Ingrid Simons, Dämmerung (Twilight); Livingstone Gallery, The Hague

Ingrid Simons (1976) presently shows paintings at Livingstone Gallery.

She mainly paints landscapes.

Although the landscape seems to be just a vehicle for expressive painting with sometimes heavy impasto in abstract compositions, she retains the depth of a landscape in her works.

She is especially fascinated by the blue hour just before sunrise and the twilight after sunset.

At the gallery is also a new book for sale about her work, with a text by amongst others Rick Vercauteren and an introduction by yours truly.

© Villa Next Door 2019

Contents of all photographs courtesy to Ingrid Simons and Livingstone Gallery, Den Haag

Bertus Pieters

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Klaas Gubbels, Tafels, Tables, Tische, Tavoli; Livingstone Gallery, The Hague

The still-life has always been a genre of thought and reflection.

Klaas Gubbels, at 85, shows some works at Livingstone Gallery in which especially the table, the base of many a still-life, plays an important role.

The different parts of his still-lives make an abstract composition on one hand, but also become new characters on the other hand.

It all depends on the way he paints them.

The way of painting – the brushwork, the colours, the proportions – always dictates the compositions and the meaning.

In the end these are not just depictions of tables and what may be on and around them, they are abstract works of painterly thought.

© Villa Next Door 2019

Contents of all photographs courtesy to Klaas Gubbels and Livingstone Gallery, Den Haag

Bertus Pieters

Manfred Schneider, Helio Trope Sleep; Livingstone Gallery, The Hague

Livingstone Gallery has a modest but interesting presentation of an installation and mainly text works by Manfred Schneider (1959).

The phrases in the text works seem to be a hotchpotch of disconnected profundities and ironic remarks, splinters of the human condition.

(IN THE MIDDLE OF THE NIGHT WE MAKE OURSELVES PRETTY)

Of two bigger paintings one has phrases in the first-person singular and the other in the third-person singular, commenting artists’ life.

(LOVE IS COLDER THAN DEATH)

Modest as the exhibition is, the idea of language and its meaning and feeling expands from the purely visual language of the installation, along the paintings to a video in which jokes about artists are told in two different ways.

© Villa Next Door 2019

Contents of all photographs courtesy to Manfred Schneider and to Livingstone Gallery, Den Haag

Bertus Pieters

Aaron van Erp, The Drawings 1998-2018; Livingstone Gallery, The Hague

Livingstone Gallery presently celebrates Aaron van Erp (1978) and especially his drawings.

Some of the drawings are made on brown wrapping paper which gives Van Erp the opportunity to extra accentuate white and some bright colours, a bit like Jheronimus Bosch in the dark scenes of his apocalyptic fantasies.

 

Aaron van Erp 05a

However Bosch’s monsters have turned into common present day, somewhat balding men, accompanied by the achievements of postmodern leisure society.

Aaron van Erp 06a

 

Constant struggle, violence and self-inflicted disaster seem to be the only aim of day to day consumer life, presented by Van Erp with a strong sense of humour and without bitterness.

They are the laughing nightmares of painting and drawing history.

Additional to the drawings there are some paintings on show as well in which Van Erp puts his subjects in a sometimes hallucinating light and dark.

© Villa Next Door 2019

Content of all photographs courtesy to Aaron van Erp and Livingstone Gallery, Den Haag

Bertus Pieters

Roger Wardin, A Perfect Storm; Livingstone Gallery, The Hague

Presently German painter Roger Wardin (1971) has an exhibition at Livingstone Gallery.

His works start with abstract painterly blots and spots over which he composes landscapes.

It is a fact that even in the most abstract paintings only one prominent horizontal line will give the depth of a landscape.

In Wardin’s paintings, with near-literary German theatricality, the abstract elements become a living, almost pregnant atmosphere in which it is difficult to see which is the real backdrop of his scenes: the trees, the sea, the horizon or the smudge and stains of the paint.

It is the last week of this show, so you have to hurry if you haven’t yet seen it.

© Villa Next Door 2018

Contents of all photographs courtesy to Roger Wardin and Livingstone Gallery, Den Haag

Bertus Pieters