Art in corona times 102. The end of ‘Art in corona times’. What next?

Art in corona times 1. 2 May 2020, SinArts Gallery

From May 2nd 2020 onwards i started categorising photo reports about exhibitions in Villa Next Door under the header Art in corona times.

Art in corona times 4, 15 May 2020, Topp & Dubio
Art in corona times 7a, 4 June 2020, A.R. Penck, Kunstmuseum, The Hague
Art in corona times 11, 23 June 2020, Mazen Ashkar, 1646
Art in corona times 18, 29 July 2020, Janice McNab, Stroom
Art in corona times 23, 19 August 2020, Caravaggio, Rijksmuseum, Amsterdam

By that time the corona restrictions were already intensely experienced by the arts sector. These days Covid-19 is still there but the heaviest lockdown measures have been lifted, so Art in corona times will be history for the time being. Art in corona times started with a visit to SinArts Gallery . I hadn’t seen Alex Lebbink, SinArts’ gallerist, for quite some time and he had organised time slots for individual visitors. The idea was that the corona measures would be very temporary and that i would use the label Art in corona times for a few postings, just to see how galleries and other art platforms were doing during the crisis and after that it would be more or less business as usual. However, that proved to be quite naive. Corona became a way of life in which the arts were not seen as an essential need in life. At first artists and other professionals were more or less empathetic to that idea, but as the crisis went on and on, the government’s sheer lack of interest for the arts became a thorn in the flesh of many an art professional, especially after the health minister’s remark that if you cannot go to the theatre you might as well stay at home and see a dvd, as if there was no difference between the two. Last week i posted Art in corona times 101 with some extra footage of the interesting exhibition about Aad de Haas at the Chabot Museum in Rotterdam and that was the last one under the corona banner.

Art in corona times 29, 17 September 2020, Steamboat, Trixie
Art in corona times 34, 28 September 2020, Jessica de Wolf, Artist Support Fair, Quartair
Art in corona times 37, 13 October 2020, Robbin Heyker’s Birding Club, featuring Arjan Dwarshuis
Art in corona times 43, 7 November 2020, Simphiwe Ndzube, Nest, The Hague
Art in corona times 48, 30 November 2020, Sjimmie Veenhuis, …ism

For those who want to have an idea of what was on show during the pandemic Art in corona times is easily locatable in Villa Next Door.

Art in corona times 52, 14 December 2020, Ellen Yiu, A Finger in Every Pie, Royal Academy students’ pre-graduation show

Lockdowns etc are over now but that doesn’t mean the worries about this or any other virus are gone.

Art in corona times 56, 20 February 2021, Ingrid Rollema, PIP Den Haag
Art in corona times 59, 14 March 2021, Paul van der Eerden, Romy Muijrers, Galerie Maurits van de Laar
Art in corona times 64, 9 April 2021, André Kruysen, Galerie Ramakers
Art in corona times 68, 30 April 2021, Zhang Shujian, PARTS Project
Art in corona times 75, 11 June 2021, Marion van Rooi, Jan Wattjes, Luuk Kuipers, Quartair

Covid-19 may return with a more dangerous version, and an altogether new and equally or more dangerous virus may come. The question is not if it will come, but when it will come. The bird flu virus being one of the most obvious contenders in the real viral world. Another worry in the aftermath of corona is the questionable urge of authorities to control everything and everybody, if possible with modern technology. This urge is understandable as authorities of any political colour try to influence social processes for the benefit of society as a whole. However, even before the Corona crisis it has already been proven that this urge to control has turned against citizens, as a holy faith in the objectivity of modern technology, market forces and a reduction of the state to a kind of control device has replaced a democracy in which different opinions in society play a role. Villa Next Door is not the place to make a deep analysis about society, politics, the free market, modern technology, the influence of debilitating conspiracy theories, and a considerable chunk of society that rather believes in so-called alternative facts than in real facts, that prefers evil tales to science. However this is the framework – as i see it – in which art is made, seen and presented today in this country, and i want to be clear about the context in which i give you my reports about exhibitions and art in this blog. After all, you don’t have to agree, but you should know. Another worry is the new situation with the war in Ukraine. One might suggest i should replace Art in corona times with Art in war times. However, the Netherlands are at the moment not at war with any other country. Also, it should be said that another devastating war is going on in Yemen for seven years now. Although this is principally a civil war, it has become internationalised, with other countries in the Middle East intervening. The conflict in Ukraine may have a global significance, or rather, it will have, even if the war itself remains physically limited to Ukraine. That, together with the devils unleashed during the Corona crisis, will bring us interesting but also ominous times. So, in the mean time, i repost some pictures here of some highlights of Art in corona times.

