Page 1

ANNUAL REPORT 2018

www.caesuur.nu

1


2


Cover | kite | Jรถrn Burmester [Germany] ruimteCAESUUR | Lange Noordstraat 67 | 4331 CC Middelburg www.caesuur.nu | caesuur@zeelandnet.nl K.v.K. 4111439 | NL43 INGB 0002 6695 59 opening hours every Friday and Saturday afternoon from 14 h. 00 - 17 h. 00, except when changing an exhibition 3


4


statement ruimteCAESUUR no caesuur in 2018 | Giel Louws

page 06 page 07

exhibitions teamCAESUUR | Middelburg, the measure of things Peter Puype (BE) & Dani Ploeger | Violence / Propaganda teamCAESUUR | artist books Hans Overvliet | Defacing Palestine Giel Louws | Small World Sheaf & Barley (UK) & Dani Ploeger | Making / Believing Hans Overvliet | kite flying with CAESUUR Giel Louws | The Fidelity of Things

page 08 page 12 page 16 page 18 page 22 page 24 page 32 page 36

art fair ruimteCAESUUR & Giel Louws | Art Fair Amsterdam Beurs van Berlage

page 40

colophon | thanks to

page 44

5


statement ruimteCAESUUR Since 1995 exhibitions of contemporary art have been made in ruimteCAESUUR in Middelburg; from 1999 on the Lange Noordstraat 67. Creative arts, in line with the contemporary art discourse, are always the guiding principle for an exhibition, but also a historical and social perspective determine our choice. ruimteCAESUUR stands for the autonomy of art and places the oeuvre of the artist at the center of organizing (solo) exhibitions. Young, novice and 'arrived' artists are offered a stage in order to be able to present their work in a non-commercial environment. Learning from each other is an important element within the annual planning of ruimteCAESUUR. ruimteCAESUUR is a private volunteer initiative, not for profit, with as permanent core Willy van Houtum and visual artist Hans Overvliet; they form the board of foundationCAESUUR. Willy and Hans are supported by other professionals who support and realize projects, also on a voluntary basis: Giel Louws, visual artist / curator / curator and Dani Ploeger, visual artist. In 2018, at the suggestion of Giel Louws, we focused our own artistic practice on curating the exhibitions. On the next page his proposal.

6


no caesuur in 2018 During the last exhibition series in ruimteCAESUUR we discovered a change in the attitude and practice of the artists we met. The artist of this moment functions in a complex network. This network interweaves art practice with regular work and the ‘private’. We experienced a much looser connection of many artists with the projects in our space, an attitude that can be experienced as non-committed. In internalizing this idea, one arrives at an investigation into personal engagement, personal life, and personal art practice. How do they connect to leading an art space, and what are our priorities? Consciously, but also unconsciously, there is a duality conflict in caring for others, and their own practice. Although we regularly express that making exhibitions is part of our practice as an artist / person, reality is unruly. How does the balance come true, and to what extent does this influence the exhibitions on the one hand, and on the other hand the own art work / life? To what extent does the exhibition space still connect to the daily life of both the arftist, the visitor and the curators? Has a radical caesuur occured unnoticed as a result of which that contact is broken? The no caesuur program examines the dilemma between personal and general interest. And could come to a preliminary conclusion that the personal is the general. What happens at the kitchen table, or in the studio, is essential. Perhaps even more recognizable and accessible to the visitor / viewer of our exhibitions. Discarding the personal commitment of teamCAESUUR might well revise the position of a small contemporary art venue. A very agile and personal exhibition year, without plans, seems ideal for an investigation into urgency, engagement and confusion. The exhibitions this year will be centered around the teamCAESUUR, the life and the art practice of those directly involved. It will be an agile practice that responds to daily life, the studio, the news, spotted by us on urgent work. The exhibitions will have a fluid character, without pre-imposed schedules, without dogmas, without calibrated openings. We will join a recently created work in the workshops, a social theme, but also personal stories. Such as a nice meal, a good conversation, a fresh bouquet, a recent purchase. Perhaps a review of an exhibition from the past or an urgent project, but everything connected to the bare hands of teamCAESUUR. The wall between private, workshop, and the exhibitions will be brought down.

