Art in corona times 102. The end of ‘Art in corona times’. What next?

Art in corona times 1. 2 May 2020, SinArts Gallery

From May 2^nd 2020 onwards i started categorising photo reports about exhibitions in Villa Next Door under the header Art in corona times.

Art in corona times 4, 15 May 2020, Topp & Dubio

Art in corona times 7a, 4 June 2020, A.R. Penck, Kunstmuseum, The Hague

Art in corona times 11, 23 June 2020, Mazen Ashkar, 1646

Art in corona times 18, 29 July 2020, Janice McNab, Stroom

Art in corona times 23, 19 August 2020, Caravaggio, Rijksmuseum, Amsterdam

By that time the corona restrictions were already intensely experienced by the arts sector. These days Covid-19 is still there but the heaviest lockdown measures have been lifted, so Art in corona times will be history for the time being. Art in corona times started with a visit to SinArts Gallery . I hadn’t seen Alex Lebbink, SinArts’ gallerist, for quite some time and he had organised time slots for individual visitors. The idea was that the corona measures would be very temporary and that i would use the label Art in corona times for a few postings, just to see how galleries and other art platforms were doing during the crisis and after that it would be more or less business as usual. However, that proved to be quite naive. Corona became a way of life in which the arts were not seen as an essential need in life. At first artists and other professionals were more or less empathetic to that idea, but as the crisis went on and on, the government’s sheer lack of interest for the arts became a thorn in the flesh of many an art professional, especially after the health minister’s remark that if you cannot go to the theatre you might as well stay at home and see a dvd, as if there was no difference between the two. Last week i posted Art in corona times 101 with some extra footage of the interesting exhibition about Aad de Haas at the Chabot Museum in Rotterdam and that was the last one under the corona banner.

Art in corona times 29, 17 September 2020, Steamboat, Trixie

Art in corona times 34, 28 September 2020, Jessica de Wolf, Artist Support Fair, Quartair

Art in corona times 37, 13 October 2020, Robbin Heyker’s Birding Club, featuring Arjan Dwarshuis

Art in corona times 43, 7 November 2020, Simphiwe Ndzube, Nest, The Hague

Art in corona times 48, 30 November 2020, Sjimmie Veenhuis, …ism

For those who want to have an idea of what was on show during the pandemic Art in corona times is easily locatable in Villa Next Door.

Art in corona times 52, 14 December 2020, Ellen Yiu, A Finger in Every Pie, Royal Academy students’ pre-graduation show

Lockdowns etc are over now but that doesn’t mean the worries about this or any other virus are gone.

Art in corona times 56, 20 February 2021, Ingrid Rollema, PIP Den Haag

Art in corona times 59, 14 March 2021, Paul van der Eerden, Romy Muijrers, Galerie Maurits van de Laar

Art in corona times 64, 9 April 2021, André Kruysen, Galerie Ramakers

Art in corona times 68, 30 April 2021, Zhang Shujian, PARTS Project

Art in corona times 75, 11 June 2021, Marion van Rooi, Jan Wattjes, Luuk Kuipers, Quartair

Covid-19 may return with a more dangerous version, and an altogether new and equally or more dangerous virus may come. The question is not if it will come, but when it will come. The bird flu virus being one of the most obvious contenders in the real viral world. Another worry in the aftermath of corona is the questionable urge of authorities to control everything and everybody, if possible with modern technology. This urge is understandable as authorities of any political colour try to influence social processes for the benefit of society as a whole. However, even before the Corona crisis it has already been proven that this urge to control has turned against citizens, as a holy faith in the objectivity of modern technology, market forces and a reduction of the state to a kind of control device has replaced a democracy in which different opinions in society play a role. Villa Next Door is not the place to make a deep analysis about society, politics, the free market, modern technology, the influence of debilitating conspiracy theories, and a considerable chunk of society that rather believes in so-called alternative facts than in real facts, that prefers evil tales to science. However this is the framework – as i see it – in which art is made, seen and presented today in this country, and i want to be clear about the context in which i give you my reports about exhibitions and art in this blog. After all, you don’t have to agree, but you should know. Another worry is the new situation with the war in Ukraine. One might suggest i should replace Art in corona times with Art in war times. However, the Netherlands are at the moment not at war with any other country. Also, it should be said that another devastating war is going on in Yemen for seven years now. Although this is principally a civil war, it has become internationalised, with other countries in the Middle East intervening. The conflict in Ukraine may have a global significance, or rather, it will have, even if the war itself remains physically limited to Ukraine. That, together with the devils unleashed during the Corona crisis, will bring us interesting but also ominous times. So, in the mean time, i repost some pictures here of some highlights of Art in corona times.

