Art in corona times 70. Robbie Cornelissen & Karin van Dam, Places We Have Never Been Before; Galerie Maurits van de Laar, The Hague

Front: Karin van Dam; back Robbie Cornelissen

In the back space of Galerie Maurits van de Laar one can get caught in a two and three dimensional situation of wonder and discovery.  The space is filled with objects by Karin van Dam (1959) and drawings by Robbie Cornelissen (1954) .

Robbie Cornelissen
Front: Karin van Dam; back: Robbie Cornelissen
Robbie Cornelissen
Robbie Cornelissen

As a visitor you have to move with some care. This may invite you to look with care as well. Van Dam’s objects are lying on the ground and hanging from the ceiling, while on the walls are two gigantic works by Cornelissen.

Karin van Dam
Karin van Dam
Karin van Dam

One of these two works has a strong sense of perspective, while the other, a composite work, gives an idea of space where perspective plays no role anymore.

Karin van Dam
Karin van Dam
Karin van Dam
Karin van Dam

Van Dam’s objects look like a reconstitution of the things that surround us in an imaginative amalgamation of nature and culture.

Karin van Dam
Robbie Cornelissen
Robbie Cornelissen
Robbie Cornelissen

The middle space shows a lively dialogue with smaller works by both artists.

Robbie Cornelissen
Robbie Cornelissen
Robbie Cornelissen

The front space shows two monumental works: an installation by Van Dam and a composite drawing by Cornelissen.

Robbie Cornelissen
Front: Karin van Dam; back: Robbie Cornelissen
Karin van Dam
Front: Karin van Dam; back: Robbie Cornelissen

Combined they may give you the idea of more dimensions than you might usually experience.

Robbie Cornelissen

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© Villa Next Door 2021

Contents of all photographs courtesy to Karin van Dam, Robbie Cornelissen and Galerie Maurits van de Laar, Den Haag

Bertus Pieters

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Art in corona times 67. Nour-Eddine Jarram, The Wait; Galerie Maurits van de Laar, The Hague

Dreams are usually deceptive and aspirations may be dashed by changing perspectives.

As such we are all in the same shaky boat, wherever your roots lie.

Another thing is that we are all shaped by our experiences, which give us a wide pallet of remembrances, feelings, emotions and ideas.

However, one can’t simply expect that everybody is able or willing to share this wide range of experiences.

It is almost impossible to give answers to questions like: how did it smell in your school, how did the sun burn on your skin in summer or, more horrible, what was it you felt would be lost when you nearly drowned in the sea?

Still, all these unknown experiences shape the most inner self and the way they are shaped are dependent on even earlier experiences and the culture with which one has learned to cope with them and give meaning to them.

All that makes a person and stays within him or her.

It seems Nour-Eddine Jarram (1956) in his present show at Galerie Maurits van de Laar tries to show different aspects of this process of shaping the self.

It is an exhibition full of drama.

Especially where Jarram reflects on migration to Europe, where he doesn’t really pay attention to the human suffering, but rather to how people survive by who and what they are.

It is however not all about these stories of misfortune, he also shows a variety of people who try to pretend and others who can’t pretend, and still others who are forced to pretend.

In the mean time ideas and spirituality roam in between, as if to show that the pictures are visions of spirituality rather than everyday reality, albeit in the tiny far-off shape of a shark’s dorsal fin.  

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© Villa Next Door 2021

Contents of all photographs courtesy to Nour-Eddine Jarram and Galerie Maurits van de Laar, Den Haag

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Art in corona times 59. Paul van der Eerden & Romy Muijrers, SUITE; Galerie Maurits van de Laar, The Hague

As discussed in the last two postings about the present show at Nest (click here and here) co-operation between artists is a tendency of the last few years.

In the case of the prolonged exhibition SUITE at Galerie Maurits van de Laar it is a co-operation of two artists of different generations.

Paul van der Eerden (1954) and Romy Muijrers (1990) started their project in 2018.

Both are gifted draughtsmen, and having made drawings together for some years, now it is time to show the results to the public.

The procedure is quite simple: one starts a sketch and the other will work it out.

