To be or to have presents exhibition catalogue 2013 by peter stickr

PSTPS 2013 TPSTP TO BE OR

TO HAVE PRESENTS

Please support SEA Foundation Make a donation and receive the catalogue as digital download. Click the heart below to donate.

Alle werken zijn te koop. Heb je belangstelling om een werk aan te schaffen, in ruil voor geld, diensten of goederen, neem dan contact op met: info@seafoundation.eu

TO BE OR TO HAVE PRESENTS 2013 Project Space Tilburg Gust van Dijk

All works are for sale. In case you desire to purchase any of the works, either for money or barter in exchange for services or goods, please contact us by email: info@seafoundation.eu

Voorwoord Jaren geleden, toen ik nog op de Gerrit Rietveld Academie zat en daar textiel als autonome kunst studeerde, zag ik in 1978 in London de derde editie van de International Exhibition of Miniature Textiles. Die tentoonstelling heeft lange tijd tot mijn verbeelding gesproken. De variatie in de kleine werken van textiel vond ik boeiend en het idee dat miniatuur niet per definitie betekent dat het een studie voor een groter werk moest zijn vond ik interessant. Vanaf 2010 speelde ik met het idee dat ik een tentoonstelling van kleine werken zou willen samenstellen die vanuit meerdere disciplines het verhaal van klein beginnen zou kunnen laten zien. Ik speelde met de titel â&#x20AC;&#x2DC;Jewels & Small Stuffâ&#x20AC;&#x2122; , zocht naar beschikbare ruimtes in Tilburg en benaderde hierover kunstenaars. Het idee heb ik met regelmaat naast me neergelegd omdat de beschikbare ruimte niet juist was, dat ik er subsidie voor zou moeten aanvragen omdat een internationale tentoonstelling maken nu eenmaal kostbaar is, en ook omdat het me aan hulp ontbrak om dit verlangen om te zetten in tastbare werkelijkheid. Nu, november 2013 is het dan zover. De ruimte is er. Het is intiem en zichtbaar. Het geld is er niet gekomen maar gelukkig heb ik op de rijkelijke hulp van velen mogen rekenen.

Introduction In 1978 I studied textiles at the Gerrit Rietveld Academy when I saw the third edition of the International Exhibition of Miniature Textiles in London. That exhibition stuck with me for a very long time. It triggered my imagination. I was fascinated by the variations in the smalls works. The idea that a small does not necessarily means that it is a study for a larger work made a lasting impression on me. Since 2010 I have been contemplating the idea of making an exhibition consisting of only small works, which use all kinds of media to illustrate the story “start small”. As a title I considered ‘Jewels & Small Stuff’. While i was looking for suitable locations in Tilburg I approached artists. I put the idea of making this exhibition aside because available locations just were not suitable. The fact that I would have to apply for funding, because creating an international exhibition is an expensive enterprise, did not appeal to me either. And now, November 2013, it is here. The location is intimate and visible. The financial aid did not come, but luckily I was able to rely on the help of many. Such as artists involved and their galleries for making artworks available. Countless volunteers, who with their energy and dedication arranged a lot

Hulp van betrokken kunstenaars en hun galeries om een werk beschikbaar te stellen, hulp van talloze vrijwilligers, die met energie en toewijding ervoor zorgden dat praktische zaken konden worden geregeld. Hulp van een projectleider die als onbetaalde stagiaire ervaring wilde opdoen. Zo kwam er een nieuwe titel ‘To be or to have Presents’ die inspeelde op een hedendaags tijdsbeeld en er is zelfs een kleine catalogus van de tentoonstelling gekomen, een klein wonder. Ik ben allen die geholpen hebben heel veel dank verschuldigd. Ik ben ook verheugd deze gift te mogen delen met het publiek dat komende december - en januari maand de uitzonderlijk mooie etalage van Gust van Dijk in het centrum van Tilburg kan bekijken. Dat hierin de kunst puur en kwetsbaar staat opgesteld en belangstellenden met plezier de catalogus digitaal zullen bekijken. Ik verheug mij ook op deze schoonheid van klein beginnen. Dank aan Ann Sutton, de initiatiefneemster van de tentoonstellingen rondom “miniaturen” in London al die jaren geleden, die het verlangen in mij wakker schudde om in de tussenliggende 35 jaar op pad te gaan met het idee van klein beginnen. Het is een onuitputtelijke inspiratiebron is geweest. Riet van Gerven Coördinator SEA Foundation November 2013

of practical matters. A project leader, which in order to gain experience, did an unpaid internship. That is also how the new title came about: ‘To be or to have presents.’ A small catalogue of the exhibition was put together, which was an unexpected present in itself. Let this digital cataloque be a real treat to the readers. I owe a lot of gratitude to all those whom have helped. I am excited to be able to share this gift with the audience that can come and 24/7 admire the beautiful display window of Gust van Dijk in the centre of Tilburg. Where the art works are presented pure and vulnerable. Let us enjoy the beauty of start small. Thanks to Ann Sutton, the initiator of the exhibition of ‘miniatures’ in London, whom fostered a longing that stayed with me for 35 years. The idea of starting small is still alive. It’s been a inexhaustible source of inspiration. Riet van Gerven Coordinator SEA Foundation November 2013

Exhibit no.: 01

Ann Sutton Born 1935 in North Staffordshire (UK) Sutton went to Cardiff College of Art, and then led West Sussex College of Art weave department. She has traveled, lectured and exhibited all over the world, and her work is part of many public and private collections, including 24 pieces purchased by the V&A. She is a Visiting Professor at the University of the Arts, London, and a Senior Fellow of the Royal College of Art and was awarded an MBE. She has guest-curated many national exhibitions, and was responsible for The International Exhibitions of Miniature Textiles, The Ann Sutton Foundation, The Arundel Gallery Trail, Sight Specific. Sutton has led several projects that involved commissioning applied arts for public buildings, including the award-winning Southampton City Art Gallery in 1992, Winchester Cathedral Plans for New Textiles, and The Point. `A solo exhibition of 3-D drawings is scheduled for summer 2014 at Patrick Heide Contemporary Art, London.

Ann Sutton is known, internationally, for her innovative work in woven textiles, and has written nine books on the subject. About 5 years ago she cleared her head and studio of everything to do with weaving and started working with paint and 3-D Drawing, where the viewer contributes to the image or text. Loops is one of her later works which fit perfectly within this new approach.

Loops, 2013

Website: http://www.annsutton.info

20 x 20 x 5 cm Non-degradable plastic monofilament Price euro 550

Email: mail@annsutton.org

Exhibit no.: 02

Desiree de Baar Desiree de Baar 1972 (NL) works and lives in Rotterdam (NL). She graduated from Willem de Kooning Academy, Rotterdam in 2004 and is an artist, a curator and a lecturer. She has exhibited all over Europe, in Poland, Hungary and England as well as in her native Netherlands. She exhibited also in Nepal and Turkey. From 2008-2013 she curated the Art space Bewaerschole in Burgh Haamstede and lectured at Willem de Kooning Academy, Rotterdam.