Art in corona times 81a, 12 July 2021, Joseph Palframan. Royal Academy, The Hague

Art in corona times 82b, 26 August 2021, Farkhondeh Shahroudi. Sonsbeek 20-24, Arnhem

Art in corona times 88, 27 September 2021, Yaïr Callender, Kadmium, Delft

Art in corona times 95, 17 December 2021, Casper Verborg, Galerie Helder

Art in corona times 97, 21 January 2022, Yesim Akdeniz, Dürst Britt & Mayhew

Hope to see you soon in real life or in this blog, stay healthy and sane, and keep your eyes open!

Art in corona times 101, 16 February 2022, Aad de Haas, Chabot Museum, Rotterdam

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Contents of all photographs courtesy to all artists, galleries, art platforms, museums and owners of the works.

Bertus Pieters

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Art in corona times 97. Yeşim Akdeniz, Marwan Bassiouni, Orienting Around; Pieter Paul Pothoven, TK15223; Dürst Britt & Mayhew, The Hague

No, let’s not talk about corona; no let’s not, please let’s not.

There is actually art on show which will present other aspects of the world to you which are as elementary (or even more….) as any virus and all policies around it.

At the moment at Dürst Britt & Mayhew’s there is Orienting Around with works by Yeşim Akdeniz (1978) and Marwan Bassiouni (1985) which deal with subjects associated with what was once called the Orient, or the Near East – today called the Middle East, which is just as remarkable but has nothing to do with the movement of tectonic plates.

Akdeniz shows five works from her recent series of textile works called Self portrait as an orientalist carpet – four of which are quite big and monumental – and an installation, also with textile.

Usually self portraits are approached as a kind of revelatory documents, but taking into account that any personal work of art is a kind of self portrait, Akdeniz’ self portraits are as revelatory as any other work of art.

As such Bassiouni’s photographs are as much self portraits, and they are revealing that what cannot be revealed: a divine presence, just a “presence”, a metaphysical world, a parallel world, or whatever one might call it.

On show are five works from his much acclaimed series New Dutch Views, which present the Dutch urban landscape through the windows of mosques.

While Bassiouni catches both the inner and outer world in his photographs, Akdeniz shows the materiality of who she is or isn’t, might or might not be, is or isn’t presumed to be, but in the end her works are as mysterious as the unseen in Bassiouni’s photographs, and have fortunately very little to do with the lingering identity-and-self hype of our era.

There is also one work on show from Bassiouni’s Prayer Rug Selfies series (presented before at Dürst Britt & Mayhew’s and discussed in Villa La Repubblica here).

There is however a difference between Prayer Rug Selfies and New Dutch Visions in that the Selfies – apart from being in black and white – are smaller, more intimate, more based on performance, while the Visions are more monumental and collage-like.

In their monumentality they are a very strong counterpart to Akdeniz’ Self portraits.

Her textiles are probably the biggest surprise of the show; in their monochrome monumentality they tend to absorb the viewer almost immediately, and sturdy as they look like, they are sensitive and mysterious at the same time.

In the front space of the gallery Pieter Paul Pothoven (1981), in his show TK15223, presents four jigsaw pieces of his lapis lazuli project, which he took up again after a long period of more intellectual work.

Once raw material for the most brilliant and colourfast blue in the art world, ultramarine, which had to be imported all the way from Afghanistan, and which was as such more valuable than gold, lapis lazuli is still mined in Afghanistan, as Pothoven saw when he was there in 2009.

He had some the raw lapis lazuli containing rocks transported back home and last year he grinded them and separated the costly blue material from the other components in different ways.

He retained the grinded structure of the different variants of the more and less pure ultramarine as well as dust of the stone from which the costly blue was extracted, and framed it with postal material and crates with which the stones had been shipped, which, in Pothoven’s work, has a more metaphorical meaning of history, value, hard labour and the different faces of power.

Hence both very fine shows tell something about “the Orient”, its historic and its present day perceptions, but, what’s more, they show works by three artists with great imaginative power, which we need in these dark days.

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Contents of all photographs courtesy to Yeşim Akdeniz, Marwan Bassiouni, Pieter Paul Pothoven and Dürst Britt & Mayhew, Den Haag

Bertus Pieters

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Art in corona times 90. Networked Collective, Envision this is part XXXVII of an ensemble that is no longer necessarily ceremonial; Dürst Britt & Mayhew, The Hague

Presently Dürst Britt & Mayhew has given full space to the Networked Collective, and as a result the gallery and its owners have become part of it.