Giel Louws, 30 August 2017 7


teamCAESUUR Middelburg, the measure of things. 01/01/’18 - 27/03/'18 8


Middelburg, the measure of things. The year 2017 was about ruimteCAESUUR in the sign of "Ask the city a question", an independent art project with a history of two previous editions in 1997 and 2006. This year the project fits in nicely with the celebration of Middelburg for 800 years. An intensive year is behind us, with many small and somewhat larger projects by artists, doers, and thinkers. Some projects were fluid, and landed briefly in the city to touch people briefly. Other projects laid out long lines along the history and inhabitants of the city. Here and there, lasting and tangible memories remain in the city, others only in the heads and hearts of passers-by. Where some connected the city with the world, others looked behind closed doors. What most projects connected was the love for the city of Middelburg, or at least for those who live, work, or pass by. What the participants [m / f] of the project taught us was to look around us with new eyes, or to inhabit the older eyes of others. And before the project is finished, we have the idea that something of all this needs to be recorded for later, for new eyes, and for those who remember. Although all projects are well documented on digital highways, we feel the need to leave something tangible behind. And then we think of the library of CAESUUR, which forms the heart of this place, and seems to make a book inevitable. So teamCAESUUR came together, and we thought about what such a book could be. We came up with the idea that the book itself should become a work of art. No report of all projects, such a book that does not find a place in the bookcase, but an image gift. A book that asks the city a question, in images, in scarce words. Made by people who touched us in this project in particular, and people who still miss. The book will try to capture the city with images, materials, small and big thoughts. As a result, it can inspire the viewer of the book, make it look at the city again. No history book or documentation, but a viewing book. A book that you want to give or receive from your friends that you put on the table to keep returning to. Inspiration for this project lies with the book "I send you this cadmium red" by the artist / historian John Berger. This book is based on a letter and image exchange between two artists. We want to enter into a comparable exchange with a number of carefully chosen makers. The theme of the book is the city of Middelburg, and what these makers find there in terms of image and word. A selection of the most beautiful entries is brought together in a beautiful limited edition book.

Giel Louws for teamCAESUUR | Monday, December 11, 2017 9


10


11


From 27 March to 7 April, the INCUBATION: SURVEIL-LANCE project by Dani Ploeger and Peter Puype will take place in ruimteCAESUUR. Ploeger and Puype will spend a week in ruimteCAESUUR working on concepts such as 'mass manipulation', 'propaganda' and 'brainwashing' in relation to violence. Or how our daily behavior in databases and statistics is stored, monitored and manipulated. 27 March - 2 April: PREDICT During the week prior to the work phase, work by Ploeger and Puype will be shown behind the windows of ruimteCAESUUR. The doors remain closed. April 3-7: INCUBATION Ploeger and Puype will wander around in the area, read theory, read, discuss and argue, collect things, and maybe make new work, independently or together. April 7: OUTCOME A public presentation starts at 4 pm. The form and content of this will be determined during the course of the week. "Incubation: Surveillance" is part of the program "Three Encounters / Three Encounters" that takes place in ruimteCAESUUR during 2018. Dani Ploeger has invited four artists for exchanges and collaborations to explore a few things of contemporary life that fascinate and worry him. In each of the three week-long sessions, a the-ma is discussed that has common ground and shared interests in the work of the artists. Dani Ploeger

Peter Puype (BE) & Dani Ploeger Violence/Propaganda 27/03/’18- 15/05/'18 12


13


14


15


teamCAESUUR artist books 26/05/’18 - 02/06/'18 16


17


Over the course of 40 days, starting from 24 April, Hans Overvliet depicted 417 destroyed Palestinian villages / cities. The 'archive cards' that resulted from it mention the name, the geographical location, the number of inhabitants in 1948, and a photograph of the remains of that place. The 'cards' took the form of an obituary and was stored in a steel filing cabinet. Overvliet also made a video of his computer screen, which shows all the actions that led to each individual obituary. The work will be presented from Saturday 16 June with an official opening at 4 o'clock in the afternoon under the title defacing palestine 1948 | 2018. It is part of the work in progress DISTANT SUFFERING that Overvliet started in December 2013. Artist Ingrid Rollema from The Hague gave an introduction about the state of contemporary art in Palestine and Gaza.

