Art in corona times 88. Matthias Grothus & Yaïr Callender, Jam Session; Kadmium, Delft

Studio view; Yaïr Callender

As i initiated this show of works by Matthias Grothus (1982) and Yaïr Callender (1987) at Kadmium, Delft, this report is a bit different.

Matthias Grothus sketching in his studio
Yaïr Callender; studio view
Matthias Grothus; studio view
Yaïr Callender; studio view

The idea was to make a show with objects and/or installations that would cause a sense of wonder, a bit like in a Kunst und Wunderkammer, something both Grothus and Callender would be good at.

Matthias Grothus; studio view
Yaïr Callender; studio view
Matthias Grothus; studio view

We decided to leave a lot of room for improvisation.

Yaïr Callender; studio view
Matthias Grothus; studio view
Yaïr Callender’s works have arrived at the gallery

Callender has his studio in The Hague and Grothus in Zaandam, so it wouldn’t be easy for the artists to visit each other and exchange ideas.

Yaïr Callender’s works have arrived at the gallery
Yaïr Callender’s works have arrived at the gallery

That meant the actual making of the exhibition would be a kind of jam session on the day of installation at the gallery.

Yaïr Callender’s works have arrived at the gallery
First parts of Matthias Grothus’ works have arrived
Parts of Matthias Grothus’ work, waiting to be assembled

Happily the artists got on quite well together and they had a good feel for each other’s works.

Assembling Matthias Grothus’ work is like reconstructing a fossil
The artists attaching Matthias Grothus’ flying creature
… and there it flies!

Although the works were challenging, real problems didn’t happen.

Attaching a work by Yaïr Callender
Yaïr Callender adding some finishing touches

As a result I think some of the tension and the joy of making the exhibition can still be seen.

Matthias Grothus working on the flying creature’s head
The flying creature has a head!

Centre piece is of course Grothus’ flying creature, which is both strong and transparent.

Matthias Grothus fixing the head
It flies head on!

It flies like a phoenix supported by Callender’s works and accompanied by the deep, earthly humming of a sound work by Grothus.

Yaïr Callender
Yaïr Callender

Callender’s works try to let the surrounding world speak for itself.

Yaïr Callender
Yaïr Callender
Yaïr Callender

Although the show was originally planned for last spring (but had to be postponed because of Covid-19), it obviously works very well in this autumn of anxiety, where it might bring a moment of reflection to the viewer.

Yaïr Callender
Yaïr Callender
Matthias Grothus
Matthias Grothus’ sound installation

It has become a show of both deep seriousness and freaky humour.

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Contents of all photographs courtesy to Matthias Grothus, Yaïr Callender and Kadmium, Delft

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Art in corona times 87. After Daan van Golden; PARTS Project, The Hague

Mirthe Klück

Some time ago i visited PARTS Project to write a review about its present exhibition After Daan van Golden. Click here to read the review in VLR (in Dutch).

Mirthe Klück

It is a very full and rich show and as i’ve written quite extensively about it i just leave you here with some details and impressions of it.

Maurice van Es

However there is far more to see than these impressions suggest, so do plan a visit and take your time!

Maurice van Es
Carel Blotkamp
Daan van Golden
Fergus Feehily
Marijn van Kreij
Maja Klaassens
Maja Klaassens
Daan van Golden
Niek Hendrix
Robbin Heyker
Magali Reus
Magali Reus
Magali Reus
Alice Tippit
Daan van Golden
Riëtte Wanders
Just Quist
Annemarie Slobbe
Indigo Deijmann
Indigo Deijmann
Fergus Feehily
Daan van Golden
Richard Aldrich
Marijn van Kreij
Ronald de Bloeme

Click here to read the review in VLR (in Dutch).

Ronald de Bloeme

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Contents of all photographs courtesy to all artists, the estate of Daan van Golden, all owners of the works and PARTS Project, Den Haag

Bertus Pieters

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Art in corona times 86. Erik Pape, Things That Struck Me; Galerie Maurits van de Laar, The Hague

Erik Pape (1942) shows paintings, sketchbooks and videos at Galerie Maurits van de Laar. If you want to see it, you have to be quick, as tomorrow (Sunday, October 10) will be the finissage already.

There is a strange dichotomy in Pape’s paintings. On one hand they show that it is not important what subject you choose for a painting, on the other hand they show that it is of the utmost importance.

For years Pape painted and drew elements of Place Stalingrad in Paris. But why that square in that city?

Today he paints “Things That Struck Me” while strolling in Paris from his lodgings to his working place and back.