Networked Collective was initiated by Bas van den Hurk and Jochem van Laarhoven.

The Collective describes itself as ‘a non-permanent group of about twenty five artists, actors, theoreticians and performers that collectively produce works, films and plays.’

In the backspace of the gallery works are being produced with the help of a printing press, of which a changing selection is exhibited in the front space.

The making and exhibiting is done by different people such that no day is the same in the gallery.

The co-operation of the artists is very much an intuitive one.

The ideas of the individual artists are meant to inspire the collective working process and vice versa.

Generally the concept clearly shows the connection between the seemingly chaotic making and thinking processes and the distinct order of an exhibition.

However, an exhibition may look as neat and orderly as anything, it is itself also very much based on intuition, the objects that happen to be around, and the inspiration they give to the maker of the exhibition.

It is of course attractive for a curator to show something of the making and thinking processes, but in this case these processes are already a very visual and permanent background chorus for an exhibition.

It is also a good opportunity for the more or less regular visitors of the gallery to experience these processes in another way and to have different conversations than usual.

Although it is a fine and welcome idea of the gallery to have this organised, it also shouldn’t be much of a surprise.

The gallerists are known to be very much interested in the combination of making and thinking.

That becomes all the more important in a society where thinking and making have become very much separated to create different artificial (but not artistic) hierarchies.

But let’s not become negative about this in the context of this wonderful happening.

Having in mind an exhibition i showed some pictures of before, one could say this is a very real jam session.

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Contents of all photographs courtesy to the Network Collective and Dürst Britt & Mayhew, Den Haag

Bertus Pieters

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Art in corona times 72. Jacqueline de Jong, Plankenkoorts (“Stage Fright”); Dürst Britt & Mayhew, The Hague

Plankenkoorts is Dutch for “stage fright.”

It literally means “fever on planks”, which refers to some of the works of the 1990s in the show, being painted on sailcloth and wood.

Indeed, you could describe Jacqueline de Jong’s (1939) way of painting and drawing as a kind of fever.

Colourful, even violent works show both the pain and humour of life.

This particular show at Dürst Britt & Mayhew presents some paintings from the 1990s made on and inspired by sailcloth, which makes them relief-like and stresses their unstable contents.

Apart from that, there are two big, quite magnificent drawings from the 1990s on show, as well as some smaller drawings of the 1970s.

However, your visit to the show won’t be complete without finding the blue bunny!

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Contents of all photographs courtesy to Jacqueline de Jong and Dürst Britt & Mayhew, Den Haag

Bertus Pieters

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Art in corona times 60. Katerina Sidorova & Wieske Wester, Gläserner Mensch (Glass Man); David Roth, Augensex (Eye Sex); Dürst Britt & Mayhew, The Hague

Trying to find Katerina Sidorova’s (1991) inspiration for her work The Wall – which is currently presented as part of the duo exhibition with works by her and by Wieske Wester (1985) at Dürst Britt & Mayhew – i worked through all kinds of weapon porn (one could call it “un-gay porn”) on YouTube, but found it at last in a weaponry review site.

left: Wieske Wester (“Eric”); right: Katerina Sidorova

(Being an art historian brings you to the most improbable cavities of the human mind).

I was amazed, not just with the ingenuity of the anti-riot wall (which is Sidorova’s source of inspiration), but especially with the artistry of the demonstration video.

The Thunderbirds of a far-away-childhood wouldn’t stand a chance against such and all the other modern devises.

These would crush any childhood dream and indeed any adult dream.

Sidorova’s reflections are even more dreamlike, but one could doubt if it is a happy dream.

It is clear the violence has stopped in one way or another, and her works stand and hang in silence.

They are tender, transparent, maybe smudged, even broken fragments of hope and pain.

As an ensemble they are very impressive in between Wester’s robust paintings. George Orwell’s famous novel Animal Farm (Wester’s source of inspiration) was published only two years before Kalashnikov – the namesake of the modern Russian weapon company responsible for the anti-riot wall – designed the AK 47 in the aftermath of World War II.

As you probably know, in George Orwell’s Animal Farm the farm animals rebel and seize power in order to create a fairer society.

However, the pigs manage to be on top and run a dictatorship.

In Wester’s paintings the pigs become less aggressive.