The work consists of a compelling structure made from felt, an architectural model of (parts of) a World War II bunker. Because of the absence of the topside you are looking directly into waving walled models. Spaces, halls and stairs are visible. Where bunkers provide protection behind concrete walls, the felt models allow for openness and vulnerability. After all, letting go or opening up costs man as little or as much energy as confining and shutting yourself out.

Little Brown Sculpture, 2013

Website: www.desireedebaar.nl

20 x 20 x 19 cm Felt 2mm Price euro 450

Email: mail@desireedebaar.nl

Exhibit no.: 03

Marian Bijlenga Marian Bijlenga (1954, NL) lives and works in Amsterdam (NL). Studied at the Gerrit Rietveld Academie in Amsterdam. She has won several prizes, including tapistry Biennale Beijing in 2002 and the Exempla prize Munchen, in 2010. Her work is collected internationally. The Museum of Art & Design, New York, USA, The Craftmuseum, Finland, and the collections of the Stedelijk Museum Amsterdam, CODA museum, Apeldoorn, and Dutch Textile Museum in Tilburg , â&#x20AC;&#x153;Spatial Drawing, I am fascinated by dots, lines and contours, by rythmical movements as well as the empty space they confine. Instead of drawing on paper, I draw in spaceâ&#x20AC;?.

pull, roll, turn, wrap heat a form grows lines cross, knot, branch out a network of veins fluid lines solid

Sugar Vine, 2009

Website: www.marianbijlenga.com

4 x 4 x 15 cm Sandblasted glass. Price euro 850

Email: marianbijlenga@xs4all.nl

Exhibit no.: 04

Paul Bogaers Paul Bogaers, (1961, NL) lives and works in Tilburg, (NL) is a visual artist as well as a photographer. To Bogaers, a photo is not an end, only a means. Often he feels the need to extend the work; place it next to another image; turn it 45 degrees or completely upside down. Draw or paint on it, frame it in a particular and often uncommon way. Association and suggestion play an important part in the work of the visual artist and photographer.

The work Nob 15 belongs to a new series of work which are assemblages. With these works Bogaers ventures from two dimensional collage type works info a more sculptural world using many different types of material. Obviously these sculptural works still and visibly derive from Bogaers long standing fascination for the collage technique.

Nob 15, 2012

Website: www.paulbogaers.com

17 x 15 x 6 cm 2 Single use cameras, wood, paper, ink Price euro 180

Email: bogaers@hetnet.nl

Exhibit no.: 5

Chantal Rens Chantal Rens 1981, (NL) works and lives in Tilburg, (NL). She received a BFA and a Fine Art Teaching degree from Academie voor Beeldende Vorming in Tilburg. Rens’ output includes work in textiles, photography, collage, and sculpture among other media. In the period 2006 – 2010 she co-produced ‘Nobody Forever’ with GUMMBAH, a dutch cartoonist, humorist and absurdist. She has exhibited widely in her native Netherlands and was also part of USE ME, ABUSE ME, curator Erik Kessels’ contribution to New York Photo Festival in 2010. She published her latest artist’s book, “Kanada”, a collection of collages, self-published in 2013.

Collage in plastic frame. The scratches on the surface of the plastic frame is part of the work. Rens reuses, arranges, cuts, tears and piles the pictures on top of one another. This results in a collage that is illusive, funny, obscene, mysterious, playful and cool, all at the same time. Not only do the images exceed the original meaning, they turn it 180 degrees.

I sat with my ass on a horse, 2013

Website: www.chantalrens.blogspot.nl www.nobodyforevershop.blogspot.com

17 x 12 x 6,5 cm. Postcard, image, black paper and plastic frame. Price euro 700

Email: chantalrens@hotmail.com

Exhibit no.: 06

Adam Nathaniel Furman Adam Nathaniel Furman 1982, (UK) lives and works in London (UK). Is a writer, designer, teacher and artist. He graduated from the Architectural Association in 2009 and is currently working at Ron Arad Associates. He also co-directs the Saturated Space Research cluster at the AA and is co-director of the Architecture design practice Madam Studio. Recently, he completed the 2013 Designer In Residence program at the Design Museum in London, and showed his film, â&#x20AC;&#x153;Subject, Theory, Practiceâ&#x20AC;? at the New York Architecture & Design Film Festival 2013.

A small object of joyously sensual ocular contemplation. A unification of the latest in 3d printing technology, with the tantric delight of colour, form and delight. An exercise in digital apotheosis at the most intimate of scales. The colours and the ideas for the design derived simultaneously from an analyses of ancient Hinu objects of contemplation and meditation, as well as studies of the language and forms of advertising and current trends in the music video market: a coming together if irreconcilable extremes in a tiny object of compressed harmony. The display case is made from black and transparent perspex. Edition of 20.

Yantrament 01, Hornication, 2013

Website: www.adamnathanielfurman.com www.madamstudio.com www.identity-parade.blogspot.co.uk

8 x 8 x 12 cm 3D Print, plaster, pigment Price euro 770

Email: adamnathanielfurman@gmail.com

Exhibit no.: 07

An Te Liu An Te Liu 1967 (TW) lives and works in Toronto (CA) and Berlin (DE). He has a background in art history and architecture. He has represented Canada in 2008 at the 11th Venice Biennial of Architecture. Liu has been exhibiting widely throughout Canada, the US and Europe. His works are in the permanent collections of the San Francisco Museum of Modern Art, the Art Institute of Chicago and the Art Gallery of Ontario.

An Te Liu explores the space around things. Liuâ&#x20AC;&#x2122;s artist practice operates as a sustained commentary on the ideological and phenomenological implications of relationships between people and things, policies and actions, decisions and consequences. An Te Liu transforms discarded Styrofoam packing from consumer goods into ceramic sculptures that evoke a multiplicity of references. As the origins of his works reside in discarded packing material, their significance lies in their material genealogy, spatial integrity, and sheer unexpectedness. These sculptures are to be gazed upon, pondered, and taken in.

Hodos, 2013

Website: www.anteliu.com

7 x 4 x 11 cm Slab built stoneware, nickel oxide glaze Price euro 320

Email: anteliu@gmail.com

Exhibit no.: 08

Donna Marcus Donna Marcus 1960 (AU), lives and works in Brisbane (AU). Is a visual artist and a lecturer. Marcus’ work has been exhibited extensively in Australia and included in many national sculpture surveys. In 2008 her work ‘Second Lives: Remixing the Ordinary’ was shown in the inaugural show at the Museum of Art and Design, New York. In 2010 her work “Redroom” was chosen to represent Queensland in the Australian Pavilion at the Shanghai World Expo. Her large-scale permanent public art is installed in Australia and in Saudi Arabia.

Constructed from discarded kitchen utensils like plastic and aluminium teapots, lids, jelly molds, steamers, colanders, egg poachers and bottle-tops – her sculptures draw viewers into a world of kitchens both remembered and imagined. Sift is a Lilliputian version of Tumbling Dodecahedrons, an earlier work made from redundant aluminium kitchen colanders. 3D rapid prototypes from the Netherlands have become a fascinating tool for her to imagine and develop larger artworks, solid objects transformed into bytes and teleported under the sea as pulses of light, reformed in a distant land only to be returned by air to my doorstep. This piece did not need to make the journey back across two oceans and in a sense has been ‘returned to sender’. Sift is an edition of 10.

