Art in corona times 40. Kati Heck, Hauruck d’Orange; GEM, The Hague

I visited GEM to write a review for Villa La Repubblica about the present exhibition of works by Kati Heck (1979). Click here to read the review (in Dutch).

As i have written quite extensively in VLR about the show, i just leave you here with some pictures of details, which can be seen as some extra illustrations to the text in VLR.

Click here to read the article in VLR about this show (in Dutch).

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© Villa Next Door 2020

Contents of all photographs courtesy to Kati Heck and GEM, Den Haag.

Bertus Pieters

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Art in corona times 39. Alejandra Venegas & Paul Beumer, Frequently the woods are pink; Marwan Bassiouni, Prayer Rug Selfies; Dürst Britt & Mayhew, The Hague

Alejandra Venegas

Both Alejandra Venegas’ and Paul Beumer’s art have their roots in different cultures, from different countries, even different continents.

Alejandra Venegas
Alejandra Venegas

They presently  have a duo exhibition at Dürst Britt & Mayhew.

Paul Beumer

Venegas (1986) draws her inspiration from the stories, techniques and subjects, not just from her home country Mexico, but also from Asia and Africa.

Alejandra Venegas
Alejandra Venegas

Beumer (1982), as usual, concentrates more on the materials themselves.

Alejandra Venegas

Beumer’s recent work, presented in this exhibition, is made of bark-cloth, which he collected and processed in Serawak (Malaysian Borneo).

Paul Beumer
Paul Beumer

When i saw this kind of work for the first time i must admit i was a bit put off by the somewhat stiff and rectangular nature of these collage-like works.

Alejandra Venegas

On the other hand, it probably takes time to get used to the language of certain materials and the way they speak for themselves, as the works seem quite convincing to me by now.

Paul Beumer
Paul Beumer

In the end Beumer always seems to find a way in which the material and a certain, often traditional, technique can completely speak for themselves, while presenting them in an intuitive and lyrical manner.

Paul Beumer

That’s how he came with the present series of works, partly based on the colours of the different times of the day.

Paul Beumer
Paul Beumer

The combination with Venegas’ work is a particularly happy one, as she clearly found her way in another very basic technique: woodworking and painting.

Alejandra Venegas

While in Beumer’s work the medium becomes the story, in Venegas’ work the story may be born from the medium or may intermingle with the medium.

Paul Beumer
Alejandra Venegas

In that way her colourful wooden reliefs become objects of wonder.

Marwan Bassiouni

In the front space of the gallery Marwan Bassiouni (1985) shows some photographs from his series Prayer Rug Selfies.

Marwan Bassiouni (detail)

I wrote an article about these works in Villa La Repubblica. Click here to read the article (in Dutch).

Marwan Bassiouni (detail)

The few pictures shown here can be seen as additional to what i wrote in the article.

Marwan Bassiouni

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Contents of all photographs courtesy to the artists and to Dürst Britt & Mayhew, Den Haag.

Bertus Pieters

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Art in corona times 38. Henriette von Muenchhausen, Roeland Tweelinckx & Alexandra Brand, Eat Your Words; Lauwer, The Hague

Henriette von Muenchhausen

Having a moral judgement and ventilating it publicly needs some humility towards the facts, and some knowledge about the shortcomings of one’s own perceptions.

Henriette von Muenchhausen
Henriette von Muenchhausen
Henriette von Muenchhausen
Henriette von Muenchhausen

Having said that, especially in these corona days, no one, not even you and me, escape this lack of humility and knowledge.

Roeland Tweelinckx
Roeland Tweelinckx
Alexandra Brand
Alexandra Brand

Lauwer’s present pop up exhibition tries to use the power of art (or imagination, if you want) to help the viewer strike a new balance between perception and the facts.

Alexandra Brand
Henriette von Muenchhausen
Henriette von Muenchhausen
Henriette von Muenchhausen
Roeland Tweelinckx

Certainly, there is anxiety in the exhibition but there is also wonder, humour and fun.

Roeland Tweelinckx
Henriette von Muenchhausen
Alexandra Brand
Roeland Tweelinckx

In spite of the seemingly less than ideal circumstances of the show, Lauwer makes the three exhibiting artists Henriette von Muenchhausen (1973), Roeland Tweelinckx (1970) and Alexandra Brand (1969) stand firm amid anything you can put on your wall.

Roeland Tweelinckx

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

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Art in corona times 36. Diet Sayler & Ewerdt Hilgemann, Disruption as Part of the Deal; PARTS project, The Hague

Diet Sayler

During the heyday of Modernism, geometry was thought to be a means to keep too much individual emotion out of art.

Diet Sayler
Diet Sayler
Diet Sayler

Basic geometry was seen as having enough potential of its own to convey a strong aesthetic statement.

Diet Sayler
Diet Sayler

However, the self was constantly itching under the artist’s skins.

Ewerdt Hilgemann
Ewerdt Hilgemann

Artists like painter Diet Sayler (1939) and sculptor Ewerdt Hilgemann (1938) – both presently showing their work at PARTS project – broke with the un-individual idea of geometric, concrete art.

