Art in corona times 50. Theme, Method, Freedom of Choice; Galerie De Zaal, Delft

Philip Akkerman

Currently at Galerie De Zaal in Delft works by twelve artists are on show, based on their themes and working methods.

Philip Akkerman

The exhibition was composed by painter Jaap van den Ende (1944) who divided the twelve artists into six couples, duos who have each one aspect, a working method or a theme, in common.

Philip Akkerman (detail)

There are for instance Philip Akkerman (1957) and Jos van Merendonk (1956) who have stuck obstinately to one theme during the greater part of their artistic lives.

Jos van Merendonk

For Van Merendonk it is the colour chromium green and some basic shapes, movements and structures and for Akkerman it is his self portrait.

Jos van Merendonk (detail)
Jos van Merendonk (detail)

In the case of Akkerman the self portrait has become no more than a scheme to make extreme painterly variations on, while Van Merendonk’s theme and methods seem to be even more limited, concentrating on the subtleties of the outcomes.

Maarten Janssen
Maarten Janssen (detail)
Maarten Janssen (detail)

Maarten Janssen (1960) and Anjes Adriaansens (1955) both use chance in their methods.

Anjes Adriaansens
Anjes Adriaansens (detail)
Anjes Adriaansens (detail)

In Janssen’s work that results in very different works in different materials in which there is always a sense of imperfection or a kind of upside-downness, while in Adriaansens’ paintings a new harmony is found in the methodical chaos she creates.

Jan Smejkal
Jan Smejkal
Jan Smejkal

Gracia Khouw (1967) and Jan Smejkal (1948) both use words in their works.

Gracia Khouw
Gracia Khouw
Gracia Khouw (detail)

In Smejkal’s works the words, although perfectly well readable, seem to blur, while with Khouw words create the composition, balancing in between meaning and abstraction.

Guido Lippens (detail)
Guido Lippens (detail)
Guido Lippens

The works on show by Guido Lippens (1939) and Arie Berkulin (1939) seem to have a touch of exoticism, while both artists’ works have evolved from concrete abstraction.

Arie Berkulin
Arie Berkulin (detail)
Arie Berkulin (detail)

To both, but especially to Lippens’ works, decoration has become a meaningful aesthetic element.

Rien Monshouwer
Rien Monshouwer

Rien Monshouwer (1947) and Gerco de Ruijter (1961) both reflect on place, limited parts of the surface of our planet we use or inhabit.

Rien Monshouwer
Gerco de Ruijter

In his currently presented paintings Monshouwer concentrates on the scheme of the one or two persons household apartments that were built in the 1970s, and gives them a new life with lyrical but subtle colours.

Gerco de Ruijter (detail)
Gerco de Ruijter (detail)

De Ruijter’s presented works concentrate on the patterns of circular sprinkling units used in agriculture in dryer places all over the globe, bringing them together as collections or examples of unearthly coins.

Jaap van den Ende
Jaap van den Ende

In the works by Jaap van den Ende and Eric Jan van de Geer (1965) reality is always given a second thought.

Jaap van den Ende (detail)
Eric Jan van de Geer

Almost literally in Van den Ende’s work; in fact his oeuvre has become more and more a method of thought and second thought of reality, while in Van de Geer’s works on show the inherent decomposition of  the CMYK printing method makes them an ultimate afterthought of reality.

Eric Jan van de Geer (detail)

As a whole it is a very full and rich exhibition and a must see for those of you who think that the materiality of ideas is an inalienable aspect of visual art.

Eric Jan van de Geer (detail)

Now that you’ve come here, you might as well subscribe to Villa Next Door (top right of the page)!

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© Villa Next Door 2020

Contents of all photographs courtesy to the artists and Galerie De Zaal, Delft

Bertus Pieters

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Art in corona times 33b. Haagse Heritage (“Hague Heritage”); Heden, The Hague

Marijke de Wit

Heden asked eighteen Hague artists to each show a work of their own that hasn’t been exhibited before and that is of special value to them.

Anne Forest (detail)

It has resulted in a heterogeneous exhibition of eighteen works in the central space of the gallery.

Philip Akkerman (detail)

Mirthe Klück

For those, like me, who are familiar with Hague artists, this is a good chance to see both familiarity and surprises.

Gino Anthonisse (detail)

Thomas van Linge

For those who are not familiar with these artists, this show could be a bit of an introduction, although it is much too small to give a real introduction to the rich diversity of artists who live and work in this town.

Marleen Sleeuwits (detail)

As such the title Haagse Heritage (partly English) is a misnomer, except if it is the title of an upcoming series. [Update: Heden just told me this is the second of an ongoing annual series – BP]

Boris de Beijer

Pim Piët (detail)

Another aspect you might miss is a list with short statements about reasons why the artists have chosen a particular work.

Tim Hollander

Thomas van Rijs

That would have given more meaning to the whole presentation and to the diversity of the works.

Lilian Kreutzberger (detail)

Sjoerd Knibbeler

Apart from that it is a fine group of works presented in a balanced way.

Arianne Olthaar (detail)

As photographs always lie, and as i couldn’t make satisfying pictures of three works in the show, it would be better to take a look yourself.

Thomas Raat

Now that you’ve come here: subscribe to Villa Next Door (top right of the page)!

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© Villa Next Door 2020

Contents of all photographs courtesy to all artists Heden, Den Haag.

Bertus Pieters

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Cedric ter Bals & Philip Akkerman, Twiemæl Sterben; Galerie Maurits van de Laar, The Hague

Cedric ter Bals

For its exhibition Twiemæl Sterben (“Dying Twice” in an invented Germano-Scheveningen dialect) Galerie Maurits van de Laar has changed into a kind of war zone.

Cedric ter Bals

Cedric ter Bals

But don’t worry too much, as the battle is especially about the expansive way the human spirit can turn time and space upside down by sheer imagination.

Cedric ter Bals

So you may be shot at by colours and shapes that may or may not have any historic reference.

Philip Akkerman

The duo show has come about by a tight co-operation of Cedric ter Bals (1990) and Philip Akkerman  (1957).

Philip Akkerman

Philip Akkerman

Ter Bals presents his recent picture novel Tagebuch Oskar von Balz (Diary Oskar von Balz) about which i have already written extensively in Villa La Repubblica. Click here to read that article (in Dutch).

Philip Akkerman

Philip Akkerman

Akkerman, of course, won’t need much introduction as the uncurable self portrait painter.

Philip Akkerman

Philip Akkerman

No doubt Akkerman’s works are self portraits but on the other hand they are not, as they are also reflections on painting and its traditions, from medieval to post-modern, or rather a mix of it.

Philip Akkerman (Portrait of Oscar ter Bals)

Looking at them, one may think of different styles but they are always clearly in the first place works by Akkerman, who defies the usual linear idea of history.

Cedric ter Bals (Portrait of Philip Akkerman)

That is where he meets his much younger colleague Ter Bals, to whom he has given much space to arrange the show.

Cedric ter Bals

Cedric ter Bals

Some of Akkerman’s works even drown more or less behind the scene here and there.

Cedric ter Bals

Click here to read the article about Ter Bals in Villa La Repubblica (in Dutch).

Philip Akkerman

© Villa Next Door 2019

Contents of all photographs courtesy to the artists and Galerie Maurits van de Laar, Den Haag

Bertus Pieters

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