Art in corona times 81a, 12 July 2021, Joseph Palframan. Royal Academy, The Hague
Art in corona times 82b, 26 August 2021, Farkhondeh Shahroudi. Sonsbeek 20-24, Arnhem
Art in corona times 88, 27 September 2021, Yaïr Callender, Kadmium, Delft
Art in corona times 95, 17 December 2021, Casper Verborg, Galerie Helder
Art in corona times 97, 21 January 2022, Yesim Akdeniz, Dürst Britt & Mayhew

Hope to see you soon in real life or in this blog, stay healthy and sane, and keep your eyes open!

Art in corona times 101, 16 February 2022, Aad de Haas, Chabot Museum, Rotterdam

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© Villa Next Door 2022

Contents of all photographs courtesy to all artists, galleries, art platforms, museums and owners of the works.

Bertus Pieters

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Art in corona times 87. After Daan van Golden; PARTS Project, The Hague

Mirthe Klück

Some time ago i visited PARTS Project to write a review about its present exhibition After Daan van Golden. Click here to read the review in VLR (in Dutch).

Mirthe Klück

It is a very full and rich show and as i’ve written quite extensively about it i just leave you here with some details and impressions of it.

Maurice van Es

However there is far more to see than these impressions suggest, so do plan a visit and take your time!

Maurice van Es
Carel Blotkamp
Daan van Golden
Fergus Feehily
Marijn van Kreij
Maja Klaassens
Maja Klaassens
Daan van Golden
Niek Hendrix
Robbin Heyker
Magali Reus
Magali Reus
Magali Reus
Alice Tippit
Daan van Golden
Riëtte Wanders
Just Quist
Annemarie Slobbe
Indigo Deijmann
Indigo Deijmann
Fergus Feehily
Daan van Golden
Richard Aldrich
Marijn van Kreij
Ronald de Bloeme

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

Ronald de Bloeme

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© Villa Next Door 2021

Contents of all photographs courtesy to all artists, the estate of Daan van Golden, all owners of the works and PARTS Project, Den Haag

Bertus Pieters

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

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

Bertus Pieters

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Art in corona times 37. Robbin Heyker’s Vogelclub (Robbin Heyker’s Birding Club), featuring Arjan Dwarshuis; Kifl the Kid Salon, Billytown, The Hague

Those who know me, know that i am not enthusiastic about either sports or religious gatherings, yet, i did take part in something like that in an event, a spin-off of the Kifl the Kid Salon, presently at Billytown (Click here to see an earlier report about the Kifl the Kid Salon) .

At Kifl the Kid Salon spontaneous events are being organised and one of them was Robbin Heykers Vogelclub (“Robbin Heyker’s Birding Club”), featuring Arjan Dwarshuis, the man who saw 6852 different bird species in 2016 during a world trip.

The event was in two parts; a film evening featuring Arjan’s Big Year, in which you can see Dwarshuis crisscrossing the world, watching and counting birds, anything feathered in between ostriches and hummingbirds.

The second part was a birding excursion at Meijendel, the coastal dunes near The Hague, led by Dwarshuis.

It was an exceptionally good morning to see bird migration, described by Dwarshuis as “just as spectacular as the big game migration in Eastern Africa,” except that few people in this country seem to be aware of that.

With a moderate south-eastern wind, conditions were very good according to Dwarshuis, which proved to be true.

Dwarshuis surely made us – a small bunch of artists and art-bugs for whom looking and seeing (watching) are cardinal activities – see loads of birds, especially in the sky, but also in the scrubs and in the water, usually unseen, even by artists and the like.

It was indeed extraordinarily exceptional, especially in the beginning of the morning when the sky was full of thousands of migrating birds.

What did we see?

Well, we saw: redwing (loads), fieldfare (loads), song thrush (loads), mistle thrush, blackbird, robin, stonechat, chaffinch, brambling, hawfinch, greenfinch, siskin,

goldfinch, linnet, redpoll, reed bunting, tree sparrow, great tit, blue tit, long-tailed tit,

jackdaw, carrion crow, jay, magpie, starling (double loads), treecreeper, wren,

goldcrest, firecrest, chiffchaff, blackcap, Cetti’s warbler, dunnock, grey wagtail, pied wagtail,

house martin (just one), sky lark, great spotted woodpecker, green woodpecker,

wood pigeon, stock dove, kingfisher, kestrel, sparrow hawk, goshawk,

buzzard, great white heron, grey heron, spoonbill, herring gull, common gull, black-headed gull,

lesser black-backed gull,  common snipe, coot, mallard, tufted duck, pochard, red-crested pochard,

great crested grebe, little grebe, greylag goose, white-fronted goose, pink-footed goose,

cormorant, and i probably missed out a few.

