Cedric ter Bals & Philip Akkerman, Twiemæl Sterben; Galerie Maurits van de Laar, The Hague

Cedric ter Bals

For its exhibition Twiemæl Sterben (“Dying Twice” in an invented Germano-Scheveningen dialect) Galerie Maurits van de Laar has changed into a kind of war zone.

Cedric ter Bals
Cedric ter Bals

But don’t worry too much, as the battle is especially about the expansive way the human spirit can turn time and space upside down by sheer imagination.

Cedric ter Bals

So you may be shot at by colours and shapes that may or may not have any historic reference.

Philip Akkerman

The duo show has come about by a tight co-operation of Cedric ter Bals (1990) and Philip Akkerman  (1957).

Philip Akkerman
Philip Akkerman

Ter Bals presents his recent picture novel Tagebuch Oskar von Balz (Diary Oskar von Balz) about which i have already written extensively in Villa La Repubblica. Click here to read that article (in Dutch).

Philip Akkerman
Philip Akkerman

Akkerman, of course, won’t need much introduction as the uncurable self portrait painter.

Philip Akkerman
Philip Akkerman

No doubt Akkerman’s works are self portraits but on the other hand they are not, as they are also reflections on painting and its traditions, from medieval to post-modern, or rather a mix of it.

Philip Akkerman (Portrait of Oscar ter Bals)

Looking at them, one may think of different styles but they are always clearly in the first place works by Akkerman, who defies the usual linear idea of history.

Cedric ter Bals (Portrait of Philip Akkerman)

That is where he meets his much younger colleague Ter Bals, to whom he has given much space to arrange the show.

Cedric ter Bals
Cedric ter Bals

Some of Akkerman’s works even drown more or less behind the scene here and there.

Cedric ter Bals

Click here to read the article about Ter Bals in Villa La Repubblica (in Dutch).

Philip Akkerman

© Villa Next Door 2019

Contents of all photographs courtesy to the artists and Galerie Maurits van de Laar, Den Haag

Bertus Pieters

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Cedric ter Bals, Shary Boyle, Susanna Inglada & Marjolijn van der Meij; Galerie Maurits van de Laar, The Hague

Marjolijn van der Meij

Probably the best word to describe the works of the present exhibition at Maurits van de Laar’s Gallery is ‘awkward,’ but in a very positive way.

Marjolijn van der Meij
Marjolijn van der Meij
Marjolijn van der Meij
Marjolijn van der Meij
Shary Boyle
Shary Boyle

One could also define it as radical theatricality; the crumpling of her subjects by Marjolijn van der Meij (1970), the exaggeration of her scenes by Shary Boyle (1972), the intensifying of the interaction between her actors by Susanna Inglada (1983) and the firm anachronising of the present day and the First World War by Cedric ter Bals (1990).

Shary Boyle
Shary Boyle
Susanna Inglada
Susanna Inglada
Susanna Inglada

In the front gallery especially Van der Meij steals the show with her crumpled Arcadian kitsch presented on shiny silk, extremely over-the-top in a way that it becomes extremely down-to-earth again.

Susanna Inglada
Cedric ter Bals
Cedric ter Bals
Cedric ter Bals
Cedric ter Bals
Cedric ter Bals

In the lower part of the gallery Ter Bals makes a colourful carnival of death, destruction and reincarnation.

Shary Boyle

© Villa Next Door 2018

Contents of all photographs courtesy to the artists and to Galerie Maurits van de Laar, Den Haag

Bertus Pieters