Again, it doesn’t seem of any importance how futile or kitschy these “Things” are, or whether they were seen in Paris or not, but then again it also makes a great difference.

Moreover, the kitschier and the more insignificant the better, one might think looking at his paintings.

Even then, these objects seem to become even more mysterious, in a strange mix of near-wistfulness, near-humour, near-admiration, near-rejection and something indefinable.

He also shows something of his wanderings in Paris in videos, both in colour and in black-and-white.

They have the same atmosphere as his paintings and also give them context, but at the same time they stand on their own.  

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Contents of all photographs courtesy to Erik Pape and Galerie Maurits van de Laar, Den Haag

Bertus Pieters

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Art in corona times 85. Palm tree & Skroderider; Billytown, The Hague

Nishiko

Billytown is combining two exhibitions.

Jeroen Jacobs
Marius Lut

Its spacious main exhibition Palm tree is almost absorbing its smaller but more dense show (traditionally called the Kitchen show) Skroderider, made by the New York based artists run platform Lie Lay Lain.

Marius Lut

Billytown has removed a wall and so you automatically walk into the smaller exhibition.

Nina Canell
Jeroen Jacobs

Palm tree is based on a story about a palm tree (wouldn’t you guess?) and it deals with the seen and unseen objects that surround us in daily life.

Jeroen Jacobs

You may think of them as unimportant but in fact they are the props that influence our ideas and feelings, both by their appearance and by their context, maybe even by their invisibility.

Sepus Noordmans

It results in an exhibition with works varying from the very visible concrete structures by Jeroen Jacobs to the sometimes almost too unobtrusive small objects by Nishiko.

Peggy Franck
Peggy Franck

Other part-taking artists are Nina Canell, Peggy Franck, Marius Lut, Sepus Noordmans and Michael E. Smith.

Michael E. Smith

The title Skroderider of the Kitchen show derives from a plant character from a 1990s science fiction novel and deals with the materiality of things.

Sara Enrico
Sara Enrico
Viola Yesiltac

It is another very diverse show in which both the quality and the meaning (one could say the life) of materials play a role.

Viola Yesiltac
Viola Yesiltac
Joseph Buckley

There are works by Joseph Buckley, Sara Enrico, Erin Johnson and Viola Yesiltac.

Joseph Buckley
Erin Johnson
Sara Enrico

Jacobs makes his concrete come to life on the cushions in the hall.

Jeroen Jacobs
Jeroen Jacobs

In the stairway a video loop by Smith creates a flashing atmosphere.

Michael E. Smith
Michael E. Smith

A work by Skroderider-show’s JosephBuckley even overlaps the Palm tree exhibition.

Joseph Buckley

On the second floor, which houses the Billytown-artists’ studios and the impressive Peter van Beveren Library, the exhibited works merge with the other objects.

Books Are Bridges

In spite of the two titles it is difficult to see the two shows as separate.

left to right: Sepus Noordmans, Jeroen jacobs, Books Are Bridges

There is of course a higher density of objects in Skroderider and one doesn’t have to search for the works like in Palm tree.

Jeroen Jacobs

After the quest for objects in the main show the almost overcrowded Skroderider show confronts you with objects that are emphatically present.

Marius Lut

That is a good strategy to shift the emphasis of the context that objects and space create, to the actual appearance of objects and their meaning.

Nishiko

As such both shows are together almost classical Billytown exhibitions in that as a twofold unit they deal with space and how objects behave in it.

Nishiko

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Contents of all photographs courtesy to all artists, Lie Lay Lain, New York, and Billytown, Den Haag

Bertus Pieters

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Art in corona times 84. Toscania, Tosca Niterink; HOK Gallery, The Hague

Happily after the worst corona periods and lock-downs HOK Gallery has found a new place at Westeinde for its activities.

Compared to its last stamp sized spot this is a royal palace.

It is now situated in a street full of artistic activities.

It can even support a relaxing seating area and enough space for its expanding collection of booklets, some of which are real collectors’ items.

At the moment HOK shows works by Tosca Niterink (1960).

To a Dutch audience born in the 1970s (or even earlier or later) she is a legendary alternative TV-star of the 1980s and early 1990s.

Recently she started painting, and bearing in mind she is a beginner it is not a bad start, her subjects being mostly other famous or infamous TV-stars.

The finissage will be next Friday night (during Hoogtij) with a fashion show.

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Contents of all photographs courtesy to Tosca Niterink and HOK-Gallery, Den Haag

Bertus Pieters

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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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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

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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 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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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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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).

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Contents of all photographs courtesy to Mickey Yang and KM21, Den Haag

Bertus Pieters

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