By now that seems ages ago, so i decided to see under which conditions i could visit the gallery.
I had already seen that the exhibition had been extended over the month of May.
There were no other restrictions for a visit than the usual ones under the circumstances.
Not having seen each other since the pre-corona era, we had of course lots to discuss, as both the gallerist and me don’t need much stimulus to talk.
In March the gallery had taken part in VOLTA, New York and some of the works shown there still stood packed in the gallery, three works by Raquel Maulwurf (1975) making a good counterpoint to Jan Wattjes’ wonderful pentaptych.
Wattjes’ paintings in which both surface and space play an important – even monumental – role, contrast with some other works also on show which more or less deal with the human condition of the artist.
In the adjoining space are some paintings and drawings by Mendoza on show.
Talking about the human condition of the artist, Mendoza’s works are especially about the human condition of man in general and in America in particular.
Mendoza’s works share the space with Maulwurf’s bathtub, part of her exhibition last winter.
The phrases in the text works seem to be a hotchpotch of disconnected profundities and ironic remarks, splinters of the human condition.
Of two bigger paintings one has phrases in the first-person singular and the other in the third-person singular, commenting artists’ life.
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.
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.
However Bosch’s monsters have turned into common present day, somewhat balding men, accompanied by the achievements of postmodern leisure society.
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.
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.