negen10drie&7tig (9teen7ty3); Stichting Ruimtevaart, The Hague

Jan de Weerd

The present show at Stichting Ruimtevaart (Space Travel Foundation) is based on an artistic conversation of four artists who met each other in 1973 at the former Vrije Academie  (Free Academy) in The Hague.

Jan de Weerd
Nies Vooijs

By that time the Vrije Academie was the more progressive institution, compared to the then quite conservative Royal Academy (KABK) of The Hague.

Pim Piët
Nies Vooijs

However, there is no place for nostalgia in the show.

Pim Piët
Nies Vooijs

Each artist has his/her own way of working and thinking and in fact, their works have nothing to do with each other.

Pim Piët
Jan de Weerd
left to right, Pim Piët, Nies Vooijs, Jan de Weerd

In spite of or maybe even due to that, it has become a very accessible exhibition.

Pim Piët
left to right, Jan de Weerd, Pim Piët

Works on show are by Pim Piët, Nies Vooijs and Jan de Weerd.

Pim Piët
Jan de Weerd

Alas, the fourth artist, Marion van Rooij, unexpectedly died only a few days before the opening of the show.

Nies Vooijs
Nies Vooijs

Because of that her works could not be presented, so she is now represented by some open spaces.

Marion van Rooij

© Villa Next Door 2019

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

Bertus Pieters

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Bernice Nauta, Hello Echo; 1646, The Hague

I visited 1646  to write a review about Bernice Nauta’s (1991) present exhibition for Villa La Repubblica. Click here to read the review (in Dutch).

I leave you here with a few aspects of the exhibition without comments, as i’ve written already extensively about the show in VLR; and, of course, with the strong recommendation to go and see the show for yourself.

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

© Villa Next Door 2019

Contents of all photographs courtesy to Bernice Nauta and her friends and to 1646, Den Haag.

Bertus Pieters

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Closure of Hoorn & Reniers Gallery

Casper Verborg

Hoorn & Reniers gallery has closed its doors.

Kevin A. Rausch

Although the reasons for its closure are understandable, the fact itself is disturbing as it is not the first high quality art gallery in The Hague that ceases to exist. During the last few years Twelve Twelve Gallery, A Gallery Named Sue and Galerie Nouvelles Images also stopped, which is quite a loss for the extremely important diversity of what this city has on offer artistically.

Peter Feiler

Of course i wish all the former gallerists the best and i still hope to see more of the works by the artists they represented but the artistic impoverishment is quite saddening. As for Hoorn & Reniers: it represented quite young artists, especially painters both Dutch and from the German speaking countries, which was an enormous enrichment of the international scope of The Hague.

Peter Feiler

What remains is to be very grateful for what the gentlemen presented in their gallery.

Sebastian Gögel

© Villa Next Door 2019

Contents of all photographs courtesy to the artists and Hoorn & Reniers, Den Haag.

Bertus Pieters

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On Your Own; Haagse Kunstkring, The Hague

Maja Pop Trajkova; in the background Katarina Juricic

Thirteen artists who graduated this year from different departments of the Royal Academy in The Hague (KABK) are exhibiting their work at Haagse Kunstkring (HKK).

Katarina Juricic
Katarina Juricic

They were free to make their own exhibition co-operatively and (as it looks like) in full respect for each other’s work.

Katarina Juricic
Filippo Maria Ciriani
Filippo Maria Ciriani

It has become a well staged, even quite coherent show.

Filippo Maria Ciriani
Stella Hyunji Kim

That in itself is quite surprising considering the very personal content of some the works.

Stella Hyunji Kim
Stella Hyunji Kim
Catherine Ostraya

The works on show vary from the relatively simple intervention by Maja Pop Trajkova, which creates, amongst others, a special space for Katarina Juričić’s work, to the sophisticated machinery by Louis Braddock Clarke of which, admittedly, i personally understand not even half, but which gives listening to the world quite another dimension.

Sophia Wester
Sophia Wester

Two artists are as lucky as to have a single space for their own.

Sophia Wester
Pien Kars
Pien Kars

Catherine Ostraya has the rarely used attic to show her performance (as i was a bit early only a countdown for the action was on show) and Linhuei Chen has the gallery’s kitchen and part of the staircase where she gives a compelling account of the constantly changing position of an artist and a mother raising a family in a foreign country.

Pien Kars
Erik van Schaften

Technically speaking the back space of the gallery is probably the most challenging as it contains more or less monumental and very different works by four artists.

