William Kentridge, 10 Drawings for Projection; Eye Filmmuseum, Amsterdam

I visited Eye Filmmuseum to write a review about 10 Drawings for Projection by William Kentridge (1955) for Villa La Repubblica. Click here to read the review (in Dutch).

These pictures were made with the intention to give myself a mnemonic of what i had seen and experienced.

Even while trying to make a choice from them for this blog, i felt being under the spell of these ten impressive animations.

Inadequate as they are i hope these pics will inpire you to see the exhibition too; and don’t forget to take your time!

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

© Villa Next Door 2019

Contents of all photographs courtesy to William Kentridge and Eye Filmmuseum, Amsterdam

Bertus Pieters

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

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Lieven Hendriks & Thomas Trum, Modern Pictures for Modern Rooms; Billytown, The Hague

Lieven Hendriks

Modern Pictures for Modern Rooms was an exhibition in London in 1936 showing art buyers how to live with modern painting in a modern interior.

Lieven Hendriks
Thomas Trum

It happened to be the same year Charlie Chaplin’s Modern Times was released;1936 was in the middle of the world wide economic crisis.

Lieven Hendriks
Lieven Hendriks

In Modern Times people are struggling to take part in the rat race for survival in times of modernism, while in London a gallery tried another strategy to sell modernist art to survive the crisis in a country with a predominantly conservative taste.

Lieven Hendriks

More than 80 years later we live in a post-postmodern era but we still feel the tremors of the great social, economic and artistic modernist age that was the 20th century.

Lieven Hendriks

Rianne Groen – who closed down her gallery in Rotterdam only recently – co-operated with Billytown – the Hague platform that constantly struggles for new perspectives – to make a new Modern Pictures for Modern Rooms show with Lieven Hendriks (1970) and Thomas Trum (1989), in which she tries to take a fresh look at what decoration means in the context of art in daily life of the post-postmodern present.

Lieven Hendriks

Billytown’s space is hardly the place to create a cosy living room, but with some adaptations a place with familiar elements which suit a former school building was created as an environment for Hendriks’ and Trum’s works.

Lieven Hendriks

Abstraction (which historically became the hallmark of modernism) is clearly a principle of Trum’s lively material improvisations, while Hendriks brings back abstraction into hyper-reality with his trompe l’oeil paintings.

Lieven Hendriks
Thomas Trum

With its big windows the art doesn’t just seem to give context to Billytown’s space but also to the reality of street life outside the gallery.

Thomas Trum
Thomas Trum

Trum’s monumental One Purple Line seems to become part of the square outside Billytown.

left: Lieven Hendriks, right: Thomas Trum

© Villa Next Door 2019

Contents of all photographs courtesy to Lieven Handriks, Thomas Trum and Billytown, Den Haag

Bertus Pieters

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Melle de Boer, De laatste romantische schilder (The Last Romantic Painter); The Kitchen, Billytown, The Hague

Schneeige Nacht!
Ihr dunklen Schläfer
Unter der Brücke
Von Zerbrochener Stirne
Tropft kristallner Schweiß euch

(Snowy night! / You dark sleepers / Under the bridge / From your broken foreheads / Crystall sweat drips) Georg Trakl (1887-1914), Fragment 11

As you have seen in this blog (and if you haven’t, subscribe to Villa Nex Door!) Melle de Boer (1972) and your blogger met in his studio last spring to discuss his new paintings and painting in general.

Little did i know that an exhibition of his new paintings would follow so soon in Billytown’s Kitchen.

Its title The Last Romantic Painter may sound both tongue in cheek and pathetic, but that doesn’t mean this show isn’t serious stuff.

It might be tempting to compare De Boer’s paintings to his drawings and his work as a singer-songwriter, but let’s not do that, as there are no drawings or songs in this exhibition.

His paintings try to strike a balance between the escape from reality (whatever that is, in any guise or disguise) and the embrace of the reality of painting.

Many details of the works may work associative, on the other hand they are pure paint and brushstrokes etc.

In these paintings the nights may be snowy, the foreheads may be broken or the sweat may even be crystal, but in the end the paint dictates its own way of thinking.

I was quite happy seeing this exhibition, also knowing that the best has yet to come.