Sift, 2013

Website: www.donnamarcus.com.au

12 x 12 x 12 cm 3D Print, plaster, pigment Price euro 450

Email: d.marcus@griffith.edu.au

Exhibit no.: 09

Jin-HEE Kwon Jin-Hee Kwon 1985 (KR). Lives and works in Eindhoven, (NL). She graduated from the Masters course at the Design Academy, Eindhoven in 2013 and previously was awarded a Bachelor of Arts in Visual Communication Design at Kyunghee University, Suwon (2007). She exhibited in Ghent, Eindhoven, Hong Kong and Seoul and also publishes her own books.

Chapbook, 28 pages. The idea of â&#x20AC;&#x153;To Be or To Haveâ&#x20AC;? starts from the peculiarity of Korea society. Here, possession becomes a hyper-identity representing who people are. Identities are indicated by the possession of cars, homes and clothes from luxurious brands that people are wearing. Especially, in case of homes, people think that they belong to the property and cannot be detached from it: owning a house is a life goal to many people. Due to the overwhelming hyper-identity, people are confused whether they are being to be or to have.

Chapbook - To be or To have 2010

Website: www.a-text-forms.com

11,5 x 0,5 x 19 cm Paper and thread binding, illustration Price: nfs

Email: send.kwon@gmail.com

Exhibit no.: 10

Giel Louws Giel Louws 1975 (NL) lives in Middelburg (NL) and works in Vlissingen (NL). In 1998 he graduated from Kampen Artschool (NL) as an illustrator, after he studied at Bruges Artschool (BE). Instead of working as an illustrator, his main focus was painting. Since 1998 he has been involved in various educational projects. In 2007 he started as a curator at Kipvis, an art space in Vlissingen (NL) and from 2012 also at Project Space Ceasuur in Middelburg (NL). He exhibits mainly in the Netherlands.

The work as a physical object is of great importance. The work conveys itself slowly. The mix of transparent and opaque layers, the use of subtle colours and variations in gloss gives his work an inner glow. The work is part of a series of similar works and can be exhibited independently or together in a constellation, to form a new image.

No title, 2013

Website: www.giellouws.com

11,5 x 19,5 x 0,5 cm. Acrylics on perspex. Price euro 300

Email: giellouws@yahoo.com

Als geven delen wordt door Frank G. Bosman Met Sinterklaas en Kerstmis geven wij in Nederland elkaar stapels cadeautjes. Economische crisis of niet, de collectieve uitgave aan feestcadeau’s zijn elk jaar weer een beetje hoger. Kennelijk bezuinigen we op van alles en nog wat, maar zijn de geschenken die wij elkaar geven, daarvan gevrijwaard. Want wat is er leuker om elkaar iets te geven? Het geven van Sinterklaas- en kerstcadeaus’s heeft echter weinig met ‘echt geven’ te maken. ‘Echt geven’ betekent ‘gratis’, zonder er iets voor terug te hoeven hebben. In de christelijke traditie gaat het dan over ‘genade’. Het latijnse woord voor ‘genade’ (gratias) en ons woord ‘gratis’ hebben dan ook alles met elkaar te maken. De cadeau’s die wij elkaar geven, zijn echter niet gratis. Talloze filosofen hebben er al op gewezen dat het sociale proces van ‘geven’ gebonden is aan talloze ongeschreven regels en wetmatigheden, vooral tussen volwassenen. Het geschenk moet niet te klein zijn, anders beledig je de ontvanger. Het geschenk mag ook niet te groot zijn, anders kan de ontvanger het geschenk niet ‘terugbetalen’. Want dat is de vreemde paradox: je krijgt een geschenk, maar je weet dat je een ongeveer even groot cadeau moet teruggeven bij de volgende sociale gelegenheid. Geven is dan eigenlijk ruilen.

When giving becomes sharing by Frank G. Bosman It is a Dutch custom to present each other with heaps of presents each year in the spirit of the Sinterklaas and Christmas festivities. Regardless of the economic crisis, the total amount spent on Holiday gifts rises/increases dramatically each year. We cut costs on just about anything, but the gifts we present to each other during the Holiday season are exempt from the household budget. What is more gratifying than giving? But the act of exchanging gifts, during Sinterklaas and Christmas festivities, has little to do with the actual act of ‘giving’. Rather, ‘giving’ means ‘for free’, that is, without expecting something in return. In other words, the act has a reciprocal connotation. In the Christian tradition this is described as ‘mercy’. It is in this tradition that the Latin word for ‘mercy’ (gratias) and our use of the term ‘for free’ find their common ground. But the gifts we give each other are anything but ‘free’. Many philosophers have pointed out that the social process of giving is tied to a fair amount of unwritten rules and regulations, especially between adults. For instance, the gift should not be too small, risking offending the receiver. Neither should it be too big, otherwise the receiver might not be able to ‘pay you back’. This highlights the strange paradox presented within ‘gift-giving’: you receive a gift, and the proportion/

Tijdens de overgang van de 12e naar de 13e eeuw stelde een van de meest briljante Joodse filosofen, Maimonides, een rangorde op van de acht graden van vrijgevigheid: de ene net iets meer verheven dan de ander. Maimonides aka rabbi MosjĂŠ ben Maimon aka RaMBaM, leefde van 1135 tot 1204. En in zijn commentaar op de Torah, de vijf heilige boeken van wat wij het Oude Testament noemen, schreef hij het 10e hoofdstuk van het 8e boek de volgende graden op. De achtste graad is de laagste, de eerste graad is de hoogste vorm van geven. Let op de verhouding tussen de ontvanger en de gever. Kennen ze elkaar? 8e graad. De laagste graad van geven is die waarbij iemand geeft met pijn en moeite. 7e graad. De op een na laagste graad betreft degene die minder geeft dan passend is, maar geeft met een opgewekt gezicht 6e graad. De daarop volgende, zesde graad betreft datgene die pas geeft als de arme persoon erom vraagt. 5e graad. De vijfde graad betreft degene die in de gift in handen van de arme deponeert voordat deze er om vraagt.

cost of this particular gift dictates the size of the gift you are required to give back at the next social event. In this act, giving becomes closely tied to trading. During the transition from the 12th to the 13th century, one of the most brilliant Jewish philosophers, Maimonides, composed an order consisting of eight degrees of open-handedness, thereby placing the degrees in an order where one was slightly elevated above the other. Maimonides, also known as rabbi MosjĂŠ ben Maimon, aka RaMBaM, lived from 1135 until 1204. In his commentary on the Torah, the five holy books of what we now call the New Testament , the following degrees appeared in the tenth chapter of book eight. Degree eight represents the lowest degree of giving, while the first degree represents the highest form of giving. Degree 8. The lowest form of giving speaks of the one who gives to the recipient with great pain and difficulty. Degree 7. The second lowest form of giving, regards the one who gives less than fitting, but who presents the gift with a cheerful face. Degree 6. Subsequent, the sixth degree in giving, is the degree where someone only gives to the poor when they ask for it.