Erik van Schaften
Erik van Schaften
Suzette Bousema

There are the stereoscopic encounters with nature by Sophia Wester, the colourful altars for the feminine by Pien Kars, the omnipresence of the giant hogweed by Erik van Schaften and the cyanotypes (a technique which seems to gain popularity again amongst artists) of plastic waste from the sea by Suzette Bousema.

Suzette Bousema
Linhuei Chen

Of course all four works have something to do with nature and archaeology but still the results are quite distinct.

Linhuei Chen
Linhuei Chen
Louis Braddock Clarke

The combination is however quite successful.

Louis Braddock Clarke
Louis Braddock Clarke

One could even claim the works by both Filippo Maria Ciriani and Stella Hyunji Kim are about archaeology, the first photographing the small mining town of Kelmis in German speaking eastern Belgium (just south of Dutch Vaals) and its surroundings, a mining place where they are prospecting again for riches, and the latter looking for what seemingly destructive burning can in fact recreate out of what we once owned.

Huaxin Zhang
Huaxin Zhang
Huaxin Zhang

Both Huaxin Zhang and Moe Kim are trying to create a new kind of authenticity, Zhang extracting a kind of softness from local carpentry in textile, and Moe Kim in a more individual way with her familiarity with artificial light of the high tech world she is used to, processed in textile.

Moe Kim
Moe Kim

I didn’t visit the show with the intention to make a report about it, but the young artists made such a wonderful effort that i couldn’t resist showing you some aspects; if you want to see the real thing however, you have to hurry, as next Sunday is the last day of the show (it was opened yesterday).

Moe Kim

© Villa Next Door 2019

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

Bertus Pieters

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Dirk Zoete, So Called Human; Galerie Maurits van de Laar, The Hague

Surely it is a cliché to say life is a mystery and that we don’t live long enough to solve it.

However, assuming that life is indeed a mystery, the most mysterious part of it is undoubtedly us, the human race itself.

We imagine ourselves to be free, but in the mean time we have our rituals and our ways of thinking to try and guarantee us that freedom, while at the same time we are caught by time, space and life itself and all its limitations.

Dirk Zoete (1969), who presently shows his work at Galerie Maurits van de Laar, shows the human being in its restricted life, as it puts on a mask of culture and character, as if to mislead anything that could have power over it, including other human beings.

Imagine you enter the gallery and they are silently trying to defuse you.

How would you react?

I’d strongly give you the advise to give it a try and to see how much you have in common with them!

© Villa Next Door 2019

Contents of all photographs courtesy to Dirk Zoete and Galerie Maurits van de Laar, Den Haag.

Bertus Pieters

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25 Years Galerie Ramakers, The Hague

Galerie Ramakers is celebrating its 25 years anniversary.

Left to right: Yumiko Yoneda, Pat Andrea, Michel Hoogervorst
Pat Andrea
Warffemius; Bob Bonies in the background

Some artists of the gallery were invited to make a temporary monumental work on the walls.

Hieke Luik
Bob Bonies
Ien Lucas

Near the windows Bob Bonies (1937) made an apparently simple, but in fact quite sophisticated work, while Ien Lucas (1955) made such an unobtrusive work on the opposite wall, that one would almost think it is a common feature of the gallery.

Klaus Baumgärtner
Jan van Munster
Warffemius

In the back space of the gallery four men, Mat van der Heijden (1964), Joncquil (1973), Pat Andrea (1942) and Michel Hoogervorst (1961), are competing, each in his own special way.

Klaus Baumgärtner
D.D.Trans
Hieke Luik

In the conservatory Yumiko Yoneda (1965) has made an installation of her sensitive drop-like sculptures which now slowly change with the changing of the daylight.

Cor van Dijk
Cor van Dijk
Pat Andrea

In between all this monumentality there are some smaller works by other artists of the gallery on show.

Mat van der Heijden
Mat van der Heijden
Joncquil

It is not a minor achievement to run a successful gallery for 25 years, and the general mood of the exhibition is warm and festive.

Joncquil
Joncquil
Left to right: Joncquil, Pat Andrea, Yumiko Yoneda, Warffemius

It also goes to show how important the bond between a gallery-keeper, the artists and the gallery’s visitors and customers is.

Pat Andrea; in the background Yumiko Yoneda
Pat Andrea
Michel Hoogervorst

Of course it is business, but it is very much a business of love.