© Villa Next Door 2019

Contents of all photographs courtesy to Melle de Boer and Billytown, Den Haag

Bertus Pieters

VILLA NEXT DOOR IS NOT REPONSIBLE FOR ANY ADVERTISING ON THIS PAGE AND REGRETS ANY IRRITATION IT MAY CAUSE!

Graduation Festival 2019; Royal Academy of Art (KABK), The Hague

I visited the Royal Academy of Art in The Hague to write a review about the graduation exhibition for Villa La Repubblica. Click here to read the review (in Dutch).

At the moment the original Academy building is being restored.

It is a state monument built in the 1930s and as such it needs to be handled with the utmost care.

As i have written quite extensively about the show in VLR i just leave you to see this visual safari in the building. Enjoy!

Diego Grandry
Diego Grandry
Diego Grandry

Stella Hyunji Kim
Stella Hyunji Kim
Stella Hyunji Kim

 

Hein Budding
Alex Avgud
Alex Avgud
Pien Post
Pien Post

Jamy Osinga

Co Knol
Co Knol
Co Knol
Daniela Rosca
Nael Quraishi
Nael Quraishi

Linnéa Gerrits

Miriam Schreiner
Miriam Schreiner
Aliaksandra Puhachova
Rinella Alfonso
Jinbin Chen
Jinbin Chen
Jinbin Chen
Boris Windmeijer
Boris Windmeijer
Boris Windmeijer

Evy van Schelt
Evy van Schelt

Ziko Assink

Sonja Steiner
Sonja Steiner

Zahar Bondar
Zahar Bondar
Zahar Bondar
Zahar Bondar
Natasha Rijkhoff
Natasha Rijkhoff
Natasha Rijkhoff
Natasha Rijkhoff
Natasha Rijkhoff
Natasha Rijkhoff

Nils Addink

Natasha Papika
Natasha Papika
Alfons Nauw
Alfons Nauw
Alfons Nauw
Yukari Nakamichi
Yukari Nakamichi
Yukari Nakamichi
Ana Oosting
Ana Oosting
I-Chieh Liu
I-Chieh Liu
Jonathan Cho
Jonathan Cho

© Villa Next Door 2019

Content of all photographs courtesy to all artists and the Royal Academy of Art, Den Haag

Bertus Pieters

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

 

Een nieuwe lente, een nieuw beeld (A New Spring, a New Vision); Galerie Helder, The Hague

Channa Boon

Under a somewhat anachronistic title former teacher at the Royal Academy in The Hague Jan van der Pol has been given the opportunity at Galerie Helder to make an exhibition with some former students of the Academy.

Rob Knijn
Rob Knijn
Eva Klee

For a change Van der Pol didn’t choose young and promising but midlife and – as we may hope – midcareer.

Eva Klee
Rob Knijn
Rob Knijn

Channa Boon (1967), Eva Klee (1970), Rob Knijn (1966) and Arianne Olthaar (1970) are very different artists indeed and it is as if Van der Pol has tried to create a very wide ranging ensemble, reaching to the stars as well as to the intimacy of a home and walking the tightrope between reality and imagination (which is what art is usually about).

Arianne Olthaar
Eva Klee

Olthaar shows a combination of the past and present in a scruffy space, once glittering and trendy, awaiting its final demolition, while Knijn, in some recent works, brings the world of stars and almost dreamy abstraction back to the reality of a framed painting on a wall, although even that doesn’t seem to be real reality.

Eva Klee
Rob Knijn
Channa Boon

Boon distorts reality with reality itself, blurring the already shaky line between reality and interpretation, while Klee defines the home as a small secluded clay space where the mind shapes its own raw bulbous forms, the human spirit as a clay pitcher.

Rob Knijn
Eva Klee
Eva Klee

It is a short running but interesting exhibition, coinciding with the opening of the graduation festival at the Royal Academy and The Hague Contemporary Art Weekend, only on show over the weekend.

Channa Boon

© Villa Next Door 2019

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

Bertus Pieters

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Krijn Giezen and others, An Unusual Stroll; GEM, The Hague

Semâ Bekirovic

Krijn Giezen (1939-2011) was one of my teachers at the Royal Academy in The Hague.

Krijn Giezen

When he started teaching by the end of the 1970s, there was a kind of split between traditional craftsmanship and (traditionilised) conceptualism at the Academy, and there was little room for individual artistic development.

Krijn Giezen
Krijn Giezen

Both sides took themselves extremely seriously and Giezen, as a newcomer, didn’t seem to fit in very well.

