Art in corona times 88. Matthias Grothus & Yaïr Callender, Jam Session; Kadmium, Delft

Studio view; Yaïr Callender

As i initiated this show of works by Matthias Grothus (1982) and Yaïr Callender (1987) at Kadmium, Delft, this report is a bit different.

Matthias Grothus sketching in his studio
Yaïr Callender; studio view
Matthias Grothus; studio view
Yaïr Callender; studio view

The idea was to make a show with objects and/or installations that would cause a sense of wonder, a bit like in a Kunst und Wunderkammer, something both Grothus and Callender would be good at.

Matthias Grothus; studio view
Yaïr Callender; studio view
Matthias Grothus; studio view

We decided to leave a lot of room for improvisation.

Yaïr Callender; studio view
Matthias Grothus; studio view
Yaïr Callender’s works have arrived at the gallery

Callender has his studio in The Hague and Grothus in Zaandam, so it wouldn’t be easy for the artists to visit each other and exchange ideas.

Yaïr Callender’s works have arrived at the gallery
Yaïr Callender’s works have arrived at the gallery

That meant the actual making of the exhibition would be a kind of jam session on the day of installation at the gallery.

Yaïr Callender’s works have arrived at the gallery
First parts of Matthias Grothus’ works have arrived
Parts of Matthias Grothus’ work, waiting to be assembled

Happily the artists got on quite well together and they had a good feel for each other’s works.

Assembling Matthias Grothus’ work is like reconstructing a fossil
The artists attaching Matthias Grothus’ flying creature
… and there it flies!

Although the works were challenging, real problems didn’t happen.

Attaching a work by Yaïr Callender
Yaïr Callender adding some finishing touches

As a result I think some of the tension and the joy of making the exhibition can still be seen.

Matthias Grothus working on the flying creature’s head
The flying creature has a head!

Centre piece is of course Grothus’ flying creature, which is both strong and transparent.

Matthias Grothus fixing the head
It flies head on!

It flies like a phoenix supported by Callender’s works and accompanied by the deep, earthly humming of a sound work by Grothus.

Yaïr Callender
Yaïr Callender

Callender’s works try to let the surrounding world speak for itself.

Yaïr Callender
Yaïr Callender
Yaïr Callender

Although the show was originally planned for last spring (but had to be postponed because of Covid-19), it obviously works very well in this autumn of anxiety, where it might bring a moment of reflection to the viewer.

Yaïr Callender
Yaïr Callender
Matthias Grothus
Matthias Grothus’ sound installation

It has become a show of both deep seriousness and freaky humour.

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Contents of all photographs courtesy to Matthias Grothus, Yaïr Callender and Kadmium, Delft

Bertus Pieters

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Art in corona times 65. Yuk Kan Yeung & Antonius Nijssen, Verstilling (Stillness) – The Bliss of Solitude; Kadmium, Delft

Yuk Kan Yeung

There is a ‘soft’ emancipation going on in works by artists from China, Taiwan, Hong Kong and the Chinese diaspora.

Yuk Kan Yeung
Yuk Kan Yeung

Of course this is not about the big investors’ art, but about ‘smaller’ art which tries to reshape its Chineseness in dialogue with the rest of the cultural world, with the strong conviction that neither tradition alone, nor radical rejection of it will bring something original.

Yuk Kan Yeung
Yuk Kan Yeung

Yuk Kan Yeung’s (1959) works are wonderful examples of that idea.

Yuk Kan Yeung
Yuk Kan Yeung
Yuk Kan Yeung

In the case of Yeung the use of porcelain and calligraphy may seem obvious for an artist with Chinese roots.

Yuk Kan Yeung
Yuk Kan Yeung

However, folding the very delicate porcelain into something characteristic without the idea of making a vase, a plate or a cup, and using calligraphy to let the porcelain breathe, so to speak, is quite a different story.

Yuk Kan Yeung
Yuk Kan Yeung

Presently Yeung shows porcelain objects and works on paper at Kadmium in a duo show with works by Antonius Nijssen (1955-2018).

Yuk Kan Yeung
Antonius Nijssen

His works may be described as geometric abstract.

Antonius Nijssen
Antonius Nijssen

One might even think about the so-called North Atlantic light, once observed by Willem de Kooning who had seen that light from both sides of the Ocean. However, Nijssen was quite a different painter.

Antonius Nijssen
Antonius Nijssen
Antonius Nijssen

Amongst others he has made some very interesting objects/paintings, with right angles in them.

Antonius Nijssen
Antonius Nijssen

In these works Nijssen makes the colours shine to compete with the shapes and shadows.

Antonius Nijssen
Antonius Nijssen

He seems to be less delicate with colours in these objects than in some of his ‘normal’ paintings, making them bright and playful but also reflective.

Antonius Nijssen
Antonius Nijssen

Being lucky to have had a private view of this – indeed – quiet exhibition, i hope Kadmium (closed at the moment because of Covid-19 restrictions) will be open to the public again soon.

Antonius Nijssen

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Contents of all photographs courtesy to Yuk Kan Yeung, the estate of Antonius Nijssen and Kadmium, Delft

Bertus Pieters

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Art in corona times 44. Warffemius & Hendrik van Leeuwen, Terra Incognita; Kadmium, Delft

Work by Warffemius with two mystery guests

Whatever your age, there are always worlds around you to discover.