4e graad. Bij de vierde graad van geven weet de arme van wie hij neemt, maar weet de gever niet aan wie hij geeft. 3e graad. De derde graad houdt in dat de gever weet aan wie hij geeft, terwijl de arme niet weet van wie hij ontvangt. 2e graad. De een na hoogste graad bereikt degene die een aalmoes geeft aan de arme zo dat hij niet weet aan wie hij geeft en dat de ontvanger niet weet van wie hij heeft ontvangen. 1e graad. De hoogste graad van geven, waar niets boven gaat, beoefent degene die daadwerkelijk een medemens sterkt door hem te helpen met een gift of een lening of door met hem een partnerschap aan te gaan, of door hem te helpen werk te vinden, kortom hem zo te steunen dat hij de andere mensen niet meer hoeft te vragen. De anonimiteit die in de 4e tot en met de 2e graad zorgvuldig is opgebouwd, is in deze eerste graad geheel verdwenen. Net als in de lagere graden staan gever en ontvanger tegenover elkaar. Ze zien elkaar in de ogen. De ongelijke verdeling tussen beiden, die de oorzaak was van het gevoel van superioriteit bij de gever en van underdog bij de ontvanger, is namelijk opgeheven. De gever gaat een

Degree 5. Within the fifth degree, the gift is handed to the poor even before they ask for it. Degree 4. In the fourth degree of giving, the poor know the giverâ&#x20AC;&#x2122;s identity, but the giver does not know the one who receives the gift. Degree 3. In the third degree, the giver knows to whom he donates, but the poor do not know from whom they receive. Degree 2. The second highest degree is achieved by the one who gives alms to the poor in such a way that he does not know to whom he gives, and the recipient does not know from whom he has received. Degree 1. The highest degree of giving, the degree that outranks the previous degrees, is praticed by the one who actually strengthens another person by helping him either with a gift or a loan, by making a partnership deal with him, or by helping him find employment. In short, to support his fellow man in such a way that they do not need to ask for it. The anonymity, carefully built up in the fourth to the second degree, has vanished completely when we reach the first degree. As it is in the lower degrees, in this

verbond aan met de ontvanger, een partnerschap, waarbij beide partijen van elkaar hopen te profiteren. Ze worden er beiden sterker van. De noodzaak tot anonimiteit is dus verdwenen. De gever en ontvanger gaan op basis van een zo goed als gelijkwaardige positie een verbond met elkaar aan. Niemand hoeft zich te schamen, niemand hoeft zich beter te voelen dan de ander. De grootte van de gift, waarop in de eerdere graden nog de nadruk werd gelegd, is bijna vanzelfsprekend genoeg, evenals het genoegen waarmee de gave wordt gegeven. Wie een verbond met een ander aangaat, doet noch hemzelf noch degene met wie hij het verbond sluit, te kort. De vraag of het initiatief van de gever of van de ontvanger uitgaat, is ook niet meer relevant, omdat er geen (of bijna geen) sprake meer is van een ongelijke positie. Het initiatief is daarmee â&#x20AC;&#x2DC;vrijgesteldâ&#x20AC;&#x2122;. Gever en ontvanger komen op dezelfde hoogte, het standsverschil wordt verkleind of zelfs weggewerkt. Niemand hoeft zijn gezicht te verliezen, niemand hoeft zich de underdog te voelen. De arme hoeft nooit meer om vissen te vragen om zijn honger te stillen, want hij heeft nu de hengel om zijn eigen vissen te vangen. Gever en ontvanger gaan een verbond aan: een ideaal van een verbond tussen twee mensen.

degree the giver and receiver also find themselves placed opposite to each other. The can literally look each other in the eye. But the uneven distribution between the two, so prominent in the other degrees for its causing of feelings of superiority in the giver and feelings of being the underdog in the receiver, is lifted in this first degree. The gift-giver enters into a covenant, or equal partnership, with the receiver, out of which both hope to gain something. Both parties profit, so the necessity of anonymity in the act of giving disappears. Giver and receiver are equal. There is no shame in this act of giving and nobody has to feel better than the other. The size of the gift, as emphasized in the other degrees, has gained an air of obviousness and the pleasure of giving a gift therefore becomes self-evident. In entering such a covenant, you neither sell yourself nor the other short. The question whether or not the initiative in giving comes from the giving or receiving end also becomes irrelevant because the inequality in position has (nearly) been eradicated. The initiative therefore becomes â&#x20AC;&#x2DC;exemptâ&#x20AC;&#x2122;. The gift-giver now finds himself in equal position to the gift-receiver, with their difference in position decreased or even demolished entirely. Nobody has to lose face or crawl into a corner as the underdog. In other words, the poor do not have to ask for fish to satisfy their hunger, because they now have a rod to catch their own fish. Giver and receiver enter a covenant: an ideal agreement

Pas in het verbond tussen twee mensen kunnen de sociale wetmatigheden van ons geven worden doorbroken. In het verbond wordt er niet zozeer geruild, maar gedeeld. Beide partners profiteren evenveel van elkaars kunde en rijkdom: ze delen tijd, geld en ruimte met elkaar. Dan wordt geven, delen. Drs. Frank G. Bosman is cultuurtheoloog en werkzaam voor de Tilburg School of Catholic Theology. Hij werd in 2011 uitgeroepen tot de meest spraakmakende theoloog van Nederland tijdens de eerste Nacht van de Theologie in Amsterdam. Sindsdien is hij een veelgevraagd spreker voor radio ent televisie, en schrijft hij geregeld voor diverse grotere en kleinere kranten, tijdschriften en websites. Zijn meest recente boek is ‘God houdt wel van een geintje’ (Meinema, 2012). Zie zijn weblog www.frankgbosman.nl.

1 Met dank aan collega Marcel Poorthuis die mij in zijn artikel in de bundel Vrienden worden met de mammon (2013) mij op Maimonides’ gradaties attendeerde.

between two people. Only when we reach such an ideal agreement between people, the social conventions surrounding the act of giving can be successfully countered. In this form of connection, it rather becomes a question of sharing instead of trading. Both partners benefit from each other knowledge and wealth: they share their time, money and space with each other. In this scenario, giving becomes sharing. Drs. Frank G. Bosman is a theologian of culture currently employed by the Tilburg School of Catholic Theology. He was proclaimed to be the most controversial theologian of the Netherlands during the ‘’Night of Theology’’ held in Amsterdam in 2011. Ever since, he has become a frequent speaker for radio and television events. He regularly writes articles for several newspapers, journals and websites. His most recent book is called: God houdt wel van een geintje / God is in for a joke (Meinema, 2012). For more information see www.frankgbosman.nl

1 My gratitude goes out to my colleague Marcel Poorthuis who pointed me into the direction of Maimonides order of degrees in his book Vrienden worden met de mammon (2013).

