Art in corona times 36. Diet Sayler & Ewerdt Hilgemann, Disruption as Part of the Deal; PARTS project, The Hague

Diet Sayler

During the heyday of Modernism, geometry was thought to be a means to keep too much individual emotion out of art.

Diet Sayler
Diet Sayler
Diet Sayler

Basic geometry was seen as having enough potential of its own to convey a strong aesthetic statement.

Diet Sayler
Diet Sayler

However, the self was constantly itching under the artist’s skins.

Ewerdt Hilgemann
Ewerdt Hilgemann

Artists like painter Diet Sayler (1939) and sculptor Ewerdt Hilgemann (1938) – both presently showing their work at PARTS project – broke with the un-individual idea of geometric, concrete art.

Ewerdt Hilgemann
Ewerdt Hilgemann
Diet Sayler

Sayler allowed colour back into his works (and not just a little), while using so-called basic elements for the shapes in his compositions, configuring them with the help of coincidence.

Diet Sayler
Ewerdt Hilgemann

As such his works have become both quasi-objective and almost lyrical with their intense colours.

Ewerdt Hilgemann
Ewerdt Hilgemann

Hilgemann saw the potential of imploding a perfect three-dimensional shape into a crumpled character.

Front: Ewerdt Hilgemann; back: Diet Sayler
Ewerdt Hilgemann

Both artists have since then attained an individual craftsmanship based on experience and intuition.

Diet Sayler
Ewerdt Hilgemann
Ewerdt Hilgemann

Personally, i’d say they brought brilliance to their work by letting the colours and the reflections shine invitingly, a brilliance much needed in this sombre autumn.

Ewerdt Hilgemann

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© Villa Next Door 2020

Contents of all photographs courtesy to Diet Sayler, Ewerdt Hilgemann and PARTS project, Den Haag.

Bertus Pieters

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Art in corona times 8. Pim Voorneman, Entre’21 – Unlocked/Reconnected, etc.; PARTS Project, The Hague

Pim Voorneman

To celebrate the re-opening of institutions for the visual arts during the current crisis, and to take part in the national on-line Unlocked/Reconnected project, PARTS-Project reconnects with an installation by Pim Voorneman.

 

Pim Voorneman

Pim Voorneman

The physical installation at the gallery is in three parts, but the sounds of it can also be experienced partly on PARTS’ website.

Pim Voorneman

Pim Voorneman

As the installation should be very much experienced on the spot, it would be a serious spoiler to tell you any of my experiences with it; it is better to visit it yourself (which i’d highly recommend).

Robert Holyhead

Robert Holyhead

Marijn van Kreij

Additionally some works from private collections are on show as well.

© Villa Next Door 2020

Contents of all photographs courtesy to the artists and to PARTS-Project, Den Haag.

Bertus Pieters

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

Werner Cuvelier, 1970 and Beyond; PARTS Project, The Hague

I visited PARTS Project to write a review for Villa La Repubblica about its present exhibition 1970 and Beyond with works by Werner Cuvelier (1939). 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.

Click here to read the review in Villa La Repubblica.

© Villa Next Door 2020

Contents of all photographs courtesy to Werner Cuvelier and PARTS Prohect, Den Haag.

Bertus Pieters

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

Jan Van Den Dobbelsteen, The limits of borderlines marginality margins and peripheries; PARTS Project, The Hague

It’s not the poet’s sweat, his breath or the perils of his life that make poetry.

It’s words.

The same accounts for a visual artist: it’s the materials that make art.

If only artists who think their work is the search for an individual style, would realise their quest is nonsense: it’s the material that dictates a style.

It’s all these things you have for free in life on this planet: objects, materials, space, colour, light, sound and the human brains.

It’s a communication between these that gives the artist the opportunity to make art, and that makes you experience art as a viewer.

These materials become spiritual by themselves if you understand them.

This understanding may be factual or scientific, but the understanding is also the way they behave and communicate with the viewer and with each other.

Of course their communication doesn’t exist of words, it’s not poetry; visual art is definitely not poetry.

It’s a communication that will only reveal itself if you just look, at the details and at the whole.

Further on, art happens, which means time plays a role as well.

It is on a certain moment that you enter a gallery to take a look at what is on show, and it is during a limited period in time that this show is taking place.

In fact you probably enter somewhere in the middle of the story, while the exhibition itself is part of a bigger ongoing story.

You break into the story somewhere in the middle of everything, even of your own life, as you don’t know what will happen next.

You discover things, hear sounds; things and sounds that already had their lives before you experienced them.

In winter, at this latitude, it is already dark when the gallery closes late in the afternoon, and artificial light becomes more important to see the objects on show.

They seem to prepare for some private time of their own, as you as a viewer may be doing as well.

Peering into the windows of the gallery at night time, you will only see some contours and vague shapes: the exhibition and its objects have temporarily stopped their communication.