And why not, as pigs can be, after all, quite disarming animals.

With their pinkish complexion they even look a bit like white Europeans, they are as gluttonous, playful and pathetic as human kind.

With the painting Arthur however, there is a stark reminder of death, maybe inspired by the skull of Willingdon Beauty, the patriarch of the animals’ revolution.

left and right: Wieske Wester; centre: Katerina Sidorova

As a portrait bleaching in memory, George Orwell (in the painting Mea Culpa) looks at Sidorova’s Wall, while split characters of his real name (Eric Arthur Blair) look at each other, one alive and the other as dead as a dodo.

The front gallery shows completely different work by David Roth (1985).

Last year, during the first Covid-19 period, i wrote quite extensively about one of his works in Villa La Repubblica (click here to read it – in Dutch).

In Sidorova’s and Wester’s works the materials play an important expressive role.

One could say that is even more so in Roth’s paintings.

His works are about many aspects of the act of painting itself, both technical and spiritual ones.

Roth draws his inspiration from the work and the material itself.

One could even say the paint and the painter inspire each other, as the title of the show implies – and with a firm wink – it is both a physical and mental love affair.

My visit to both exhibitions was rather last-minute: this weekend will be your last chance to see it all in real.

If you can, do so!

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

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

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

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

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

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

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.

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.

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.

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

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

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.

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

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

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

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

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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 6. Hoogtij #61 (High Tide Festival #61), The Hague

Usually Villa Next Door doesn’t pay much attention to events like Hoogtij (Dutch for ‘High Tide’). Hoogtij is a seasonal Hague event – always on a Friday night – in which most commercial and non-commercial galleries in the city are open to the public. Gallerists and artists are present and there are always many special events. Due to the circumstances this couldn’t take place yesterday night, so the organisation decided to go online. 22 venues took part in this edition.

So i sat down in front of my computer to see everything. Most of the material can still be seen on the internet. A special event was an interview by Marie Jeanne de Rooij with Jane Huldman, sister, mother and grandmother to many an artist in The Hague.

It is a warm blooded interview, recommended for those who are interested in modern and contemporary art history of The Hague and the nitty-gritty of, amongst others, the Dutch art subsidy system. The interview is in Dutch and it is not subtitled.

I hopped alphabetically through The Hague in order not to miss anything, so i started at …ism which showed Museum Guards, in which the inhabitants of …ism perform as guards of their own house and collection, staring at you blankly in their own paradise.

1646 has a delightful presentation by Afra Eisma of her exhibition Feline Whispers which had to close down because of the corona crisis, but which can now be experienced digitally.

Undoubtedly hers is one of the most moving Hoogtij presentations.

Victoria Kieffer’s presentation at Aether Haga is interesting for its content, but why didn’t she present it in French with English subtitles and with more creativity in the visual materials?

Baracca gives a trailer, or rather an announcement of its 2015 project Inside Job, which can be seen on Yvo van der Vat’s YouTube channel. It will take you more than an hour to see the whole movie.

At De Helena Hanna de Haan and Rik Buter have been working on a charcoal wall drawing, improvising on and reacting to each other’s work.

At Dürst Britt & Mayhew gallerist Jaring Dürst Britt shows you around in its first lustrum exhibition Vèf Jaaaah, with works by all the gallery’s artists. If you switch to the gallery’s Facebook and Instagram pages you can see Alexander Mayhew talking about the different works of art (in English). I reported about the exhibition here.

Galerie Maurits van de Laar presents a tour by artist and curator of its present exhibition Christie van der Haak.

As Christie has been a much valued teacher at the Royal Academy in The Hague she will be to many – like Jane Huldman – a kind of sister, mother and grandmother of the arts. It is a wonderful presentation in Dutch. I reported about the exhibition here.

At the Grafische Werkplaats (Graphic Studio) Nina van Dijk and Cedric ter Bals show you around (in English) in the exhibition Slechte verhalen fikken niet (Bad Stories Don’t Burn) while Christiaan Schoonenberg presents his own story.

All done in a wonderfully spontaneous way (at least, that is how it looks like).

At Heden artist Thijs Jaeger presents his work Four Horse Men, a small but intriguing work based on the Apocalypse. The presentation is in Dutch.

At HOK gallery, one of the very smallest in The Hague, Harold de Bree opens his own exhibition Borderlines.

His presentation is in English and there is even champagne!

At Maldoror Gallery Roeland Langendoen and Elsbeth Verheul show paintings.

