Een nieuwe lente, een nieuw beeld (A New Spring, a New Vision); Galerie Helder, The Hague

Channa Boon

Under a somewhat anachronistic title former teacher at the Royal Academy in The Hague Jan van der Pol has been given the opportunity at Galerie Helder to make an exhibition with some former students of the Academy.

Rob Knijn
Rob Knijn
Eva Klee

For a change Van der Pol didn’t choose young and promising but midlife and – as we may hope – midcareer.

Eva Klee
Rob Knijn
Rob Knijn

Channa Boon (1967), Eva Klee (1970), Rob Knijn (1966) and Arianne Olthaar (1970) are very different artists indeed and it is as if Van der Pol has tried to create a very wide ranging ensemble, reaching to the stars as well as to the intimacy of a home and walking the tightrope between reality and imagination (which is what art is usually about).

Arianne Olthaar
Eva Klee

Olthaar shows a combination of the past and present in a scruffy space, once glittering and trendy, awaiting its final demolition, while Knijn, in some recent works, brings the world of stars and almost dreamy abstraction back to the reality of a framed painting on a wall, although even that doesn’t seem to be real reality.

Eva Klee
Rob Knijn
Channa Boon

Boon distorts reality with reality itself, blurring the already shaky line between reality and interpretation, while Klee defines the home as a small secluded clay space where the mind shapes its own raw bulbous forms, the human spirit as a clay pitcher.

Rob Knijn
Eva Klee
Eva Klee

It is a short running but interesting exhibition, coinciding with the opening of the graduation festival at the Royal Academy and The Hague Contemporary Art Weekend, only on show over the weekend.

Channa Boon

© Villa Next Door 2019

Content of all photographs courtesy to all artists and Galerie Helder, Den Haag

Bertus Pieters

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

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Petra Strahovnik and Ensemble Modelo62: disOrders 1, Through the Looking Glass; Trixie, The Grey Space, Haagse Kunstkring, PARTS Project, Galerie Helder, The Hague

Klára van de Ketterij at Trixie

Through the Looking Glass is the first part of the two-year disOrders project by composer Petra Strahovnik and performed by members of the Ensemble Modelo62.

Klára van de Ketterij at Trixie

Last weekend three-hour sessions were held by different instrumentalists each in one of five different locations, dealing each with one of five so-called mental disorders: ADHD, anxiety disorder, depression, bipolar disorder and autism.

Klára van de Ketterij at Trixie

Having seen them all at Trixie, the Grey Space in the Middle, Haagse Kunstkring, PARTS Project and Galerie Helder, I must admit it leaves me with the idea that all performances were more or less autistic.

Klára van de Ketterij at Trixie

Whether it was percussionist Klára van de Ketterij (ADHD) running around a collection of drums and other percussive instruments, cellist Jan Willem Troost (anxiety disorder) grappling with his instrument and his environment, or electric guitarist Santiago Lascurain (depression) in his bathtub with dirt, they all showed an extremely meticulous dedication to what they were doing within the sheer unbreakable walls of their supposed conditions, for three whole hours.

The Grey Space

The performance by clarinettists Enric Sans Morera and Jorge López García (bipolar disorder) and the one by trumpeter Justin Christensen (autism) were even quite similar in ideas of expression: experiments with water and plastic in combination with the unexpected properties of their instruments.

Jan Willem Troost at The Grey Space

In the case of the depression performance, the expression was almost too literal, with the performer covering himself in black mud, and even while the guitar was only playing a slowly transforming sound by itself, one could call it a melodramatic performance.

Jan Willem Troost at The Grey Space

In the anxiety act the public was invited to use a triangle now and then, but what influence that had on the performance was hard to see.

Jan Willem Troost at The Grey Space

Was it an invitation to ease the tensions with the sound of the triangle or an invitation to be cruel to the performer with an unexpected sound?

Santiago Luscarain at Haagse Kunstkring

A confronting perspective is, of course, the fact that sufferers of these so-called disorders have to cope with it every day and night in all circumstances and not just for three hours.

Santiago Luscarain at Haagse Kunstkring

In the mean time one must be completely un-self-reflective or even narcissistic (!!) not to realise that we all have bits of these disorders in ourselves, in spite of the fact that most of us are thought to be ‘normal’.

disorders
Santiago Luscarain at Haagse Kunstkring.

They do not just confuse our brains, but may also make us cope with confusing or disturbing situations or stimulate dedication and creativity.

Santiago Luscarain at Haagse Kunstkring

The fact that autism can be most associated with all five acts, is maybe because art itself needs complete dedication both to the whole and to the detail and complete surrender to the performance, whether one is making music or a painting or whatever.

Enric Sans Morera & Jorge López García at PARTS Project

As for the five acts, as said they each lasted three hours which is quite a superhuman effort by the performers.

Jorge López García at PARTS Project

They performed for three hours for four days, and must have practiced and prepared for many hours.

Enric Sans Morera at PARTS Project

That in itself and the co-operation between the composer, the performers, the five art platforms and everybody technically and psychologically involved is a great job.

PARTS Project

In spite of that it should be said that none of the performances were artistically interesting enough to follow for three hours (or maybe that depends on one’s own disorder?).

Justin Christensen at Galerie Helder

Also the question asked by the composer “Can we find compassion in order to expand our concept as a society of what is ‘in order’?” may be a relevant question generally, but do these acts stimulate any answers or reflections on the subject?

Justin Christensen at Galerie Helder

And if they do, are they doing so implicitly or too explicitly?

Justin Christensen at Galerie Helder

Either the question may be too wide-ranging, or the performances need more (yes even more!) aesthetic reflection.

Justin Christensen at Galerie Helder

©Villa Next Door 2019

Contents of all photographs courtesy to all performers and art spaces.

Bertus Pieters

 

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

Anachronisms; Galerie Helder, The Hague

Tan ja Smit

The present exhibition at Helder is curated by Ton Kraayeveld (1955), who combined works by himself with works by Tonio de Roover (1973), Tanja Smit (1961), Maarten Janssen (1960) and Jean-Pierre Zoetbrood (1950).

Tanja Smit
Tanja Smit
Tanja Smit
Tanja Smit

In spite of the title the works on show are all but anachronistic.

Tanja Smit
Tanja Smit
Tanja Smit
Ton Kraayeveld

It is difficult to find a common denominator for the show but the combination works very well and makes for an interesting exhibition with very different perspectives.

Ton Kraayeveld
Jean-Pierre Zoetbrood
Jean-Pierre Zoetbrood
Jean-Pierre Zoetbrood

All five artists have a kind of stubbornness in the way they make their work without showing off with that stubbornness.

Tonio de Roover
Tonio de Roover
Tonio de Roover
Maarten Janssen

They are all masters of their practices.

Ton Kraayeveld
Ton Kraayeveld
Maarten Janssen
Jean-Pierre Zoetbrood

Rather than anachronistic they seem to hover along time.

Jean-Pierre Zoetbrood
Tanja Smit
Tonio de Roover
Tonio de Roover

Even Kraayeveld’s paintings, which might be called the most historically retrospective in the exhibition, show modernism as a presence and not as a reflection in time.

Maarten Janssen

© Villa Next Door 2019

Contents of all photographs courtesy to all artists and to Galerie Helder, Den Haag

Bertus Pieters