Hendrik van Leeuwen
Hendrik van Leeuwen

Not the world of consumer goods – they aren’t invented to be discovered, but to be bought, wasted and thrown away – but the worlds of nature and the mind.

Hendrik van Leeuwen
Warffemius

Warffemius (1956) and Hendrik van Leeuwen (1952) both delve into small segments of these worlds.

Warffemius
Hendrik van Leeuwen

At the moment at Kadmium, Warffemius shows sculptures and Van Leeuwen shows paintings.

Hendrik van Leeuwen
Hendrik van Leeuwen

Van Leeuwen’s works seem to particularly fit in well with the present season, with its scattered leaves, spreading a layer of change in colour and structure over the streets and parks, and as such a change in mood and seeing.

Warffemius
Warffemius

Warffemius is fascinated by vegetal growing processes.

Warffemius
Warffemius

To him they seem to have become the alpha and omega of composing works.

Hendrik van Leeuwen
Hendrik van Leeuwen

Being on business in Delft i visited the exhibition the day before the present lockdown started.

Warffemius
Warffemius, Hendrik van Leeuwen

Kadmium is closed at the moment, but the show will be prolonged until the beginning of next year, so there is still time to visit the show.

Warffemius

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Contents of all photographs courtesy to Warffemius, Hendrik van Leeuwen and Kadmium, Delft.

Bertus Pieters

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Art in corona times 14. Chung-Hsi Han, Inge Reisberman and Eelke van Willegen, Metamorphosis; Kadmium, Delft

Eelke van Willegen

Nature and the world around us change constantly, as, indeed, we do ourselves too, even without knowing or noticing it.

Chung-Hsi Han

Changes may go slowly or abruptly and they make us change our views, perspectives and moods.

Eelke van Willegen

Chung-Hsi Han

The idea of metamorphosis is part of our lives.

Chung-Hsi Han

Chung-Hsi Han

As such it is an extremely wide ranging concept, especially for an exhibition, like the one presently at Kadmium called Metamorphosis.

Eelke van Willegen

Eelke van Willegen

Maybe the most metamorphosis related work in the show is Inge Reisberman’s (1959) video Top of the lake which immerses you for almost seven minutes into a dreamlike state wherein colours and shapes slowly change, lighten up or fade away.

Chung-Hsi Han

Inge Reisberman

Strongest works on show by Chung-Hsi Han (1958) are, in that respect, Metamorphosis IX and X, both existing of four landscape-like drawings which more or less flow into each other.

Chung-Hsi Han

Eelke van Willegen

In Eelke van Willegen’s (1974) sculptures metamorphosis is present like in any other work of art; after all, making art is, in itself, a matter of changing materials and ideas or reshaping them.

Eelke van Willegen

Eelke van Willegen

However that is no problem as Van Willegen’s sculptures almost literally shape the whole exhibition.

Inge Reisberman

Eelke van Willegen (sculpture), Chung-Hsi Han (drawings)

The show itself was opened in April, mid-Covid-19 crisis, but Kadmium itself is spacious enough to receive a few visitors and to keep a five feet distance.

Eelke van Willegen (sculptures), Chung-Hsi Han (drawings)

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Contents of all photographs courtesy to all artists and Kadmium, Delft.

Bertus Pieters

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Jean van Wijk and Rien Monshouwer, Le Détour; Kadmium, Delft

Rien Monshouwer

Rien Monshouwer (1947) and Jean van Wijk (1953), two old hands in the trade from The Hague, exhibit at Kadmium gallery in Delft.

Rien Monshouwer

Rien Monshouwer

Jean van Wijk

Near the place where William I of Orange (1533-1584) unwillingly left a hole in the wall and in time, Monshouwer and Van Wijk are also creating space and time but, happily, they are still actively doing so.

Jean van Wijk

Jean van Wijk

Jean van Wijk

Monshouwer shows paintings, text drawings and a small sculpture.

Jean van Wijk

Jean van Wijk

Jean van Wijk

The sobriety of his work is in stark contrast with the sheer inexhaustible array of objects, computer prints and installations by Van Wijk.

Jean van Wijk

Rien Monshouwer

Rien Monshouwer

While Monshouwer’s abstractions reflect on the social and aesthetic implications and relics of modernism in urban housing, Van Wijk’s work drags you into the space in between the walls, inside and outside, freely narrowing or widening the gap as it pleases.

Rien Monshouwer

Rien Monshouwer

Rien Monshouwer

It is as if space itself re-imposes its rule over architecture and the landscape, creating a kind of architecture of the vacuum.

Rien Monshouwer

Jean van Wijk

Jean van Wijk

While Van Wijk corrupts every sense of measurement and as such invents new shapes for space, Monshouwer re-assesses the world of modern urban measurement and the abstract remnants it leaves in the mind as a remembrance of the ideals of modernism in the microcosm of the city.

Jean van Wijk

Jean van Wijk

Jean van Wijk

Not without a tour de force these seemingly incompatible spirits are drawn together in the exhibition, challenging the viewer.

Jean van Wijk

Jean van Wijk

Jean van Wijk

Quite successfully so, as both seem to reinforce each other’s qualities.

Jean van Wijk

Jean van Wijk

Jean van Wijk

Although it’s wonderful to see works by both artists in Delft, it is a bit strange that they are not household names in The Hague itself.

Rien Monshouwer

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Contents of all pictures courtesy to the artists and Kadmium, Delft

Bertus Pieters

 

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