Hans Overvliet Defacing Palestine 16/06/’18 - 01/07/'18 18


19


20


21


This year, CAESUUR, space for contemporary art in Middelburg, is connected to the practice of the artists who run the place. Hans Overvliet, Dani Ploeger, and I, Giel Louws, try to connect their own work with the exhibition practice of ruimteCAESUUR. For this project I go back to the series of exhibitions; "The Painter The Work And The Workshop" from 2012/2013, where I was the head curator, a project that had a considerable impact on me. This summer I want to follow up this successful painting exhibition with a new one. For this exhibition, painters are invited to submit a work on a postcard format. An exhibition is made with these cards. At the end of the exhibition, these art works are shuffled, and all participants receive a random card from another participant. This exhibition highlights the fact that painters in particular can deeply appreciate the work of colleagues. Furthermore, it highlights the non-commer-cial goals of this summer. The selection of participants is done by Giel Louws, who, again, for a large part curated the previous episode. From the first series of exhibitions the following painters have pledged at the moment; Niek Hendrix, Machteld Solinger, Jan Wattjes, Aimee Terburg, Fabian Westphal and Just Quist. In addition to these painters, I invite a number of new people who have noticed me in the painters' world. These are Vincent Uilenbroek, Flo van der Waa, Roel Jeroen van der Linden, Paul de Jong, Wilma Vissers, Kathleen Huys, Els Vekeman, Kenan Hasim-Begovic, Tobias Lengkeek, Ritsart Gobyn, Kris Fierens and Udona Boerema. Finally, I add a work of my own hand. The artists come from the Netherlands and Belgium. It is an impressive list of participants, including winners of big prizes to young talents. With the entries a summer exhibition is made in this summer in the period from 7 July to the finissage on Saturday 25 August.

Giel Louws Small World 07/07/’18 - 25/08/'18 22


23


Sheaf & Barley (UK) & Dani Ploeger Making / Believing 16/09/’18 - 21/10/'18 24


25


26


27


Struggle and Expand 2018 The story of the Delta Works is grand and marvellous. Fourteen dams protect the vulnerable Dutch delta against storm surges. […] The delta forms the cradle of our culture, the habitat for millions of people […] ‘The Dutch can do it’ is what the Delta Works express […] Thus, the Works have a much bigger meaning than merely protecting against a dangerous sea. They form a crucial link in the international reputation of the Netherlands as a country of water engineers. [1] The Delta Works are a vast complex of dams and dike improvements in the province of Zeeland and adjacent areas in the south west of the Netherlands, constructed to protect the land in the Scheldt delta from flooding. The government-led project, largely funded with income from the national gas reserves, was initiated after the flood of 1953, which affected a total area of 200000 hectare in the region and lead to the death of over 1800 people and almost 200000 cattle and poultry. Usually, the Delta Works are presented as a project that has been necessitated by the unpredictability of nature, a humanmade protection against an inevitable threat. However, looking at the historical development of the region, it becomes clear that this is only a partial truth, at most. Before dikes were built, the Scheldt delta consisted largely of wetlands that would flood regularly and which continuously changed shape. From the middle-ages some of the tidal areas were enclosed by dikes to enable permanent inhabitation. Draining of water from peat grounds due to agriculture and salt and peat extraction in these areas then resulted in the sinking of land that was previously above sea level. In addition, up until the 20th century, ever more land was reclaimed to further expand agricultural production. This, in turn, necessitated the erection and reinforcement of ever more dikes. Thus, the Delta Works should also be seen as a response to problems that resulted from preceding agricultural endeavours. Especially from the 17th century, when traders of the Dutch East Indies Company started investing in large scale land reclaiming projects [2], the water works in Zeeland started to operate like what Raj Patel and Jason W. Moore describe as a ‘frontier’ in their analysis of the history of colonial capitalism: ‘a site where crises encourage new strategies for profit […] the encounter [zone] between humans and all kinds of nature [aimed at] reducing the cost of doing business’ [3]. In this context, the Delta Works may be considered a frontier technology to overcome yet another challenge in a long tradition of securing access to cheap and profitable natural resources, in this case agricultural land. In addition to a frontier technology – a means to an end – the Delta Works have more recently also become an end in itself, as a commodity in a globalized service economy. The Dutch government, universities and businesses promote the water engineering technologies developed during construction and purchasing Dutch engineering skills and knowledge [4]. The coat of arms of the province of Zeeland features a 28 lion emerging from the waves, accompanied by the motto ‘Luctor et

