Art in corona times 5. For the Love of Art, Galerie Ramakers, The Hague

Galerie Ramakers recently opened a new show specially made for these difficult times.

Reinier Lagendijk; background left: Warffemius,; background right: Bob Bonies

The gallery is quite spacious, so the five feet distance rule can easily be observed.

Of course there are setbacks for the gallery and its artists.

Fairs are postponed or don’t take place and works made for these events or meant to be shown at them have to be exhibited in another way.

In the gallery is, of course, the best and most obvious way to do so.

One can look at zillions of works of art on the internet, but nothing can beat the real thing.

Many of the works presently on show are for the inquisitive and have the power to absorb you.

Personally i enjoyed seeing these works very much. Some of them are golden oldies, others are quite new.

© Villa Next Door 2020

Contents of all photographs courtesy to the artists and Galerie Ramakers, Den Haag.

Bertus Pieters

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

What We Do Not (want to) See, Willy De Sauter – Gert Scheerlinck – D.D. Trans – Johan De Wit; Galerie Ramakers, The Hague

I visited Galerie Ramakers to write a review for Villa La Repubblica about its present exhibition What We Do Not (want to) See with works by Willy De Sauter (1938), Johan De Wit (1960) D.D. Trans (1963) and Gert Scheerlinck (1974). Click here to read the review (in Dutch).

As i have written quite extensively about the show in Villa La Repubblica i leave you here just with some impressions without words.

Click here to read the review in Villa La Repubblica.

© Villa Next Door 2020

Contents of all photographs courtesy to the artists and Galerie Ramakers, Den Haag.

Bertus Pieters

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

LE SUD; Twelve twelve gallery, The Hague

The Dutch and the Flemish share a common language, but the histories of the areas they live in are quite different.

Their minds are shaped differently by cultural, political and economic developments, by different landscapes and by different geographical contexts.

For the Dutch it seems easy to understand the Flemish, but there also seems to be something ununderstandable in the Flemish way of thinking or in the Flemish human condition.

The same can be said about Flemish art.

The Dutch usually have admiration for the sincerity, lyricism and spirituality in Flemish art, aspects that don’t immediately spring to mind when thinking about Dutch art.

In an earlier exhibition at Twelve twelve gallery Gert Scheerlinck already showed his very personal ways of seeing.

He addresses his audience in an almost private way, inviting you to come very near and to challenge your imagination.

There is a sense of absurdism in his works but they don’t deceive you, they are as honest as their simple materials.

For the present exhibition Scheerlinck was invited to put together a presentation of works by himself and by Flemish artists of his own choice.

This resulted in a small but wonderful show with mostly lyrical works by, apart from Scheerlinck himself, Nicolás Lamas, Johan De Wit, Rein Dufait, Katleen Vinck and Johan Gelper.

On one hand one would wish to see solo presentations of each, on the other hand this group show is a very well composed treasure-trove, circling around Vinck’s robust and marvellous Plano and even going underground in the dark of the gallery’s cellar.

Content of all photographs courtesy to all artists and to Twelve twelve gallery, Den Haag

Bertus Pieters

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