Exhibit no.: 11

Dina Danish Dina Danish (1981) born in Paris (FR) lives and works in Amsterdam, (NL) and Caïro (EG). Dina Danish is a well respected international conceptual artist. She studied fine art and was awarded a BA/Bachelor of Arts in 2005 from the University of Caïro and continued her education at the Californian College of the Arts, in San Francisco (US) from which she earned and MA in 2008. Further along she completed two years at the Rijksacademy in Amsterdam (NL) in 2010. She was awarded several prizes, residencies and stipends amongst which Illy Present Future Award in 2013 and Barclay Simpson Award in 2008. Dina Danish exhibits her work all over the world both in solo shows as well as in group shows.

Contemporary artist Dina Danish’s work combines conceptual art’s tendency to focus on language and structure. Her work is based on substantial research and therefore each of her projects is in a way an investigation into the subject, be it chewing gum, a tongue twister or crowds at an aquarium. Because of Danish extensive exposure to contemporary art scenes abroad, she was inspired to experiment with alternative artistic practices in a variety of media.

Brass replica of Stone Age chewing gum, 2013 20 x 20 x 20 cm bronze, glass and plaque Price in euro 1290

Website: www.dinadanish.com Email: dina.danish@gmail.com

Exhibit no.: 12

Kris Duys Kris Duys,1959, Mortsel (BE) lives and works in Lier (BE). He studied paining at the Academy of Fine Arts in Antwerp. Since the very beginning the work of Duys has been atmospheric, sensitive and introvert, painted in tender, soft-broken colours with occasional brightly coloured accents. His paintings are like small-interconnected islands of silence, where form and colour are in perfect harmony. Duys has been exhibiting in Belgium, the Netherlands, France and China.

This 20 x 20 cm canvas is a studious search within the medium of painting, a small size delicate work created in oils. What one perceives at first glance is an abstract work in subtle colours. A still life or landscape maybe. Duys’s works can best be described as “Nothing is what it seems” as within the image his work can appear flat or three-dimensional and the perspective can change too. For him there is little difference between figuration and abstraction. These differences exist only in the mind of the viewer. Reason enough for the artist to use his artist materials every day and in doing so creating sumptuously colourful, thoughtful and yet most accurate images.

No Title , 2013

Website: https://www.facebook.com/duyskris/photos_stream

20 x 20 x 1 cm Oil on canvas Price euro 700

Email: kris.duys@pandora.be

Exhibit no.: 13

Steye Felix Steye Felix 1990 (NL), works and lives in Rotterdam (NL). In 2012 he received his Bachelor in Fine Arts at AKV Sint Joost, Den Bosch, the Netherlands. Recently he started his residency at Foundation B.A.D., an artistsâ&#x20AC;&#x2122; initiative based in Rotterdam. B.A.D. provides permanent studios for its members, as well as temporary guest studios for local and international artists. He was shortlisted for the Concordia prize 2013.

This work is about mist surrounding a building. The red shape implies the mist, while the cube-like form represents the building. The image is heavily distorted and disconnected from reality. To discover beauty that matters it is necessary to â&#x20AC;&#x2DC;undressâ&#x20AC;&#x2122; the original images and, using the found pieces of clothing, recomposing it, thus creating a new image with totally different proportions. From afar this work still contains all facets of the original image.

Untitled, 2012

Website: www.steyefelix.com

20 x 20 x 1 cm. Oil on canvas. Price euro 380

Email: info@steyefelix.com

Exhibit no.: 14

Thomas Braida Thomas Braida 1982, Goriza (IT), lives and works in Venice (IT). Graduated in 2010 from the Academy of Fine Arts in Venice and his work is to be found worldwide in collections. He has exhibited widely in Italy, as well as in Germany, the Netherlands and Turkey. His work offers us a glimpse into his imaginative and very personal pantheon, where animals, monsters and deformed men lead a life of poetic luxury. Both small scale works as well as large scale wall filling pieces are animated by continues oozing and brush leakage in a balancing act of solids and fluids. Apart from paintings, Thomas Braida’s works comprise enigmatic sculptures, masks and totems. They present this characteristic and dramatic vision of the world, a contemporary dimension involving Gothic and mocking tragedy.

“When I was walking on the street in Tilburg during my residency in the Summer of 2013, I found this. It seemed a collage to me, an abstract collage, a work of someone, maybe the work of an artist? I thought it was not a good work of art, so I choose to use it. I painted on it and I change it into a landscape, a postcard of Tilburg.”

Cartolina da tilburg, 2013

Website: http://thomasbraida.wordpress.com

13 x 5 cm Ol on card and photographs Price euro 245

Email: tanopennarelli@gmail.com

Exhibit no.: 15

VanGerven/VanRijnberk Jan-Willem van Rijnberk born in 1957 in Buren (NL), trained as a visual artist  and gained a post-graduate degree in economics. He worked as a museum director, festival initiator, lecturer, artist and curator throughout Europe. He was closely related to events such as Video art and Dutch design. Riet van Gerven born 1955 in Rosmalen (NL) was educated as an artist at Amsterdam’s Gerrit Rietveld Academy and worked as a textile designer in Europe and Asia. In 2008 she was appointed Director of Artis Contemporary Art Space in ‘s Hertogenbosch and from 2010 onwards she curates exhibitions, forges liaisons with artists, designers and curators at SEA Foundation. The collaboration of the artist duo started in 2010 and their practice has four anchor points: contemporary art, sustainability, tourism and heritage. They live and work in Tilburg (NL).

Project Skyrocket was initiated for Manifest 9, the European Biennale for Contemporary art in Genk (BE). Genk is a former coalmining town, where mining is still evident as ”terrils” with coal-waste hills litter the skyline and the landscape. The artist duo proposed to cover, the more than 30 meters high, elevator tower of the Mine of Waterschei, in gold paint. Highlighting a commemorative monument as a radiant reminder of the once prosperous and productive past. In order to act as a catalyst and inspiration for new economic development.

SKYRocket, 2012

Website: www.seafoundation.eu www.vangervenvanrijnberk.nl

3 x 10 x 11 cm Installation, mixed media Price Euro 340

Email: studio.vgvr@gmail.com

Exhibit no.: 16

Zoe Claire Miller ZoĂŤ Claire Miller 1984 (US), works and lives in Berlin (DE). In the period 20032005 she studied Philosophy, Anthropology and Romance Languages at University of Heidelberg. Miller studied Fine Arts in Karlsruhe, receiving her degree in Sculpture in 2010. She is currently studying for a Masters degree in Art in Context at the University of Fine Arts in Berlin. She works as a curator and runs the mobile exhibition project Galerie Europa. She is the co-founder of the Berlin Art Prize, an independent, artist-run prize. ZoĂŤ Claire Miller uses ceramics to engage with iconographical issues in the grey area between high and low culture and dispositifs embodied in relics from the recent past. Her work revolves around negative space, personal relationships with inanimate objects, and a fascination with materiality.