Ewerdt Hilgemann
Ewerdt Hilgemann
Diet Sayler

Sayler allowed colour back into his works (and not just a little), while using so-called basic elements for the shapes in his compositions, configuring them with the help of coincidence.

Diet Sayler
Ewerdt Hilgemann

As such his works have become both quasi-objective and almost lyrical with their intense colours.

Ewerdt Hilgemann
Ewerdt Hilgemann

Hilgemann saw the potential of imploding a perfect three-dimensional shape into a crumpled character.

Front: Ewerdt Hilgemann; back: Diet Sayler
Ewerdt Hilgemann

Both artists have since then attained an individual craftsmanship based on experience and intuition.

Diet Sayler
Ewerdt Hilgemann
Ewerdt Hilgemann

Personally, i’d say they brought brilliance to their work by letting the colours and the reflections shine invitingly, a brilliance much needed in this sombre autumn.

Ewerdt Hilgemann

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Contents of all photographs courtesy to Diet Sayler, Ewerdt Hilgemann and PARTS project, Den Haag.

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Art in corona times 35. Werner van der Zwan, Ruben Golstein & Eva Sigurðardóttir, Lost in a one way space; …ism, The Hague

“Who are we?” is one of the most essential questions for young artists, especially if they have decided to co-operate.

Co-operation itself is the best strategy in a multi-disciplined art world with compulsorily multi-tasking young artists.

Werner van der Zwan (1995), Ruben Golstein (1994) and Eva Sigurðardóttir (1993), freshly graduated artists from different art academies, met each other at …ism and decided to co-operate in an art project over there.

The result was on show last weekend and it had become a multi-facetted installation varying from poetic dreams, visual thoughts about the place and neighbourhood, to radical noise.

The front room was full of reminiscences of billiards, while in other places objects started moving and making noise by themselves.

Except for being in one space there didn’t seem to be a common programme, but as long as each artist can add his/her own voice to the whole, which happened here, there is no problem.

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

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Art in corona times 34. Artist Support Fair, Geen bloem zonder wortel (No Flower Without a Root); Quartair, The Hague

Lambert de Jong

What a good event this was, last weekend at Quartair!

Petra van der Schoot

Rik Buter

Caro Rambonnet

It stressed the exceptional position of The Hague in the field of the arts, but it also indicated that that doesn’t happen just like that.

Bertus Gerssen

Marjolijn van der Meij (with a nod to George Stubbs)

Less than thirty years ago The Hague was a provincial backwater.

Ton Schuttelaar

Annemieke Louwerens

Bringing it where it is now, has taken a lot of energy.

Sogo Show

Ingrid Rollema

However, art life in The Hague is still very vulnerable.

Nies Vooijs

Zeger Reyers

Main point is that it should be recognised that the development of a blossoming artistic life in The Hague is up to its artists and its artists’ initiatives and not to the local authorities’ hobbies.

Machiel van Soest

Rens Krikhaar

Geeske Harting

Therefore it is heart warming to see artists trying to take back the initiative.

Mekhila Harrison

Riet Vooijs

Of course this can only be a beginning, and in itself the event was modest in almost everything.

Paul de Jong

Jordan Herregraven

Tejo Philips

175 works of art were put up for sale, each for E300 or less, and so the works on show were small.

Erik-Jan Ligtvoet

Erik-Jan Ligtvoet

However, what it lacked in dimensions, it won in diversity.

Harold de Bree

Gino Anthonisse

This diversity is one of the best assets of art life in The Hague.

Hein van Liempd

Wieteke Heldens

Here i show you thirty of the works i found most interesting and best photographable.

Zahar Bondar

Topp & Dubio

A very personal choice of course, but that’s the risk of reading Villa Next Door.

Jeannette Slütter

Ilona Senghore

Jessica de Wolf

By the way, while writing these words, extra measures were announced by the government to cope with the second wave of the Covid-19 pandemic, so, the title of the open letter that accompanied the event Don’t forget the artists! has become even more urgent.

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© Villa Next Door 2020

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

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Art in corona times 33c. Thijs Jaeger, Rik Laging & Joeri Woudstra, Wolpertinger; Heden, The Hague

Joeri Woudstra

Thijs Jaeger, Rik Laging and Joeri Woudstra went to look for the Wolpertinger.

Joeri Woudstra

Joeri Woudstra

In vain of course, and quite inefficient as the Wolpertinger doesn’t exist.

Joeri Woudstra

So what have these three darn boys been doing?

Joeri Woudstra

Well, what have you been doing of late?

Joeri Woudstra

And have you done it efficiently?

Thijs Jaeger, Rik Laging, Joeri Woudstra

If so, how much time did you save with it to be able to be inefficient?

Thijs Jaeger, Rik Laging, Joeri Woudstra

Thijs Jaeger, Rik Laging, Joeri Woudstra

Or are you efficient in your inefficiency as well?

Thijs Jaeger, Rik Laging, Joeri Woudstra

Anyway, you have at least one thing in common with Jaeger, Laging and Woudstra: the fact that you didn’t find the Wolpertinger either.