Maldoror is one of the easiest accessible of the lot as it is just a shop window.

Malieveldwerk is at the Malieveld where on Saturdays you may find one or more artists experimenting. The short video is from 2013 (when snow was still a common winter feature in this country) in which the experiments are announced by Topp & Dubio. The announcement is in Dutch.

Projektruimte West end (West End Project Space) shows you around in an exhibition of paintings, drawings, photographs and objects featuring cats.

A must see for any cat lover or even not-cat lover.

Quartair presents the interactive exhibition stay-go.nl. It takes some extra clicks to get there, but it is fun.

Refunc is one of the very few venues which are digitally much better than in real, as far as i am concerned.

Those who need a reflective moment about space are well served by Henk Hubenet at Ruimtevaart with the short but fine video Circumstanced.

See Lab, itself located in far off Scheveningen, which makes it difficult to physically take part in Hoogtij, can be accessed now online with a presentation of the digital project Walking with Unimals by the artists of Pointer Studio. The project is presently on show ‘in real’ at See Lab.

In a very short presentation gallerist Alex Lebbink shows you the way to his SinArts Gallery.

It takes some extra clicking to SinArts’ own website to see the very interesting and worthwhile presentations of four artists and their works. Alex interviewed them all in English and it is a good way to get acquainted with their work. There are some short but beautiful video works and a recording of an impressive performance readily accessible as well.

Peter van Beveren’s The Archives has no short video. Why not? Surely all those books look interesting and intriguing enough, don’t they?

With a very short teaser Trixie announces its upcoming exhibition focus loslaten | ontspannen (let loose focus | relax) which takes place in June and for which you can apply in advance for a visit.

West Den Haag in “Onze Ambassade” (“Our Embassy” – the former American Embassy) shows some slides of the four exhibitions it has at the moment.

Z Extra: Raamproject (Window Project), shows a short preview of a project by artist Yvette Teeuwen. Together with painter Casper Verborg – Yvette outside and Casper inside – they make a drawing on a window (at Heden). After some time a passer-by is also allowed to take part.

To end the evening i watched the short movie Dusk of the Harmonious Garden by Shen Wei, one of SinArts’ artists. A perfect and peaceful work to finish with!

Although these video presentations can never match the atmosphere and uniqueness of the usual Hoogtij events they are a good sign of life of the artists community in The Hague, and, as such, more venues could have taken part. Just to give a sign of life. Another good message is that most of the exhibitions are still on show “in real” and can be visited under conditions, so inquire at the websites of the galleries how you can visit them.

Click here to see all the Hoogtij presentations on its YouTube channel.

All photographs are stills / screen shots from the different presentations; courtesy to the artists, venues and the makers of the videos.

Bertus Pieters

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Vèf jaah! (Five years!); Dürst Britt & Mayhew, The Hague

Dürst Britt & Mayhew celebrates its five years anniversary with works by all its thirteen artists (and its designer). For this occasion some works were given on loan by buyers and collectors whom the gallery has succeeded in gathering over the past few years. I leave you here with some aspects of what is on show as i’ve already written extensively about it. Click here if you want to read more by yours truly about the show (in English).

Pieter Paul Pothoven, Chantal Hendriksen

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

Bertus Pieters

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Alejandra Venegas, Timicho; Dürst Britt & Mayhew, The Hague

Dürst Britt & Mayhew surprises with the works of a Mexican artist, Alejandra Venegas (1986) in their front space.

At first sight her works may look colourful and exotic, especially during the grey Dutch winter.

However, taking a closer look, a number of different cultures seem to converge to create a personal world of landscape-like compositions.

The best amongst them have a dreamlike quality in which the curving hills and the meandering streams try to find an inner harmony in deeply saturated colours and flowing shapes.

Contents of all photographs courtesy to Alejandra Venegas and Dürst Britt & Mayhew gallery, Den Haag.

Bertus Pieters

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Sybren Renema, Verweile doch! Du bist so schön!; Dürst Britt & Mayhew, The Hague

Some time ago i visited Dürst Britt & Mayhew to write a review about Sybren Renema’s (1988) present exhibition for Villa La Repubblica. Click here to read the review (in Dutch).

As i have written quite extensively about the show in VLR i leave you here with some impressions without comments, and with the strong recommendation to go and see it all for yourself.

Click here to read the review in Villa La Repubblica.

Contents of all photographs courtesy to Sybren Renema and Dürst Britt & Mayhew gallery, Den Haag.

Bertus Pieters

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

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