A negative imprint of a pretty trashy plaster Led Zeppelin bust in clay with a multicolour glaze and a tin inlay. It is meant to be touched. Led is part of an ongoing series: Negative Impression Series. This is group of ceramic sculptures that deal with kitsch and fan fetishism, the roles that masks play, how facial expressions can be perpetually interesting, and the transformative capacity of negative space.

Led (from the Negative Impression Series), 2013 16, x 11 x 5cm Glazed ceramics and tin. Price euro 340

Website: www.zoemiller.eu Email: miller.zoe.c@gmail.com

Exhibit no.: 17

Verena Sieber-Fuchs Verena Sieber-Fuchs 1943 (CH), has been living and working in Zurich (CH), since 1969. She studied Textile Design at the Kunstgewerbeschule Basle & Zurich. Sieber-Fuchs makes objects that can mainly be worn as jewellery. She initially worked with textiles on a monumental scale, creating tapestries and textile installations for the interiors of large public buildings.

In Vienna 33 years ago Max Bill (1908 – 1994) was a Swiss architect, artist, painter and designer said: ‘Don’t make the mountain of rubbish bigger with your art!’

Kompostierbar, 2013

Website: www.verenasieberfuchs.ch

19 x 10 x 10 cm Egg cardboard and wire. Price euro 150

Email: pa_sieber@bluewin.ch

Exhibit no.: 18

Reggie Voigtlander Reggie Voigtlander 1966 (DE), lives and works in Helmond (NL). Shortly after graduating from the ‘Academy of Art & Design’ in ‘s Hertogenbosch, where she studied painting, drawing and graphic art, she felt the need to work outside the limitiation of media and the 2-dimensional. She picked up photography again and started to work with video, creating installations. The process of painting and drawing is still important and visible in her work, although in an abstract manner. With her work she questions general assumptions and investigates universal aspects in relation to human existence.

‘100 % integrity’ / to have and to hold’ is a soldified act retained in superlight white modelling material with the words: ‘100 % integrity’ imprinted. It is part of a series of seven sculptures of that kind. In contrast to what ever content may be found looked upon as a sculpture, held in the hand, one is struck by its lightness. And although from the looks of it the edges seem sharp, the touch reveals a rather soft and flexible texture. By experiencing these contrasting sensations between observation and touch, the object becomes what it always was: an object of personal reflection and contemplation.

‘100% integrity’ / to have and to hold, 2013

Website: www.dse.nl/~reggie/

9 x 7 x 5 cm Superlight modelling material Price euro 150

Email: reggie@dse.nl

Exhibit no.: 19

Michael Brennand-Wood Michael Brennand-Wood 1952 (UK), is a visual artist, curator, lecturer and a consultant in art who is perceived as an artist-pioneer when it comes to working with textiles. His work is defined by his distinct structure and pattern and use of a three-dimensional line. He has exhibited in major galleries and museums, including the Victoria and Albert Museum, the 21st Century Museum of Contemporary Art, Kanazawa, The Crafts Council, London and National Gallery of Australia, Canberra and a major retrospective of Michael Brennand-Wood’s practice, ‘Forever Changes’ opened in 2012.

The Velvet Underground explored a gritty edgier, darker side of life; I wanted my gift for this exhibition to echo something of that air of uncertainty, a beautiful menace. A Walk on the Wild Side might be thought of as a directive, an invitation to experience the unknown, my shoe is a transitive object it moves forward to a new space, equally it may stamp out or destroy an existing one.

Walk on the Wild Side, 2013

Website: www.brennand-wood.com

20 x 20 x 20 cm Machine embroidery, wood, plastic animal heads, wire, beads and acrylic. Price euro 950 (including box)

Email: michael@brennand-wood.com

Exhibit no.: 20

Natalia Ossef Natalia Ossef 1983 (SY), works and lives in Utrecht (NL). In 2007 she became a socio-cultural worker in Utrecht with the focus on Arts, Culture and Media. In 2011 she graduated at the Institute of the Arts (HKU), Utrecht and received her bachelor in Fine Arts: Painting. In that same year she was nominated for the HKU Award and in 2012 she was awarded a Start Stipendium by the Mondriaan Fund. In 2014 she will exhibit her work at Art Rotterdam as one of the Mondriaan Fund shows Talents.

The painting Miss Sylvia belongs to the series of work The Women in Black & White. Her attempt was to show a view on well-known women through the history (of photography). The women are depicted in their younger years, because she was more interested in their unknown time of being. Some of these women never got to be older or just old such as Sylvia Plath, but nonetheless they meant something to the history. The young faces, the insecurity of life and yet expecting the great is maybe something Natalia can relate to.

Miss Sylvia, 2012

Website: www.nataliaossef.com

13 x 2 x 18 cm Oil on canvas Price euro 500

Email: natalia.ossef@gmail.com

Exhibit no.: 21

Jonas Vansteenkiste Jonas Vansteenkiste 1984 (BE), lives and works in Harelbeke (BE). Is an emerging visual artist who graduated with an MA Media Art from KASK Ghent. He was awarded the Young Talent Award Kortrijk in 2010 and has already exhibited widely in Belgium. Amongst his group shows noteworthy is the International Art Festival Watou 2013. After showing in Rome and in London the group show To be or to have Presents will be his third show abroad and a first in the Netherlands. His works are defined by spaces. He uses several media, i.e. installations, video, sculpture, photos and drawings.

The house is a motive in Vansteenkisteâ&#x20AC;&#x2122;s work which he approaches ambiguously: on the one hand it is a place where we feel safe and secure, on the other hand it can trap and suffocate us. In Project Housemorphings the artist is trying to merge and reform this motive resulting in different forms and typologies. There are drawings as well as spacious works. In his work, in form and in content, he creates a field of tension between the merging of elements and the creation of a new image.

Housemorphing typologie #4, 2013

Website: www.jonasvansteenkiste.blogspot.nl

circa 20 x 15 x 20 Paint, metal, plastic, paint Price euro 580

Email: jonas.vansteenkiste@gmail.com

Exhibit no.: 22

Hou Chien Cheng Hou Chien Cheng 1981 (TW), has been living and working in Antwerp, (BE) since 2004. Hou was awarded a Masters degree in Visual Arts at KASK School of Arts Ghent. Currently Hou is a PhD-candidate at Ghent University and a guest-researcher at KASK School of Arts Ghent. Since his graduation in 2009, his works have been exhibited in Belgium (Watou KunstenFestival 2010, Young Belgian Art Prize 2011, Canvascollectie, CCBrugge, Netwerk Aalst and CCHasselt), South Korea (8th Busan International Video Festival 2011), USA (AC Institute New York) and Brazil (18th International Contemporary Art Festival Sesc_Videobrasil 2013).

A portrait of those we once read; what one reads becomes memory and memory is, as everything else, a recollection of experience. As objective as one wishes to be, memory often is reinterpreted by oneâ&#x20AC;&#x2122;s emotions or state of mind when the recalling occurs. What we read appears to be unimportant compared to what we remember.