Rik Laging

But then, they give you prove that they have at least the Wolpertinger in their minds.

Rik Laging

Having a Wolpertinger in your mind may be highly inefficient, but having the impossible in your mind may bring you further than having your mind dictated by other’s efficiency.

Rik Laging

But who says your mind is being dictated by other’s efficiency?

Thijs Jaeger

Never mind, and have a look at Wolpertinger at Heden.

Thijs Jaeger

Thijs Jaeger, Rik Laging

(Click here and here for two other present exhibitions at Heden)

Rik Laging

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Contents of all photographs courtesy to the artists and Heden, Den Haag (and of course to the Wolpertinger).

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Art in corona times 33b. Haagse Heritage (“Hague Heritage”); Heden, The Hague

Marijke de Wit

Heden asked eighteen Hague artists to each show a work of their own that hasn’t been exhibited before and that is of special value to them.

Anne Forest (detail)

It has resulted in a heterogeneous exhibition of eighteen works in the central space of the gallery.

Philip Akkerman (detail)

Mirthe Klück

For those, like me, who are familiar with Hague artists, this is a good chance to see both familiarity and surprises.

Gino Anthonisse (detail)

Thomas van Linge

For those who are not familiar with these artists, this show could be a bit of an introduction, although it is much too small to give a real introduction to the rich diversity of artists who live and work in this town.

Marleen Sleeuwits (detail)

As such the title Haagse Heritage (partly English) is a misnomer, except if it is the title of an upcoming series. [Update: Heden just told me this is the second of an ongoing annual series – BP]

Boris de Beijer

Pim Piët (detail)

Another aspect you might miss is a list with short statements about reasons why the artists have chosen a particular work.

Tim Hollander

Thomas van Rijs

That would have given more meaning to the whole presentation and to the diversity of the works.

Lilian Kreutzberger (detail)

Sjoerd Knibbeler

Apart from that it is a fine group of works presented in a balanced way.

Arianne Olthaar (detail)

As photographs always lie, and as i couldn’t make satisfying pictures of three works in the show, it would be better to take a look yourself.

Thomas Raat

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

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Art in corona times 33a. Amber Jansen & J.W. Kaldenbach, Vroeger boven Heden (“Formerly above Heden”); Heden, The Hague

Amber Jansen, J.W. Kaldenbach

The apartment above Heden gallery has been cleared.

Amber Jansen

Part of it has become a studio and another part has become a space that will be used now and then by Heden for exhibitions or other artistic events.

In the apartment used to live a family.

J.W. Kaldenbach

Amber Jansen and photographer Jan Willem Kaldenbach have investigated the apartment before and during its stripping more or less as if they were archaeologists.

Now they show the results in the apartment (and in the gallery), not as an act of nostalgia, but rather to isolate the found objects and the views in the apartment-as-it-was stripped of their nostalgia.

The objects and views can be revalued on their own merits.

Still, the presentation isn’t completely without nostalgia as something of the artistic history of the premises is shown.

In the 1960s it housed Gallery Atelier Lissabon where exhibitions of works by Hague artists were put up by Jansen’s and Kaldenbach’s father (in law), of which some parafernalia are on show, as well as from the printers who were related as well.

Amber Jansen, J.W. Kaldenbach

The objects and pictures in the show are collected in a book with the same title as the show, Vroeger boven Heden (“Formerly above Heden” or “Formerly above Now” or “Formerly over Now”).

Amber Jansen, J.W. Kaldenbach

Probably the new found freedom of the objects without a nostalgic context works better in the book than in the former apartment.

J.W. Kaldenbach

J.W. Kaldenbach

The space itself could be quite useful to the gallery in the future, as the atmosphere is quite different from the gallery’s.

Amber Jansen

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Contents of all photographs courtesy to Amber Jansen, J.W. Kaldenbach and Heden, Den Haag.

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Art in corona times 32. Willy De Sauter & Jan van Munster; Galerie Ramakers, The Hague

Jan van Munster

To open the season Galerie Ramakers shows works by Willy De Sauter (1938) and by Jan van Munster (1939).

Willy De Sauter

Willy De Sauter

Jan van Munster

Both octogenarians make works that seem to contain a lot of energy, in spite of their minimalist language.

Jan van Munster

Jan van Munster

Earlier this year (sometime before the Covid-19 crisis) i have written extensively  about amongst others De Sauter’s work in Villa La Repubblica (click here to read the article – in Dutch).

Willy De Sauter

Willy De Sauter

There are both older and more recent works by De Sauter on show.

Willy De Sauter

Jan van Munster

Van Munster’s Energy field of the 1990s makes a great coupling with a triptych by De Sauter.

Jan van Munster

Jan van Munster, Willy De Sauter

It almost literally spans a field of energy between different works by De Sauter.

Jan van Munster, Willy De Sauter

Jan van Munster

Willy De Sauter

Other presented works by Van Munster are his highly polished spheres and spheroids that seem to absorb the world around them to store it in their bulbous shapes.

Jan van Munster

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Contents of all photographs courtesy to Willy De Sauter, Jan van Munster and Galerie Ramakers, Den Haag.

Bertus Pieters

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