with a work by Carmen Roca Igual (scroll up for pictures), which came out a bit shallow in combination with the works of the students, apart from its less than perfect presentation with too much reflections on the video screen.

Lena Longefay

Serene Hui showed her work in Page Not Found, and works by Leonie Brandner, Lena Longefay, Giath Taha, Juliana Martínez Hernández and by Leos were on show at Ruimtevaart.

Lena Longefay

Referring to what i preached before, i must say not all exhibiting students really engage you in their artistic research, although all do make interesting works.

Lena Longefay

One of the most interesting works was shown by Giath Taha.

Giath Taha

The work looked quite simple and open in the beginning, but looking at it in a darkened room made it haunting and even a bit spooky.

Giath Taha

A work about space, presence and absence, it engages the viewer completely.

Giath Taha

At least that is what happened with me.

Giath Taha

Another very interesting presentation was Serene Hui’s at Page Not Found. (scroll up for pictures of her work)

Juliana Martínez Hernández

In her work different ideas come together, from the manipulation of Google’s algorithms to truth and fake behind language in a post-truth society.

Juliana Martínez Hernández

The different voices filled up the space from different speakers, making it also a work about time and space, while the book titles of the shop seemed to illustrate the whole work.

Leos
Leos

Generally i admire the way these mostly international students have coped with the present situation, cut off from their friends, families and homes (some may have been in that situation already before) and finding themselves in a world that is suddenly less international in many ways.

Leos

© Villa Next Door 2020

Contents of all photographs courtesy to all artists, 1646, Page Not Found and Stichting Ruimtevaart, Den Haag.

Bertus Pieters

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Façades of The Hague #111

This is the Prince Berhard fly-over, at the end of Rijnstraat and running along Schedeldoekshaven.

It was built in 1975 to open up The Hague’s  city centre for car traffic and to regulate it.

It didn’t prove to be the best of solutions and today it has become obsolete.

Plans have been presented in 2019 to largely break down the fly-over and the office buildings built over it, and to create a new area with new offices for the state administration, Leiden University campus, cultural activities and for a new giant skyscraper with apartments.

The new post-postmodern proposals have been presented with modernist élan (as were once the Prince Bernhard fly-over and its surroundings).

The present situation looks unloved and forgotten.

© Villa Next Door 2020

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 10. Harold de Bree, Borderlines; HOK Gallery, The Hague

Tiny HOK-gallery has reopened with new work by Harold de Bree (1966).

De Bree took his copper plates, or rather printed circuit boards used in computers, to the border of the two Koreas, on the South Korean side.

He prepared them with paint and went to see what he could do with them in a heavily militarised border zone like the Korean where he also visited many old battlefields from the Korean War (1950-1953).

In the end they became a kind of dialogue between the landscape and the prepared plates themselves.

It wasn’t possible to take photographs of the landscape, while just making compositions with found objects from the military zone was too superficial.

So De Bree used found objects to scratch the landscape – the hills but also the dams that were built on both sides of the border – into the copper plates.

As such he made a series of works that are open to a wide range of interpretations.

They defy the ban on publicly showing certain details of the border area.

On the other hand the surface of the works are blurred and only the graphic lines of the hilltops and the dams impose themselves as abstract lines.

To make the experience complete, you are allowed to be alone for ten minutes with the works in the gallery on Saturdays or you may see them by appointment.

Any way you choose, they are good works to see in real as they change by any change of light, becoming copperplates of both defiance and acquiescence.

© Villa Next Door 2020

Contents of all photographs courtesy to Harold de Bree and to HOK Gallery, Den Haag.

Bertus Pieters

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Art in corona times 9. Presentation of some works from the collection & Unlocked/Reconnected; Heden, The Hague

Jan Hoek

Heden tries to reconnect with its audience with a presentation of some gems from its collection.

Jan Snoeck
Shaan Syed

They are works by well and lesser known artists, varying from sculptures to photographs.

Ingrid Mol
Elizabeth de Vaal
Micha Patiniott
Auke de Vries
Thijs Jaeger

Heden also takes part in the national Unlocked/Recollected project with Four Horse Men, a more or less apocalyptic work by Thijs Jaeger (1990).

Thijs Jaeger

In a YouTube video Jaeger gives an explanation (in Dutch).

Thijs Jaeger

I leave you here with my own choice of what is on show, to give you a taste of the diversity of the collection.

Suzie van Staaveren
Ingrid Mol
Noëlle von Eugen
Jan Snoeck
Frits Rotgans
Chris de Bueger
Hans van Bentem & Iris
Piet Dieleman
Pepijn van den Nieuwendijk
Jan van Munster
Marius Lut
Jan van Munster
Marlene Dumas
Lorena van Bunningen
Tomas Rajlich
Marius Lut
Lorena van Bunningen

© Villa Next Door 2020

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

Bertus Pieters

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Art in corona times 8. Pim Voorneman, Entre’21 – Unlocked/Reconnected, etc.; PARTS Project, The Hague

Pim Voorneman

To celebrate the re-opening of institutions for the visual arts during the current crisis, and to take part in the national on-line Unlocked/Reconnected project, PARTS-Project reconnects with an installation by Pim Voorneman.

 

Pim Voorneman
Pim Voorneman

The physical installation at the gallery is in three parts, but the sounds of it can also be experienced partly on PARTS’ website.

Pim Voorneman
Pim Voorneman

As the installation should be very much experienced on the spot, it would be a serious spoiler to tell you any of my experiences with it; it is better to visit it yourself (which i’d highly recommend).

Robert Holyhead
Robert Holyhead
Marijn van Kreij

Additionally some works from private collections are on show as well.

© Villa Next Door 2020

Contents of all photographs courtesy to the artists and to PARTS-Project, Den Haag.

Bertus Pieters

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Façades of The Hague #110

Apartment block, Escamplaan.

This block was built around 1980, by the end of a post WWII period in which The Hague expanded enormously.

Today these low rise blocks are being dwarfed by new high rise blocks being built at the moment, opposite this block.

© Villa Next Door 2020

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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