Cheng has tried to read that book, 2013

Website: www.houchiencheng.com

12 x 0 x 16 cm Novel page and tapes. Price euro 280

Email: houchiencheng@gmail.com

“To be or to have presents” December is bij uitstek een maand van feestelijkheden en het geven en ontvangen van cadeautjes vormt daarbij een belangrijk onderdeel. Winkels vullen hun etalages met een veelheid aan geschenken bedoeld om te geven en te ontvangen. Geheel in de geest van dit feestelijk geven en nemen en met de Platonische gedachte dat ‘zijn’ en ‘delen’ zo ongeveer hetzelfde betekent in het achterhoofd, heeft het team van Stichting SEA een tentoonstelling samengesteld onder de titel “To be or to have presents”. Het centrale thema van deze expositie komt samen in de vraag hoe de concepten ‘zijn’ en ‘hebben’ in relatie staan tot het concept ‘geven’ wanneer we dit betrekken op onze hedendaagse consumptie-samenleving. Traditioneel gezien bevat het geven van cadeaus een grote mate van wederkerigheid. Vaak wordt een cadeau vanuit een bepaald verlangen gegeven door de gever en is daarmee onbelast of‘gratis’voor de ontvanger. Ontstaan vanuit de erfenis van de industriële samenleving, is het hebben van bezit eveneens enorm aangemoedigd in de hedendaagse technologische samenleving. Het proces van consumeren moet wel gelijke tred houden met productie, en bezit wordt gerepresenteerd als de sleutel tot persoonlijke voldoening, tevredenheid en geluk. In deze context wordt ‘hebben’ een hol begrip, omdat het alleen de

“To be or to have presents” December is the month to be joyful and the month of giving and receiving gifts. Stores fill their windows with an abundance of gifts for us to receive. In the spirit of the season and originating from the Platonic thought that ‘’being’’ and ‘’sharing’’ actually share the same connotation, the team of SEA curated an exhibition that was given the title “To be or to have presents.” Central theme of this exposition evolves around the question on how ‘’being’’ and ‘’having’’ are at work in relation to ‘’giving’’ within our contemporary consumer-based society. Traditionally, the giving of presents is reciprocal. A gift is shared out of a desire within the giver and is therefore unencumbered or “free” from the perspective of the receiver. Spawned from the legacy of the industrial society, obtaining possession is strongly encouraged within our modern technological society. Consuming is expected to keep up pace with production, and possession is marketed to be the key to personal fulfilment, satisfaction and happiness. ‘’Having’’ in this sense becomes a hollowed-out phrase due to its focus on the consumption of tangible goods that will presumably make us feel better. In this construction the ‘’being-part’’ often takes the back-seat in our world. Fortunately, a countering of this philosophy can also be seen, which

nadruk legt op de consumptie van tastbare goederen die ons zogenaamd beter doen voelen over ons zelf. Binnen deze constructie verdwijnt het ‘zijn’ naar de achtergrond. Gelukkig valt er ook een omkering van deze filosofie te bespeuren, waarin vanuit een gedeeld geloof door verschillende groepen de nadruk wordt gelegd op het collectief richten van de aandacht op de ‘zijn’-kant van het hebben, geven en ontvangen’ en niet zozeer op de ‘het hebben alleen om te bezitten’ kant. Ondanks dat het uitwisselen en delen van goederen van alle tijden is, kan de technologie van de 21ste eeuw aangemerkt worden als een belangrijke katalysator in het ontstaan van nieuwe filosofieën op het gebied van het uitwisselen van producten en diensten. Voortgebracht door de mogelijkheden om via internet vrijelijk informatie te delen zoals videomateriaal, foto’s en kennis, zijn nieuwe vormen van het concept delen ontstaan die inmiddels stevig verankerd zijn binnen onze samenleving. Deze nieuwe vormen van delen brengen ook nieuwe groeperingen met zich mee, die vanuit een gedeelde filosofie een kracht vormen die af en toe zelfs tegenwicht kan bieden aan “Het Ego” en deze zelfs soms overwint. Deze nieuwe vormen van delen en geven, geeft individuen de kracht en mogelijkheden om zich actief te verzetten tegen de filosofie van de consumeer-cultuur. Als onderdeel van deze (online) gemeenschappen, krijgen we meer en meer de mogelijkheid om weer te

is concentrated in a shared believe by certain people to put their collective focus more on the ‘’being-part of having, giving and receiving’’ and less on the ‘’having-part of simply possessing’’. Although the exchange and sharing of goods is of all times, 21st century technology can be said to have propelled a new philosophy surrounding product and service exchange. Aided by the possibilities of freely sharing content such as video’s, photos and knowledge on the internet, a new form of the concept of sharing gains prominence within our society. This sharing of goods and commodities provides us with new ways to group ourselves resulting in the growth of a shared and collective force that now and then successfully prevails over “The Ego”. This form of sharing and giving provides individuals with the power to actively resist the philosophy of consumer culture. As part of (online) communities, we have the possibility to become self-sufficient again while escaping the rules and regulations of the economy. Shared desires and needs are for instance affirmed by the giving of ‘’likes’’, and it is here that the new collective force is validated and able to grow. New types of social cohesion are formed. According to these new types of community,“Sharing is the new having’’. Echoed within this phrase is the growing trend of (online) exchange of services and

voorzien in ons eigen onderhoud en bevrijden we onszelf van de regels en voorschriften van de economie. Gedeelde verlangens en behoeften worden bijvoorbeeld bevestigd door het geven van ‘likes’, en het is door dit soort positieve acties dat deze nieuwe collectieve kracht waardering vindt en groeit. Het is verantwoordelijk voor de vorming van nieuwe typen van sociale cohesie. Het motto van deze nieuwe vormen van gemeenschap luidt: “Delen is het nieuwe hebben.” Daarin is de groeiende trend van het, buiten de reguliere economie om, (online) uitwisselen van diensten en producten terug te vinden. In onze hedendaagse samenleving zijn informatie en bezit gefragmenteerd waardoor de illusie is ontstaan dat we, in theorie, toegang hebben tot ‘alles’. Deze overvloed aan ‘bezit’ heeft niet alleen een doordringende invloed op de concepten ‘bezit’ en ‘delen’, maar heeft ook gevolgen op de manier waarop we in het leven staan. In plaats van de nadruk te leggen op tastbaar bezit, zijn deze gemeenschappen vaak opgebouwd vanuit het delen van een ervaring. Een interessante vraag is dan: “Wat hebben we te verliezen binnen deze ‘nieuwe’ filosofie over het ruilen van handelswaar en kennis deling?” “Hoe zijn de nieuwe manieren van ‘hebben’ en ‘geven’ van invloed op ons ‘zijn’ in de wereld?”. Geheel in lijn met de feestelijkheden van de maand December, is deze expositie opgebouwd met deze nieuwe hedendaagse filosofie rondom ‘geven’ en

products, which circulates outside the regular economy. In our contemporary society information and possession is scattered and the illusion is created that we have and, in theory, control “everything’’. This abundance of having not only affects the concepts of possession and sharing, but also leaves its marks on how we function in the world. Instead of being aimed at tangible possessions, these communities often are built around the sharing of an experience. An interesting question then becomes: “What have we got to loose when it comes to this semi-new philosophy of commodity-trade and knowledge-sharing?” How do the new ways of ‘’having’’ and ‘’giving’’ affect our ‘’being’’ in the world. In sync with the Holiday season, this exhibition is build up around this new contemporary use of the concepts of ‘’giving’’ and ‘’receiving’’. What does it mean to give and receive nowadays, and how can this be translated to our ‘’being’’? The act of giving often transpires out of a certain desire in the giftgiver aimed at achieving a certain experience in the receiver. But the desire the artists wants to convey can be far removed from the desires present in the receivers. How do ‘’giving’’ and ‘’receiving’’ interrelate in such a situation? And how do both concepts interrelate with the concept of ‘’having’’ in an age where possession is fragmented? How can the acts of ‘’giving’’, ‘’receiving’’ and ‘’having’’ be translated in art? To be or to have presents places a critical note at traditional gift-giving conventions and the reciprocal pattern of expectation