Without being a conspiracy thinker, one can easily state that that very morning the sky was full with the of spectacular phenomenon but unseen by those who are not woke.

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© Villa Next Door 2020

Contents of all photographs courtesy to all participants and Billytown, The Hague; special thanks to Robbin Heyker and Arjan Dwarshuis.

Bertus Pieters

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The Ballroom; Billytown, The Hague

There is presently a moving bike with a burning candle on its saddle in Billytown.

It turns, moves and makes noise like a spoilt child, constantly trying to catch your attention.

Or is it the embodiment of thinking and creativity, trying to find a way out of the grids, structures and obstacles of life, society and the mind?

As such it could well be the noisy candle-barer of all the works in the present exhibition.

The Ballroom is a show constantly in flux and in the making.

Works may be changed or moved.

Although the exhibition has had an official opening, its end may well be its real opening at the same time.

No names or titles are added, but the works are all made by Billytown’s own artists and are all up to discussion.

One work may be more constant than the other.

The tables can be used for anything, from eating and drinking from, to discussing matters, or just to have a moment of sitting down and looking around.

The works are by Rachel Bacon, Melle de Boer, Kim David Bots, Afra Eisma, Robbin Heyker,

Paul de Jong, Bram De Jonghe, Maja Klaassens, Marius Lut, Bernice Nauta,

Nishiko, Robbert Pauwels, Iede Reckman, Suzie van Staaveren and Marieke van ‘t Zet.

© Villa Next Door 2019

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

Bertus Pieters

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See what you know; Quartair, The Hague

Ilona Plaum

In the present exhibition at Quartair, painting is identified with space, knowledge, the act of painting and the self.

Ilona Plaum

Wieteke Heldens

Wieteke Heldens

Robbin Heyker

Nies Vooijs

In fact this would apply to any discipline in visual and other arts, but of course painting is one of the basic and most traditional of the visual arts.

Pietertje van Splunter

Pietertje van Splunter

left to right: Wieteke Heldens, Pietertje van Splunter

Robbin Heyker

Ilona Plaum

Ilona Plaum

That doesn’t mean that all works on show are paintings in a sense that they are pieces of canvas or panels with pasty pigments on them.

Jeroen Hofhuizen

Jeroen Hofhuizen

Raymond Cuijpers

Raymond Cuijpers

Raymond Cuijpers

For instance André Kruysen’s works are sculptures and Delphine Courtillot makes ceramics.

Raymond Cuijpers

left to right: Nies Vooijs, Ilona Plaum, André Kruysen

Nies Vooijs

Nies Vooijs

Nies Vooijs

Nies Vooijs

Even Ilona Plaum’s painting-like works are in fact prints and in one of her works Wieteke Heldens doesn’t use paint but a marker.

front to back: Nies Vooijs, André Kruysen, Robbin Heyker

left to right: Wietke Heldens, André Kruysen, Robbin Heyker

left to right: Robbin Heyker, André Kruysen

André Kruysen

André Kruysen

Indeed the way paint is used by the other artists is very personal and is very well presented in this spacious exhibition.

left to right: Pietertje van Splunter, André Kruysen, Robbin Heyker

left to right: André Kruysen, Wieteke Heldens

front to back: André Kruysen, Nies Vooijs

André Kruysen

front to back: André Kruysen, Delphine Courtillot, Raymond Cuijpers

front to back: Delphine Courtillot, Raymond Cuijpers

Quartair, with its columns, is not always an easy space to create effective exhibitions but this one makes very good use of all sightlines and there is a very good dialogue between sculpture and painting, or rather between the spacial and the flat.

front to back: Delphine Courtillot, Raymond Cuijpers

left to right: Raymond Cuijpers, Delphine Courtillot, Nies Vooijs

Delphine Courtillot

Delphine Courtillot

left to right: Ilona Plaum, Delphine Courtillot

As for its composition, arrangement, variety and quality this is certainly one of the best exhibitions in Quartair.

left to right: Pietertje van Splunter, Delphine Courtillot, Robbin Heyker

© Villa Next Door 2018

Content of all photographs courtesy to all artists and Quartair, den Haag

Bertus Pieters