Emergo’, I struggle and emerge. The Delta Works are oftentimes celebrated as a high-tech manifestation of this supposedly typical regional attitude – ‘The Dutch can do it’ – and play a significant role in


The coat of arms of the province of Zeeland features a lion emerging from the waves, accompanied by the motto ‘Luctor et Emergo’, I struggle and emerge. The Delta Works are oftentimes celebrated as a high-tech manifestation of this supposedly typical regional attitude – ‘The Dutch can do it’ – and play a significant role in Dutch cultural awareness and identity. To be truthful, we might need to add a second motto though: ‘Luctor et Extendo.’

[1] Marinke Steenhuis, ed., 2016. De Deltawerken. Rotterdam: Nai10 Uitgevers [2] Albert Sikkema, 2014. ‘Zeeland is ingepolderd zonder poldermodel.’ Resource, 24 September 2014. https://resource.wur.nl/nl/show/Zeeland-is-ingepolderd-zonderpoldermodel.htm [accessed 25 September 2018]. [3] Raj Patel and Jason W. Moore, 2017. A History of the World in Seven Cheap Things: A guide to capitalism, nature, and the future of the planet. Oakland, CA: University of California Press. [4] Bart van den Dikkenberg, 2012. ‘Deltawerken goed voor internationale imago.’ Digibron. https://www.digibron.nl/search/detail/013c15eaf3353b9686d0e818/ deltawerken-goed-voor-internationale-imago [accessed 25 September 2018]. 29


As you could read in the published catalogue ‘Flying kits with CAESUUR’ I invited 20 fellow artists for the idea. On October 20 we gave it a try on the beach in Vlissingen[ Flushing]. The alderman of the city of Vlissingen for the Elderly Party 50 Plus, Rens Reijnierse, in a personal capacity visited the presenta-tion on the beach on a beautiful Saturday afternoon. Since there was hardly any wind, the kite flying did not went very well, so teamCAESUUR improvised a pop-up exhibition there and then. Reijnierse tweeted “Kites on the beach. Beautiful autumn day in Vlissingen, no wind, so the kites do not fly Project for Palestine succeeded.” Then the shit hit the fan. One of the participating artists, Robin Wijers, wrote later: “In the last two weeks a lot of public turmoil around this project has come up: it became a real political controversy where reactions on social networks, aldermen, local politicians and international media biased parties took their “news and facts” as them suited best. The project became a “playing ball” far beyond its artistic purpose, which has been totally overlooked I may add. This kite project has made a lot clear about the stalemate positions that govern the Gaza conflict. In that sense, my reflective kite has not yet been comprehended or even flown, as a result of the controversy. It has put to the test too!” See for an overview of the reactions in the online and writen media: the Post Scriptum catalogue. Here ends the involvement of ruimteCAESUUR. The project from this moment on is a private project by the initiator Hans Overvliet. See . Hans Overvliet