You may experience that all and other things when visiting the present exhibition of Jan Van Den Dobbelsteen (1954) at PARTS project in this season of death and renewal.

© Villa Next Door 2020

Contents of all photographs courtesy to Jan Van Den Dobbelsteen and PARTS Project, Den Haag.

Bertus Pieters

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

Petra Strahovnik and Ensemble Modelo62: disOrders 1, Through the Looking Glass; Trixie, The Grey Space, Haagse Kunstkring, PARTS Project, Galerie Helder, The Hague

Klára van de Ketterij at Trixie

Through the Looking Glass is the first part of the two-year disOrders project by composer Petra Strahovnik and performed by members of the Ensemble Modelo62.

Klára van de Ketterij at Trixie

Last weekend three-hour sessions were held by different instrumentalists each in one of five different locations, dealing each with one of five so-called mental disorders: ADHD, anxiety disorder, depression, bipolar disorder and autism.

Klára van de Ketterij at Trixie

Having seen them all at Trixie, the Grey Space in the Middle, Haagse Kunstkring, PARTS Project and Galerie Helder, I must admit it leaves me with the idea that all performances were more or less autistic.

Klára van de Ketterij at Trixie

Whether it was percussionist Klára van de Ketterij (ADHD) running around a collection of drums and other percussive instruments, cellist Jan Willem Troost (anxiety disorder) grappling with his instrument and his environment, or electric guitarist Santiago Lascurain (depression) in his bathtub with dirt, they all showed an extremely meticulous dedication to what they were doing within the sheer unbreakable walls of their supposed conditions, for three whole hours.

The Grey Space

The performance by clarinettists Enric Sans Morera and Jorge López García (bipolar disorder) and the one by trumpeter Justin Christensen (autism) were even quite similar in ideas of expression: experiments with water and plastic in combination with the unexpected properties of their instruments.

Jan Willem Troost at The Grey Space

In the case of the depression performance, the expression was almost too literal, with the performer covering himself in black mud, and even while the guitar was only playing a slowly transforming sound by itself, one could call it a melodramatic performance.

Jan Willem Troost at The Grey Space

In the anxiety act the public was invited to use a triangle now and then, but what influence that had on the performance was hard to see.

Jan Willem Troost at The Grey Space

Was it an invitation to ease the tensions with the sound of the triangle or an invitation to be cruel to the performer with an unexpected sound?

Santiago Luscarain at Haagse Kunstkring

A confronting perspective is, of course, the fact that sufferers of these so-called disorders have to cope with it every day and night in all circumstances and not just for three hours.

Santiago Luscarain at Haagse Kunstkring

In the mean time one must be completely un-self-reflective or even narcissistic (!!) not to realise that we all have bits of these disorders in ourselves, in spite of the fact that most of us are thought to be ‘normal’.

disorders
Santiago Luscarain at Haagse Kunstkring.

They do not just confuse our brains, but may also make us cope with confusing or disturbing situations or stimulate dedication and creativity.

Santiago Luscarain at Haagse Kunstkring

The fact that autism can be most associated with all five acts, is maybe because art itself needs complete dedication both to the whole and to the detail and complete surrender to the performance, whether one is making music or a painting or whatever.

Enric Sans Morera & Jorge López García at PARTS Project

As for the five acts, as said they each lasted three hours which is quite a superhuman effort by the performers.

Jorge López García at PARTS Project

They performed for three hours for four days, and must have practiced and prepared for many hours.

Enric Sans Morera at PARTS Project

That in itself and the co-operation between the composer, the performers, the five art platforms and everybody technically and psychologically involved is a great job.

PARTS Project

In spite of that it should be said that none of the performances were artistically interesting enough to follow for three hours (or maybe that depends on one’s own disorder?).

Justin Christensen at Galerie Helder

Also the question asked by the composer “Can we find compassion in order to expand our concept as a society of what is ‘in order’?” may be a relevant question generally, but do these acts stimulate any answers or reflections on the subject?

Justin Christensen at Galerie Helder

And if they do, are they doing so implicitly or too explicitly?

Justin Christensen at Galerie Helder

Either the question may be too wide-ranging, or the performances need more (yes even more!) aesthetic reflection.

Justin Christensen at Galerie Helder

©Villa Next Door 2019

Contents of all photographs courtesy to all performers and art spaces.

Bertus Pieters

 

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Paul Neagu, Anthropocosmos; PARTS Project, The Hague

I visited PARTS Project to write a review about the present show with works by Paul Neagu (1938-2004) for Villa La Repubblica. Click here to read the review (in Dutch).

As i have written quite extensively in VLR about the exhibition, i leave you here with some impressions without comments, except for the fact that you really shouldn’t miss this show.

© Villa Next Door 2019

Courtesy to the estate of Paul Neagu, all owners of the works and PARTS Project, Den Haag

Bertus Pieters