‘ontvangen’ in het achterhoofd. Wat betekent het om te geven in deze tijd en hoe kan dit vertaald worden naar ons ‘zijn’? Het geven vloeit vaak voort uit een bepaald verlangen in de gever om een bepaalde reactie los te maken in de ontvanger. Maar het verlangen dat een kunstenaar wil overbrengen kan ver af liggen van de ervaringen die de ontvanger heeft. Hoe verhouden ‘geven’ en ‘ontvangen’ zich tot elkaar in deze situatie? En hoe valt dit terug te koppelen naar ‘hebben’ in een tijd waarin bezit gefragmenteerd is? Hoe kunnen ‘geven’, ‘ontvangen’ en ‘hebben’ vertaald worden in kunst? To be or to have presents plaatst een kritische noot bij de traditionele conventies van het geven van cadeautjes en het patroon van wederkerigheid waarmee zowel de gever als de ontvanger mee te maken krijgen. De expositie To be or to have presents stelt een twintigtal kleine werken ten toon gemaakt door een kleurrijke waaier van kunstenaar variërend van oud tot jong, van lokaal tot international talent en van de gevestigde kunstenaar tot de ‘nog-een-weg-zoekenden’. Ondanks dat de kunstenaars werken vanuit een verschillende disciplinaire achtergrond, vinden zij elkaar in hun uiting van ‘slow-art’. Bij de tentoonstelling verschijnt een (digitale) catalogus die, naast afbeeldingen van de getoonde werken en informatie over de deelnemende kunstenaars, ook een inleiding van Drs. Frank G. Bosman, cultuurtheoloog verbonden aan de UVT bevat. Deze expositie is een initiatief van Stichting SEA:

both giver and receiver have to deal with in this process. The To be or to have presents exhibition displays twenty small works made by a colourful collection of artists, ranging from the old to the young, the local to the international and from the established to the ‘’still-exploring-theirartistic-path’’. Working from different disciplinary backgrounds, the artists are connected in their expression of ‘’slow-art’’. Accompanying the exhibition is a (digital) publication which contains visuals of the individual works, artist biographies, and an introduction written by Frank G. Bosman, drs. cultural theology at the University of Tilburg. This exhibition is an initiative of SEA Foundation, a non-profit, privately managed artist network organisation closely involved in the visual arts scene. Thanks to the voluntary efforts of artists and staff the exhibition is accessible and can be viewed 24/7, in the show window at Tivolistraat 22, Tilburg. Opening on November 22, 19.30 by Errol van de Werdt, director Textielmuseum. To be or to have presents: That is the question!

een particuliere, vrijwillige netwerkorganisatie met een fijnmazige verankering in de beeldende kunst. De expositie kwam tot stand dankzij de vrijwillige bijdrage van kunstenaars en staf en zal vierentwintig uur per dag, zeven dagen in de week te zien zijn in de etalage van de Tivolistraat nummer 22. De opening zal plaatsvinden op 22 november, 19.30 door Errol van de Werdt, directeur van het Nederlands Textielmuseum. To be or to have presents: Dat is de vraag!

SEA Foundation bedankt / thanks: Errol van der Werdt – Director of Textile Museum, Tilburg Frank G. Bosman – Cultural theologist Peter van Mierlo – bpMedia Jolanda Mout – Studio VMK Jan-Willem van Rijnberk – EnergieAnders Our volunteers: Jeroen Aarts Wendy Wilbers Niek van Hulten Heleen Klomp Martijn Stad Bridget van Zundert Hille Pijlman Maaike Noorlander Marieke Vromans

En alle deelnemende kunstenaars / And all participating artists: Adam Nathaniel Furman

Marian Bijlenga

Ann Sutton

Michael Brennand-Wood

An Te Liu

Natalia Ossef

Chantal Rens

Paul Bogaers

Desiree de Baar

Steye Felix

Dina Danish

Reggie Voigtlander

Donna Marcus

Thomas Braida

Giel Louws

VanGerven/vanRijnberk

Hou Chien Cheng

Verena Sieber-Fuchs

Jin-Hee Kwon

ZoĂŤ Claire Miller

Kris Duys Jonas Vansteenkiste

SEA Foundation The power of imagination is our true strength! SEA Foundation -based in Tilburg, the Netherlands- is an artist initiative. In all our activities we are fuelled by visual arts. We awaken the fire of imagination with our creative approach, vision and plans. Our work is more than developing new ideas, drafting plans or organizing events. As an initiative by artists and for artists, we supply concrete and practical advice on how to elaborate ideas and realise projects. We give guidance and support throughout the whole process of the artistâ&#x20AC;&#x2122;s practice and towards mastering the powers of the visual arts.

Project Space Tilburg - Gust van Dijk Gust van Dijk, is the residence of two Dutch artists. VanGerven/ VanRijnberk. The name Gust van Dijk is still inscribed on te facade of their home which they call Home to Contemporary Art. Here the blurring of the boundaries between artistic media such as painting, sculpture, film, performance, theatre, music architecture, and dance can be worked on and experienced. Gust van Dijk comprises a Project room, an AIR studio and a small scale Bed and Breakfast.

Production Publisher

SEA Foundation

Year of publication

2013

Exhibition

To be or to have presents

22.11.2013 â&#x20AC;&#x201C; 25.01.2014

Curator

Riet van Gerven

Project leader/ Photography

Kim Pattiruhu

Design catalog

Peter van Mierlo

Technical assistant

Jan-Willem van Rijnberk

Editors (text)

Kim Pattiruhu / Heleen Klomp

Niek van Hulten / Martijn Stad

SEA Foundation

Project Space Tilburg

Tivolistraat 22

5017 HP Tilburg

www.seafoundation.eu

info@seafoundation.eu

+31 (0) 13 544 44 95

Visiting hours

Thursday, Friday and Saturday 1 - 5 pm

and by appointment

ÂŠ All content is copyright protected.

Voorwoord

Introduction

Als geven delen wordt – Frank G. Bosman

When giving becomes sharing – Frank G. Bosman

To be or to have presents – Riet van Gerven/Kim Pattiruhu

SEA foundation bedankt / thanks

SEA Foundation / Project Space Tilburg

Production