Through the years their drawings have developed as if they were made by one – albeit very versatile – artist.

Muijrers usually makes quite detailed drawings in which she sometimes seems to drown in a parallel world of remembrances, dreams and feelings.

Van der Eerden creates more robust shapes in which a life in modernist and postmodernist times can often be traced in a sometimes cartoonlike design.

The partnership is not based on competition or to make improvements and corrections in each other’s ideas.

The idea is to inspire each other and to make drawings that have a character of their own in spite of being created by two individuals.

They very much succeeded in doing so.

Both artists’ ideas and preoccupations breathe through the enormous amount of works shown in the gallery, but in the end it is like two pianists playing four-hands.

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© Villa Next Door 2021

Contents of all photographs courtesy to Romy Muijrers, Paul van der Eerden and Galerie Maurits van de Laar, Den Haag

Bertus Pieters

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Art in corona times 42. Andrea Freckmann, Peter Vos; Galerie Maurits van de Laar, The Hague

Peter Vos

What have Andrea Freckmann’s (1970) and Peter Vos’ (1975) paintings to do with each other?

Andrea Freckmann
Andrea Freckmann

Well, pretty little, i‘d say.

Andrea Freckmann
Peter Vos

So little in fact, that their works seem to keep each other in balance at their present show at Maurits van de Laar’s gallery.

Peter Vos
Andrea Freckmann

While Freckmann’s way of painting constantly reminds you that it could all be but a dream, Vos’ works make you believe that the characters he paints are both real and abstract.

Andrea Freckmann
Andrea Freckmann

Freckmann changes her daily life, including herself, people and objects around her, into a theatre in which every element adds to the dream of wonder and remembrance.

Peter Vos
Peter Vos

In these theatres animals – dogs, birds – frequently act as a kind of messengers from a parallel world within the parallel worlds of her paintings.

Peter Vos
Peter Vos

Vos shows you the more or less monumental characters of his birds (and some moths too), i’d even say in their full humanity.

Andrea Freckmann
Peter Vos

In three recent paintings he added a lady to his birds, competing with each other in their enigmatic beauty.  

Andrea Freckmann

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© Villa Next Door 2020

Contents of all photographs courtesy to Andrea Freckmann, Peter Vos and Galerie Maurits van de Laar, Den Haag.

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Art in corona times 31. Susanna Inglada & Charlotte Schleiffert, Parom(e)is; Galerie Maurits van de Laar, The Hague

Susanna Inglada

Both Susanna Inglada (1983) and Charlotte Schleiffert (1967) recently had a residency abroad, Inglada in Rome and Schleiffert in Paris.

Susanna Inglada

 

Susanna Inglada

 

Susanna Inglada

They both show their works at the moment at Galerie Maurits van de Laar .

Susanna Inglada

Susanna Inglada

Susanna Inglada

Inglada came home with works full of convulsive bodies and faces, mainly of men. Her impressive works may remind you of a nightmare about Cinecittà, but made with the same excellence.

Susanna Inglada

Susanna Inglada

Susanna Inglada

Susanna Inglada

This is what happens behind the scenes, in the shades, the margins and the minds of La Grande Bellezza.

Charlotte Schleiffert

Charlotte Schleiffert

Charlotte Schleiffert

Schleiffert was drawn to nature and apart from some wonderful drawings with more or less classical themes and subjects, she also surprises with quite a few colourful landscapes, mostly with trees and woods.

Charlotte Schleiffert

Charlotte Schleiffert

Charlotte Schleiffert

They have a fairytale-like quality full of expectation.

Charlotte Schleiffert

Charlotte Schleiffert

Charlotte Schleiffert

Quite different and interesting aspects of Schleiffert’s art appear in these small drawings.

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Contents of all photographs courtesy to Susanna Inglada, Charlotte Schleiffert and Galerie Maurits van de Laar, Den Haag.

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Art in corona times 15. Dan Zhu, Tobias Gerber, Martin Assig & Ronald Versloot, Drawing Now (and Unlocked/Reconnected); Galerie Maurits van de Laar, The Hague

Dan Zhu

Drawing Now art fair in Paris didn’t take place this year because of Covid-19. So Maurits van de Laar is presently showing in The Hague what he might have shown in Paris.