Michel Hoogervorst
Michel Hoogervorst
Yumiko Yoneda

It is very much the enthusiastic and informal personality of Catalijn Ramakers and her aesthetic choices that has made this brilliant artistic party possible.

Yumiko Yoneda
Yumiko Yoneda
Michel Hoogervorst

In fact this party of love and dedication has been going on already for many years and by all means i wish her a prolongation of many years to come.

Warffemius

© Villa Next Door 2019

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

Bertus Pieters

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Lisa Sebestikova, Forming Fluidity: Museum Beelden aan Zee, The Hague

The installation Forming Fluidity is Lisa Sebestikova’s (1988) first solo show in a museum, presently at Museum Beelden aan Zee.

It is however quite clear that she is ready for such a presentation.

Her more or less abstract sculptures are seemingly free floating in the air.

The whole composition may remind you of objects floating in the sea, subject to the tidal forces.

In fact the sculptures are based on objects Sebestikova found on nearby Scheveningen Beach.

The way she abstracts her subjects looks very much like how natural forces – water, wind, sand – reshape, crush, polish or re-polish objects.

As a visitor you can walk over the carpeted floor, which gives the installation a warm and inviting atmosphere, with muted acoustics.

No half work has been delivered by Sebestikova.

Courageously she has used the whole space of the museum’s so-called Cabinet space (it looks more like a neo-Medieval chapel) making its columns part of the composition.

© Villa Next Door 2019

Contents of all photographs courtesy to Lisa Sebestikova and Museum Beelden aan Zee, Den Haag.

Bertus Pieters

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Quentley Barbara, Now n Then; Museum Beelden aan Zee, The Hague

I visited the Museum Beelden aan Zee to write a review about Quentley Barbara’s (1993) recent sculpture Now n Then for Villa La Repubblica. Click here to read the article (in Dutch).

As i’ve written quite extensively about it in VLR, i leave you here with some pictures of details and the strong recommendation to go and take a look for yourself.

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

© Villa Next Door 2019

Contents of all photographs courtesy to Quentley Barbara and Museum Beelden aan Zee, Den Haag.

Bertus Pieters

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

Peter Feiler, Music was my first love; Hoorn & Reniers, The Hague

Peter Feiler’s (1981) present exhibition at Hoorn & Reniers shows some interesting developments since his last show in The Hague some two years ago.

Some of his works are still outrageously baroque, but it is as if he has concentrated more on the central subjects of his compositions.

Music obviously is an important inspiration for his paintings and drawings, not just for their scenes, but also for their rhythms and movements.

Within the context of the exhibition that is even clear in some disturbingly empty compositions only showing some drugs.

The crazy music and festival scenes in combination with these drugs and other paraphernalia seem to have become metaphoric for life in general.

A mad audience collectively want to experience the very extremes of sublime passion and the music bands have to deliver and need their tablets and injections to do so.

Audience and musicians keep each other under their spell, strengthening the vicious cycle.

Apart from these highly dramatic works, Feiler also presents smaller drawings with more fairytale-like scenes.

Harmless though some may seem, these fairytales also influence our dreams, for better or worse.

All in all one may call this a highly Romantic exhibition, aptly staged in this autumn full of disquiet.

© Villa Next Door 2019

Contents of all photographs courtesy to Peter Feiler and Hoorn & Reniers, Den Haag.

Bertus Pieters

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

The Ballroom; Billytown, The Hague

There is presently a moving bike with a burning candle on its saddle in Billytown.

It turns, moves and makes noise like a spoilt child, constantly trying to catch your attention.

Or is it the embodiment of thinking and creativity, trying to find a way out of the grids, structures and obstacles of life, society and the mind?

As such it could well be the noisy candle-barer of all the works in the present exhibition.

The Ballroom is a show constantly in flux and in the making.

Works may be changed or moved.

Although the exhibition has had an official opening, its end may well be its real opening at the same time.

No names or titles are added, but the works are all made by Billytown’s own artists and are all up to discussion.

One work may be more constant than the other.

The tables can be used for anything, from eating and drinking from, to discussing matters, or just to have a moment of sitting down and looking around.

The works are by Rachel Bacon, Melle de Boer, Kim David Bots, Afra Eisma, Robbin Heyker,

Paul de Jong, Bram De Jonghe, Maja Klaassens, Marius Lut, Bernice Nauta,

Nishiko, Robbert Pauwels, Iede Reckman, Suzie van Staaveren and Marieke van ‘t Zet.

© Villa Next Door 2019

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

Bertus Pieters

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