Art in corona times 51. Cao Guimarães, Natascha Libbert & Ricardo van Eyk, Trace On Trace; 38CC, Delft

Ricardo van Eyk

The human species consciously and extensively intervenes in the natural environment, for habitation, agriculture, industry, transport and recreation.

Ricardo van Eyk

We all know the sad stories of pollution and injuries to the landscape i guess.

Natascha Libbert

In the mean time humans, like other species, are careless as well.

Ricardo van Eyk

This carelessness also leaves traces of human activity.

Natascha Libbert

38CC in Delft shows works by three artists – Cao Guimarães (1965), Natascha Libbert (1973) and Ricardo van Eyk (1984) – who are interested in these traces.

Ricardo van Eyk

One could call it the aesthetics of human carelessness.

Natascha Libbert

Libbert shows photographs made during her travels.

Natascha Libbert

They are usually attractive pictures of less attractive carelessness.

Natascha Libbert

They have the deceptive beauty of apples in paradise.

Cao Guimarães

Their abstract, sometimes even gemlike beauty, contrasts starkly with their often distressing content.

Ricardo van Eyk

Very inventive is the way Van Eyk’s intervention in the gallery connects his and Libbert’s works. Van Eyk is the most “objective” of the three artists.

Ricardo van Eyk

His aesthetics of carelessness are about the traces you may pass along on a daily basis without noticing them.

Ricardo van Eyk

Small signs of decay and destruction like cuttings or abrasions.

Cao Guimarães

Guimarães’ works are the most festive of the three.

Cao Guimarães

His two warm-hearted and colourful video’s celebrate life with the sheer joy of colours, and additional sounds produced by others.

Cao Guimarães

Once absorbed in these attractive video’s it is difficult to stop watching them.

Cao Guimarães

All together this very interesting show gives a much needed deviant accent to the otherworldly historic dollhouse-beauty of Delft’s city centre.

Cao Guimarães

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© Villa Next Door 2020

Contents of all photographs courtesy to the artists and 38CC, Delft

Bertus Pieters

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Manor Grunewald, Laura Jatkowski & Ricardo van Eyk, Be My Billy; Billytown, The Hague

Manor Grunewald

At first sight one may not think of Manor Grunewald (1985), Laura Jatkowski (1990) and Ricardo van Eyk (1993) as partners in a group show.

Manor Grunewald

Manor Grunewald

Manor Grunewald

Manor Grunewald

However, in Billytown’s new gallery space they seem to be the perfect trio to open a potentially challenging program of exhibitions.

Laura Jatkowski

Laura Jatkowski

Laura Jatkowski

Laura Jatkowski

The emphasis of the show is characteristically on the merging of making and thinking and its spatial consequences.

Left to right: Manor Grunewald, Laura Jatkowski, Ricardo van Eyk

Ricardo van Eyk

Ricardo van Eyk

Ricardo van Eyk

All three artists focus both on the overall impression of their works as well as on the details.

Ricardo van Eyk

Ricardo van Eyk

Ricardo van Eyk

Conceptual thinking is mixed with the possibilities of the used materials, in Jatkowski’s case even acoustics and video.

Laura Jatkowski

Front: Laura Jatkowski; back: Manor Grunewald

Left to righ, Ricardo van Eyk, Laura Jatkowski

Front: Laura Jatkowski; back: Ricardo van Eyk

The day i visited to make these photos the autumn weather was grey and gloomy, which made it next to impossible to make some clear pictures in spite of the building’s  big windows.

Front: Laura Jatkowski; back: Ricardo van Eyk

Ricardo van Eyk

Ricardo van Eyk

Left to right: Manor Grunewald, Ricardo van Eyk, Laura Jatkowski

On the other hand, it gave the works and the space a more monumental and concise character.

Left to right: Ricardo van Eyk, Manor Grunewald

Laura Jatkowski

Laura Jatkowski

Laura Jatkowski

On the whole it is a very promising first show in a new chapter of Billytown’s existence.

Laura Jatkowski

© Villa Next Door 2018

Content of all photographs courtesy to the artists and Billytown, Den Haag

Bertus Pieters