Dan Zhu

Dan Zhu (1985) is (as far as i know) the newest in the quartet of draughts(wo)men presented by Maurits van de Laar.

Dan Zhu

As she already showed some years ago at the Rijksacademie in Amsterdam, she has a fine sense of the transparency of the medium, combined with a haunting imagination.

Tobias Gerber

As part of the national art online show Unlocked/Reconnected, Tobias Gerber (1961) is showing a series in which the world is seen through a keyhole in a closed chest.

Tobias Gerber

Tobias Gerber

Tobias Gerber

Martin Assig

Martin Assig (1959) is showing works of his ongoing St. Paul series, partly homage to Paul Klee (though very influential, Klee seems to be condemned to a minor role in art history because of the small size of his works and their content, which is stylistically difficult to define), but especially stylistically inventive in its own right.

Martin Assig

Martin Assig

Martin Assig

Ronald Versloot

Very rich in their moods and ideas are the fine crayon drawings  by Ronald Versloot (1964).

Ronald Versloot

Maurits van de Laar is able to show this profusion (in these pictures you see only a tip of the iceberg) of drawings because he left the partitions of the gallery, made for Chritie van der Haak’s show, intact, enormously increasing the capacity of the gallery space.

Ronald Versloot

The exhibition itself shows a very strong quartet of draughtsmen indeed, with inspiring and very imaginative drawings, and it will take you some time to see it all.

Ronald Versloot

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© Villa Next Door 2020

Contents of all photographs courtesy to all artists and Galerie Maurits van de Laar, 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.

© Villa Next Door 2020

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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Christie van der Haak and guests: Different than Usual; Galerie Maurits van de Laar, The Hague

Hélène Penninga

Well, there you are: i proposed to publish only a few pictures as a teaser for what i think you should really go and see.

Christie van der Haak

Christie van der Haak

Jos de l’Orme

Jos de l’Orme

But then, when selecting pictures for this post, i was overcome by the same kind of drunkenness you get when seeing this exhibition, and here are far more pictures than i wanted to publish intially.

Katia Borghesi

Katia Borghesi

Peter Vos, Ellen van Dijk

Source of this drunkenness is Christie van der Haak (1950), or rather her work.

Peter Vos

Peter Vos

Ellen van Dijk

She invited sixteen guest artists to show their works against the backdrop of her own wall decorations at Galerie Maurits van de Laar.

Ellen van Dijk

Marjolijn van der Meij

Marjolijn van der Meij

Hélène Penninga

At the opening one of the artists called it a dialogue, which i think is the right idea.

Christie van der Haak

Pim Piët

Pim Piët

But it is also a declaration of love for the works of these very different artists and even for art in general.

Diederik Gerlach

Christie van der Haak

Christie van der Haak

Most of them are no artists of the gallery, some of them are household names (at least in The Hague), some of them are quite unknown here behind the dunes, which makes the show all the more interesting.

Diederik Gerlach

Anya Belyat Giunta, Elise Hageman

Anya Belyat Giunta

Elise Hageman

Generally, Van der Haak’s decorations give an extra dimension to the works of the other artists.

David Pedraza

Theun Govers

Marcel Zalme, Reinoud van Vught, Harold de Bree

It stresses their peculiarity, or even their mystery, if you wish.

Marcel Zalme

Reinoud van Vught

Harold de Bree

It is as if everything takes place within one big frame story which leads you to all kinds of different narratives and temperaments, all glowing with their own characteristics.

Nynke Koster

© Villa Next Door 2020

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

Bertus Pieters

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Art Rotterdam 2020; Van Nellefabriek, Rotterdam

Fiona Lutjenhuis, Prospects & Concepts

Art Rotterdam has become the strongest contemporary art fair in the Netherlands.

Fiona Lutjenhuis, Prospects & Concepts

Tobias Lengkeek, Prospects & Concepts

Dennis Muñoz Espadiña, Prospects & Concepts

As for its quantity, it isn’t too big or too small and quality standards have become quite high.

