Art in corona times 79. Show curated by Robbin Heyker; Superweakness, The Hague

Anatole de Benedictis

What is a strong exhibition?

Anatole de Benedictis

Is it an exhibition in which the audience is enriched with knowledge and philosophy?

Mara Alsters

Is it an exhibition in which the audience will be completely overcome by an extraordinary aesthetic experience?

Mara Alsters

Is it an exhibition in which all works of art take their proud place in a solemn parade of greatness?

Daniele Formica

Is it an exhibition in which all works are hanging and standing orderly in line to give the audience an idea of objectivity?

Daniele Formica

Is it an exhibition in which the audience will be so terribly moved by what they have seen, that a selling point of handkerchiefs at the exit will be commercially viable?

Bram De Jonghe

Is it an exhibition in which the gloves will be off and the audience will be knocked out?

Bram De Jonghe

Is it an exhibition in which the audience will feel socially and democratically connected and will be better citizens?

Bram De Jonghe

Is it an exhibition in which the curator will lead like an autocratic Mahler-conductor?

After a lost but a zillion times copied painting by Jean-Jacques Henner (1829-1905)

Is it an exhibition which gives a view on post-colonialism, gender-inequality, the destruction of ecosystems and blackness and whiteness?

Mirthe Klück

Is it an exhibition which proves its integrity by unreadable introductions which include all words necessary to be contemporary?

Bernice Nauta

Is it an exhibition which is so exhaustively educational that the audience will feel happy like in a kindergarten?

Bram De Jonghe

At Superweakness curators are asked to make a “weak” exhibition.

Wim De Pauw

In this case it was artist Robbin Heyker’s (1976) turn.

Wim De Pauw

The original idea of the series at Superweakness was to make exhibitions without much fuss, and that will be on show for only one or two days.

Wim De Pauw

That part of the super-weakness is lost already in this show, as it lasts some two weeks.

Philip Akkerman

Besides, it is of course up to you as an audience to see if this exhibition is so weak that it will not enrich your knowledge, philosophically or otherwise,

Camila Oliveira Fairclough

that you will not be overcome by the aesthetic experience,

Robbin Heyker

that you will find no solemn greatness in the works of art,

Ton Schuttelaar

that you will have no idea of objectivity while looking around,

Daniele Formica

that you need no hanky for your emotions,

Wim De Pauw

that you will not be knocked out,

Wim De Pauw

that you feel as disconnected as always,

Wim De Pauw

in which the curator has no conductorial aura,

Wim De Pauw

that will give you no view on anything at all,

Henk Visch

in which there is nothing to read to tell you what you see, and that doesn’t try to educate you.

Henk Visch

Go and tell me later (why should i always do the dirty work telling you); it is at Willem Dreespark 312, The Hague and open on Saturday June 26 13:00-19:00 hrs; Thursday July 1 13:00-18:00 hrs and on Friday July 2 13:00-19:00 hrs.

Henk Visch

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© Villa Next Door 2021

Contents of all photographs courtesy to all artists and to Superweakness, Den Haag

Bertus Pieters

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Art in corona times 75. Robe bleu, fond rouge; Quartair & West End project space, The Hague

Philip Akkerman

To write a review for Villa La Repubblica about the group show Robe bleu, fond rouge i visited both Quartair and West End project space. Click here to read the review in VLR (in Dutch)

Philip Akkerman

As i have written extensively about the exhibition in VLR, i leave you here with some pictures. The show is still open over the weekend, which is your last chance to see it!

Philip Akkerman
left: Machteld Rullens; right: Morgan Betz
Machteld Rullens
Luuk Kuipers
Wieteke Heldens
Kees Andrea
Kees Andrea
Kees Andrea
Jan Wattjes
Judith van Billderbeek
Jan Wattjes
Luuk Kuipers
Marion van Rooij
Marion van Rooij
Mirthe Klück
Marion van Rooij
front, left to right: Marion van Rooij, Jan Wattjes; back: Luuk Kuipers
left to right: Judith van Bilderbeek, Morgan Betz, Marion van Rooij, Mirthe Klück
Judith van Bilderbeek
Rob Knijn
Rob Knijn
Annemieke Louwerens
Annemieke Louwerens
left to right: Pietertje van Splunter, Nies Vooijs, Annemieke Louwerens
left: Pietertje van Splunter; right: Nies Vooijs
Pietertje van Splunter

Click here to read the review in VLR (in Dutch)

Nies Vooijs

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© Villa Next Door 2021

Contents of all photographs courtesy to the artists, Quartair and Projectruimte West End, Den Haag

Bertus Pieters

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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)

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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

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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!