Hans Overvliet flyimng kites with CAESUUR 20/10/’18 - 10/11/'18 30


31


32


33


34


35


Giel Louws | THE FIDELITY OF THINGS The sky blue porcelain bowl is thin and is carved with a pattern of flowers and two boys. It has been in my apartment since 2005, but it has been loyal to his owners for 800 years. Since its creation it has hardly changed, untouchable in his vulnerability. It is an object to which I keep returning, and it always stays where I left it. I surround myself with things that represent an order that compensates for the chaos of daily life. These objects confirm me, my choices, my knowledge, and taste. Collecting is an intelligent and creative process, a process of sophisticated choices. This description of the collection is in many ways the same process as in my studio. Perhaps it is an ideal description of my aim as an artist; create work that is untouchable in its vulnerability. Craftsmanship is a way of making radical choices, a sort of gathering with high dedication. In the studio I am also surrounded by a collection; my own oeuvre. Yet this collection does not exude for me the tranquility that the ceramics have in it. The collection in the studio is too much connected to my own life. Every work carries the traces of who I was at that moment. I feel a responsibility and a certain pressure with this collection. The ceramics will find its own way after me, and the work that I made has to be a place for itself. This exhibition focuses on the similarities between the two. The two collections together reveal something about myself. For this exhibition I looked at the vulnerability and aesthetics of things, and expose them as well as possible. I put a number of pieces from my collection of paper models that symbolize these pieces. They are a kind of drawings of how I had preserved the ceramics in my head. The displays try to reveal something about looking and knowing. What they ask is a patient look, to charge them as the sky-blue porcelain bowl is also loaded. It is a subtle dance of things.

Giel Louws The Fidelity of Things 17/11/’18 - 17/01/'19 36


37


38


39


ruimteCAESUUR & Giel Louws Art Fair Amsterdam Beurs van Berlage 27/12/18 - 30/12/18 40


41


42


43


colofon | met dank aan 44


most thanks to the artists Small World: Niek Hendrix, Machteld Solinger, Jan Wattjes, Aimee Terburg, Fabian Westphal en Just Quist, Vincent Uilenbroek, Flo van der Waa, Roel Jeroen van der Linden, Paul de Jong, Wilma Vissers, Kathleen Huys, Els Vekeman, Kenan Hasim-begovic, Tobias Lengkeek, Ritsart Gobyn, Kris Fierens and Udona Boerema. Flying kites with CAESUUR Pakistan Mehreen Hashmi Gaza / Palestine Mohammed alHawajri, Dina Mattar and Raed Issa Germany / Danmark Jörn Burmester Belgium jen gossé, Frie J. Jacobs en Jan Verhaeghen the Netherlands Leni van den Berge, Ko de Jonge, Dani Ploeger, leon riekwell, Loek Grootjans, Ingrid Rollema, Hans Overvliet, Stef Fridael, Robin Weijers, Harriët Rademakers and Rinus Roepman Regular program Peter Puype (Be), Ingrid Rollema, Sheaf & Barley (UK) ruimteCAESUUR cooperates with Actuele Kunst in Zeeland [ A_KiZ ] kunstpark Vlissingen [ ik ben een god . . . . ] and is knowledge partner of het metamorfoselokaal | UCR teamCAESUUR 2018 Willy van Houtum | Hans Overvliet | Giel Louws Dani Ploeger words ©Giel Louws | Hans Overvliet | ©Dani Ploeger photo’s ©Giel Louws | Hans Overvliet | ©Dani Ploeger ©Willy van Houtum logo: ©Niek Hendrix lay-out: ©Hans Overvliet | also image selection

45


thanks to private individuals the cheerful shareholders & friends of CAESUUR subsidy the municipality of Middelburg funds Kattendijke / Drucker Stichting Familiefonds Hurgronje de Frits Lensvelt Stichting businesses studio ZagaZ belettering Snowball Lab4Arch

46


47


ANNUAL REPORT 2018 ruimteCAESUUR | Lange Noordstraat 67 | 4331 CC Middelburg www.caesuur.nu | caesuur@zeelandnet.nl K.v.K. 4111439 | NL43 INGB 0002 6695 59 48

18 | ruimteCAESUUR | annual report 2018  

18 | ruimteCAESUUR | annual report 2018

18 | ruimteCAESUUR | annual report 2018  

18 | ruimteCAESUUR | annual report 2018

Advertisement