Wouter van der Laan, Prospects & Concepts

Wouter van der Laan, Prospects & Concepts

Mylan Hoezen, Prospects & Concepts

Although there are no radical statements, this year’s fair can’t be called dull.

Maud van den Beuken, Prospects & Concepts

Lisandro Suriel, Prospects & Concepts

Lorena van Bunningen, Prospects & Concepts

Maybe the art world has shrunk back a bit by all kinds of radicality that seem to do more harm than good to the world, as things don’t look particularly happy-go-lucky either.

André Kruysen, NL=US Art, Rotterdam

André Kruysen, NL=US Art, Rotterdam

Gijs van Lith, MPV Gallery, ‘s-Hertogenbosch

Of course an art fair isn’t a stage for philosophy, but the tendency is very much on what makes us human and what we value in life.

Gijs van Lith, MPV Gallery, ‘s-Hertogenbosch

Raphaël Barontini, Espai Tactel, Valencia / Barcelona

Carel Visser, BorzoGallery, Amsterdam

Anyway, don’t let Ciara stop you from going to take a look for yourself, as it’s worth it.

Sanlé Sory, Wouter van Leeuwen, Amsterdam

Hiroshi Nomura, Galerie Ramakers, The Hague

Hiroshi Nomura, Galerie Ramakers, The Hague

I leave you here with some details that caught my eye amongst the many things that may catch yours.

Susanna Inglada, Galerie Maurits van de Laar, The Hague

Susanna Inglada, Galerie Maurits van de Laar, The Hague

Charlotte Klobassa, Zeller van Almsick, Vienna

Natascha Libbert, Gallery Vriend van Bavink, Amsterdam

Marcel van Eeden, Barbara Seiler, Zürich

Patrick Waterhouse, The Ravestijn Gallery, Amsterdam

Patrick Waterhouse, The Ravestijn Gallery, Amsterdam

Patrick Waterhouse, The Ravestijn Gallery, Amsterdam

Edward Clydesdale Thomson, Division of Labour, London

Edward Clydesdale Thomson, Division of Labour, London

Warre Mulder, Whitehouse Gallerry, Lovenjoel

Niek Hendrix, Roger Katwijk, Amsterdam

Remy Jungerman, Galerie Ron Mandos, Amsterdam

Leandros Ntolas, Prospects & Concepts

Leandros Ntolas, Prospects & Concepts

Oscar Peters, Prospects & Concepts

© Villa Next Door 2020

Contents of all photographs courtesy to all artists and galleries.

Bertus Pieters

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Tobias Gerber & Diederik Gerlach, Kunsthalle; Galerie Maurits van de Laar, The Hague

“Unmöglich scheint immer die Rose,
Unbegreiflich die Nachtigall.”

From: Johann Wolfgang von Goethe, West-östlicher Divan (West-Eastern Diwan), Stuttgart 1819, p. 126

Diederik Gerlach

Tobias Gerber (1961) and Diederik Gerlach (1956) are presenting their works at the moment at Galerie Maurits van de Laar.

Tobias Gerber

Tobias Gerber

Gerber shows plaster works and videos while Gerlach shows paintings and drawings.

Tobias Gerber

Tobias Gerber

Tobias Gerber

Both share a link with both Germany and the Netherlands, and with memory and remembrance.

Tobias Gerber

Tobias Gerber

Diederik Gerlach

Although their works are quite different, there is a resemblance in their fine sense of humour and in the way they avoid any sentimentality.

Diederik Gerlach

Diederik Gerlach

Diederik Gerlach

They don’t want to recreate a better past, instead .they both seem to have a deep understanding of the past being very much, so to say, the ‘organism’ that builds the present.

Diederik Gerlach

Diederik Gerlach

Tobias Gerber

However, there is a lot of mystery between the present and the past and each work shows the absurdity of remembrance itself, rather amplifying the mystery than solving it.

Tobias Gerber

Diederik Gerlach

Well, after all, what else can one do?

Diederik Gerlach

© Villa Next Door 2020

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

Bertus Pieters

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