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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© Villa Next Door 2020

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

Bertus Pieters

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Christie van der Haak and guests: Different than Usual; Galerie Maurits van de Laar, The Hague

Hélène Penninga

Well, there you are: i proposed to publish only a few pictures as a teaser for what i think you should really go and see.

Christie van der Haak
Christie van der Haak
Jos de l’Orme
Jos de l’Orme

But then, when selecting pictures for this post, i was overcome by the same kind of drunkenness you get when seeing this exhibition, and here are far more pictures than i wanted to publish intially.

Katia Borghesi
Katia Borghesi
Peter Vos, Ellen van Dijk

Source of this drunkenness is Christie van der Haak (1950), or rather her work.

Peter Vos
Peter Vos
Ellen van Dijk

She invited sixteen guest artists to show their works against the backdrop of her own wall decorations at Galerie Maurits van de Laar.

Ellen van Dijk
Marjolijn van der Meij
Marjolijn van der Meij
Hélène Penninga

At the opening one of the artists called it a dialogue, which i think is the right idea.

Christie van der Haak
Pim Piët
Pim Piët

But it is also a declaration of love for the works of these very different artists and even for art in general.

Diederik Gerlach
Christie van der Haak
Christie van der Haak

Most of them are no artists of the gallery, some of them are household names (at least in The Hague), some of them are quite unknown here behind the dunes, which makes the show all the more interesting.

Diederik Gerlach
Anya Belyat Giunta, Elise Hageman
Anya Belyat Giunta
Elise Hageman

Generally, Van der Haak’s decorations give an extra dimension to the works of the other artists.

David Pedraza
Theun Govers
Marcel Zalme, Reinoud van Vught, Harold de Bree

It stresses their peculiarity, or even their mystery, if you wish.

Marcel Zalme
Reinoud van Vught
Harold de Bree

It is as if everything takes place within one big frame story which leads you to all kinds of different narratives and temperaments, all glowing with their own characteristics.

Nynke Koster

© Villa Next Door 2020

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

Bertus Pieters

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Pim Piët, line poetry; Bos fine art, The Hague

Recently Pim Piët (1954) showed work partly based on words, music, rhythm and silence.

Presently, at Bos fine art, he also exhibits works without these features.

These compositions have incisions and most of them have muted colours.

Every composition seems to have started with an idea of harmonic perfection, knowing that perfection can only exist with imperfections.

Visible brush strokes and the structure of the wood in the panels make the works breathe.

Almost every one of the works is a gem of inner balance.

As usual Piët also made his own exhibition, making the show itself a work of harmony as much as the individual works.

© Villa Next Door 2020

Contents of all photographs courtesy to Pim Piët and Bos fine art, Den Haag.

Bertus Pieters

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negen10drie&7tig (9teen7ty3); Stichting Ruimtevaart, The Hague

Jan de Weerd

The present show at Stichting Ruimtevaart (Space Travel Foundation) is based on an artistic conversation of four artists who met each other in 1973 at the former Vrije Academie  (Free Academy) in The Hague.

Jan de Weerd
Nies Vooijs

By that time the Vrije Academie was the more progressive institution, compared to the then quite conservative Royal Academy (KABK) of The Hague.

Pim Piët
Nies Vooijs

However, there is no place for nostalgia in the show.

Pim Piët
Nies Vooijs

Each artist has his/her own way of working and thinking and in fact, their works have nothing to do with each other.

Pim Piët
Jan de Weerd
left to right, Pim Piët, Nies Vooijs, Jan de Weerd

In spite of or maybe even due to that, it has become a very accessible exhibition.

Pim Piët
left to right, Jan de Weerd, Pim Piët

Works on show are by Pim Piët, Nies Vooijs and Jan de Weerd.

Pim Piët
Jan de Weerd

Alas, the fourth artist, Marion van Rooij, unexpectedly died only a few days before the opening of the show.

Nies Vooijs
Nies Vooijs

Because of that her works could not be presented, so she is now represented by some open spaces.

Marion van Rooij

© Villa Next Door 2019

Contents of all photographs courtesy to the artists and to Stichting Ruimtevaart, Den Haag.

Bertus Pieters

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Studio visit #7: Pim Piët

It was already quite some time ago that Pim Piët (1954) and i agreed to meet in his studio. We often meet at exhibitions here in town.

It is quite difficult not to meet at any vernissage in The Hague as we are both always eager to know what is going on and what is on show.

Last winter he had a presentation at De Spanjaardshof, the building where he and many others have their studios. It was a small (the space itself isn’t that big) but impressive installation with painting, panels creating alternative, more intimate space, a standing bell and sound.

It was a tranquil and reflective installation, great to see and experience during those dark winter days.

Others might have made it into a woolly, quasi-mystical scene, but that is far from what Piët aims at. For a long time he has been using words in his paintings, often just single words.

Words don’t just have a meaning, they also have a shape. The shape intermingles with the meaning and both define his paintings.

A bit like words defining a poem and its shape.

Of course colour is also a defining factor in his paintings. As for the sound, there has been a good co-operation between him and composer Anna Mikhailova(1984) for the last few years.

Piët’s word paintings, often rhythmic, have a quality that allows, even welcomes music and sound, not just for a background but as an equal partner.

As such his co-operation with Mikhailova has proven to be a very fruitful one. Mikhailova in turn has a very good feeling for what Piët wants in his pictures.

Maybe surprisingly, when we saw each other in his studio we hardly talked about his individual works.

We did talk about the marvellous light in the studio, about the general conditions for making art and about different tendencies in making exhibitions, but i guess his works, covering the walls and part of the floor, quite spoke for themselves. Piët’s work is, as it is for almost all artists, a labour of love.

Labour was one of the aspects of life we discussed.

As for many artists Piët has earned a living with other, non-artistic labour. He purposely didn’t choose for a more ambitious or intellectual job, he needs his intellectual capacities for his art work. On the other hand even the most unintellectual jobs need a sense of purpose and dedication if they are really useful.

We agreed however that even this sense of purpose and dedication is denied to workers these days as efficiency is aiming at higher profits to generate more money for shareholders instead of aiming at a better and meaningful life for workers and a better service to the public.

One can even see it in the way young artists have to work in this country.

We were discussing this with Piët’s wonderful works around us and his materials and books as witnesses of what purpose and dedication can really bring in life.

For those who fear we ended on a bit of a pessimistic note: we didn’t. I think for both of us seeing and making art is too fascinating to become pessimistic about.

As to me it was a very inspiring afternoon. Thank you Pim!

© Villa Next Door 2019

Content of all photographs courtesy to Pim Piët.

Bertus Pieters

 

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