Bram De Jonghe
Chaim van Luit

He appealed to the inventiveness and imagination of his students, which was quite unusual at the time (and which is still, or again, a sensitive point at the Royal Academy and in education in general).

Krijn Giezen
Krijn Giezen

He didn’t care very much for technique or aesthetics, contrary to what we had learned so diligently.

Chaim van Luit
Chaim van Luit

“Make a chair!” he told us, for our first assignment.

Chaim van Luit
Krijn Giezen

Students who were all thumbs, like me, were initially shocked, but soon it became clear that it was nowhere necessary at all to construct a piece of furniture.

Krijn Giezen
Bram De Jonghe

His ways of seeing and working didn’t influence me immediately, but later on they did so undeniably.

Semâ Bekirovic

As a teacher he was easy going, accessible, good humoured and never imposing himself as the master who knows all.

Semâ Bekirovic
Krijn Giezen

That is also how his work looks like.

Krijn Giezen
Krijn Giezen

Giezen was very inquisitive about the playful en inventive aspects of humanity, again, not interested in technique or aesthetics, and extremely uninterested in financial and eternity values.

Krijn Giezen
Krijn Giezen

It is this warm-heartedness that shimmers through the present show of his work at GEM.

Krijn Giezen
Krijn Giezen

As a former student i just hope present viewers will feel the same pleasure i had looking at his works.

Paul Geelen
Semâ Bekirovic

His pictures, documentation and objects are accompanied by works by artists of the present generation: Semâ Bekirović (1977), Paul Geelen (1983), Bram De Jonghe (1985) and Chaim van Luit (1985).

Paul Geelen
Paul Geelen

An excellent choice as there is a good dialogue between these and Giezen’s works.

Chaim van Luit

It also goes to show that Giezen’s works are still very much of our time.

Krijn Giezen

© Villa Next Door 2019

Content of all photograph courtesy to all artists, the estate of Krijn Giezen, the owners of the works and GEM, Den Haag

Bertus Pieters

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

Maria Lassnig, Ways of Being; Stedelijk Museum, Amsterdam

Körperbewusstsein (Body Consciousness), 1949

I went to see the retrospective exhibition of works by Maria Lassnig (1919-2014) at the Stedelijk Museum in Amsterdam to write a review for Villa La Repubblica. CLICK HERE TO READ THE REVIEW (in Dutch).

Zwei Formen übereinander (Two Forms on Each Other), 1952

I leave you here with this non-representative selection of works, as i’ve written already quite extensively about the show in VLR.

Tachismus 4 (Tachism 4), 1958
Napoleon und Brigitte Bardot, 1961
Selbstporträt als Astronautin (Self-portrait as an Astronaut), 1968-69
Stilleben mit Apfelsäge (Still Life with Apple Saw), 1969
The Murder of ML, 1973
Selbstporträt mit Maulkorb (Self-portrait with Muzzle), 1973
Self-portrait with Butterflies, 1975
Die Atommütter (The Atomic Mothers), 1984
Jungfrau mit Stier (Virgin with Bull), ca.1988
Raketenbasis, Missiles I und II (Missile Base, Missiles I and II), 1989
Wangen-, Stirn- und Kinnsensationen (Cheeks, Forehead and Chin Sensations), 1996
Nasenfilter (Nose Filter), 1998
Die Illusion von meiner Tierfamilie (The Illusion of my Animal Family), 1999
Zwei Arten zu sein, Doppelselbstporträt (Two Ways of Being, Double Self-portrait), 2000
Ideenfischer (Idea Anglers), 2001
Die Trauer (The Mourning), 2003
Die unschuldige Blick (The Innocent Gaze), 2008
Vom Tode gezeichnet (Drawn by Death), 2011 (detail)

Bertus Pieters

© Villa Next Door 2019

Contents of all photographs courtesy to all owners of the works, the estate of Maria Lassnig and Stedelijk Museum, Amsterdam

 

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Carel Visser, Genesis; Museum Beelden aan Zee, Den Haag

Scrapbook

I visited Museum Beelden aan Zee to write a review for Villa La Repubblica about the present exhibition with works by Carel Visser (1928-2015). Click here to read the review (in Dutch)

Scrapbook

It’s a serious  lack of education if you’ve never heard of Carel Visser.

Rainbow, 1980

In that case make sure to take the shortest way to Beelden aan Zee to see this show soon!

Water, 1981

I leave you here with some pictures as i’ve written quite extensively in VLR about the show.

Landscape, 1982
Untitled, 1994
Architectural cactus, 1953
Cactus, 1953
Cactus, 1953
Inchworms, 1954
Insect, 1950
Sculpture with shells, 1982
Boris, 1995
Flying fish, 1993
Flying fish, 1993
Skeleton, 1953
Skeleton, 1953
Mating birds, 1953
Pyramid, 1982
Two birds, 1954-1994
Chocolate box, 1993
Little horse, 1951
Dromedary, 1952-1953
Slaughtered hare, 1952
Mammuth, 1995
Charlie I, 1985
Breakfast plate, 1986
Speedy Six, 1988
Sagging, 1990
Fruit bowl with shoulder blades, 1988
Untitled, 1982
Female swimmer, 2001
Two sisters, 1992
Woman, 1950
Man with glove, 2004
Two sisters, 1999
Untitled, 1971
Double step pyramid, 1948
Auschwitz, 1957
Open cube, 1969
Vol de nuit, 1956
Removal, 1957-1999
Ship with lamp, 2000
Untitled, 1999
Traveling, 1992

© Villa Next Door 2019

Contents of all photographs courtesy to the owners of the works and Museum Beelden aan Zee, Den Haag

Bertus Pieters

 

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Jean van Wijk and Rien Monshouwer, Le Détour; Kadmium, Delft

Rien Monshouwer

Rien Monshouwer (1947) and Jean van Wijk (1953), two old hands in the trade from The Hague, exhibit at Kadmium gallery in Delft.

Rien Monshouwer
Rien Monshouwer
Jean van Wijk

Near the place where William I of Orange (1533-1584) unwillingly left a hole in the wall and in time, Monshouwer and Van Wijk are also creating space and time but, happily, they are still actively doing so.

Jean van Wijk
Jean van Wijk
Jean van Wijk

Monshouwer shows paintings, text drawings and a small sculpture.

Jean van Wijk
Jean van Wijk
Jean van Wijk

The sobriety of his work is in stark contrast with the sheer inexhaustible array of objects, computer prints and installations by Van Wijk.

Jean van Wijk
Rien Monshouwer
Rien Monshouwer

While Monshouwer’s abstractions reflect on the social and aesthetic implications and relics of modernism in urban housing, Van Wijk’s work drags you into the space in between the walls, inside and outside, freely narrowing or widening the gap as it pleases.

Rien Monshouwer

Rien Monshouwer
Rien Monshouwer

It is as if space itself re-imposes its rule over architecture and the landscape, creating a kind of architecture of the vacuum.

Rien Monshouwer
Jean van Wijk
Jean van Wijk

While Van Wijk corrupts every sense of measurement and as such invents new shapes for space, Monshouwer re-assesses the world of modern urban measurement and the abstract remnants it leaves in the mind as a remembrance of the ideals of modernism in the microcosm of the city.

Jean van Wijk
Jean van Wijk
Jean van Wijk

Not without a tour de force these seemingly incompatible spirits are drawn together in the exhibition, challenging the viewer.

Jean van Wijk
Jean van Wijk
Jean van Wijk

Quite successfully so, as both seem to reinforce each other’s qualities.

Jean van Wijk
Jean van Wijk
Jean van Wijk

Although it’s wonderful to see works by both artists in Delft, it is a bit strange that they are not household names in The Hague itself.

Rien Monshouwer

© Villa Next Door 2019

Contents of all pictures courtesy to the artists and Kadmium, Delft

Bertus Pieters

 

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Liao Zhixin, After Translation; SinArts Gallery, The Hague

I went to SinArts Gallery to see Liao Zhixin’s  (1990) present exhibition After Translation to write a review for Villa La Repubblica. Click here to read the review (in Dutch).

As i have written quite extensively about this show in VLR, i leave you here just with some impressions without comments, of course with the recommendation to go and see it all for yourself. It is this show’s last week!

A hole in the wall connects you to another exhibition elsewhere. However,when i visited that place was closed, so, alas, there was nothing to be seen

© Villa Next Door 2019

Contents of all photographs courtesy to Liao Zhixin and to SinArts Gallery, Den Haag

Bertus Pieters

 

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