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THE ART CATALOGUE

AMSTERDAM | WINTER 2013 | €5


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THE ART CATALOGUE Every season, a selection of Amsterdam’s best contemporary art galleries and arts centres present the highlights of their current and upcoming exhibitions in The Art Catalogue Amsterdam. With tantalizing photography and editorials and a comprehensive agenda, index and city map, this magazine is the ultimate guide for both beginning and experienced collectors and art lovers into the state of the art of Amsterdam’s vibrant contemporary art scene.

Publisher

Maarten Eshuis Editor

Robbert Hovenberg Design

Maarten Eshuis Advertising

office@pbliz.nl Cover image

Adi da Samraj Quandra Loka #404 Courtesy: Galerie Pien Rademakers (Page 32) and Da Plastique Copyright © 2012 ASA. All rights reserved. Publishing Office Pbliz BV, The Netherlands office@pbliz.nl © 2013 All rights reserved. Reproduction in whole or in part of any text, photograph or illustration without prior written permission from the publisher is strictly prohibited.

Table of Content Page 4 Dreaming of Paradise - Portrait of an Art Collector Page 6 Art to Inspire - The LeasePlan Corporation Art Collection Page 9 Index - Exhibition Agenda Page 10 Gallery Exhibitions Section Page 42 Gallery Permanent Collections Section Page 58 de Appel arts centre Page 58 Index - City Map


DREAMING OF PARADISE PORTRAIT OF AN ART COLLECTOR

Artwork: Chris Beerens Untitled Graphite and ink on paper on panel 80 x 40 cm

Text: Anne Berk, art critic

In her daily life, Patty van der Vliet is a headhunter.

office, I was surrounded by his collection. At some

Photo: Maarten Eshuis

Her office, Van der Vliet & Van der Schoot, is located

point I felt the need to create my own atmosphere

along the canals of Amsterdam’s historic city centre.

with my own selection of artworks, but what to

‘AMSTERDAM IS A TREASURY FOR

But at the end of her workday, she escapes from the

choose? MyFirstArtCollection.nl, a crash course for be-

CONTEMPORARY ART,’ SAYS PATTY

bustle of the city and heads for Vinkeveen, a small vil-

ginning art collectors, was a good starting point. For

VAN DER VLIET. ‘I LOVE TO EXPLORE

lage in the 'Groene Hart', a relatively thinly populated

my office, I acquired a silkscreen print Career (1998) by

THE 180 GALLERIES THAT ARE SCAT-

area between the major cities of the western Nether-

the well-known Dutch artist Rob Scholten. It perfectly

TERED THROUGHOUT THE CITY IN

lands. Here, Van der Vliet lives in a typical houseboat,

suits my work as a headhunter. And for in my private

SEARCH FOR ANOTHER ARTWORK

a floating bungalow moored on the banks of a lake.

environment, my first purchase was a painting by

TO ADD TO MY COLLECTION. JASKI

When entering the living room, my eyes are alter-

Chris Berends, Lady of the Dawn.’

AND METIS GALLERY ARE AMONG

nately drawn between the magnificent view outside

MY FAVOURITES. I ALSO VISIT ART

and the artworks inside. Large windows frame the

Whilst looking at the romantic Lady of the Dawn, ac-

FAIRS, SUCH AS ART AMSTERDAM

sky and the shimmering water of a man-made lake.

companied by birds and fuzzy animals, it is hard to

AND THE KUNSTRAI. AND I NEVER

Originally, this area of wet meadows and marshland

believe that this is a painting. Berends developed a

MISS THE ‘OPEN STUDIO’S’ OF THE

was not suitable for building, so instead was used for

special, time consuming technique. He uses ink on a

RIJKSAKADEMIE. EVERY NOVEMBER

agriculture and peat production. Ages of peat produc-

surface of thin plastic over wood panel. He heats the

THIS RENOWNED INSTITUTE OPENS

tion however transformed it into a lake-district.

plastic with a blow dryer, smoothing out any brush-

ITS DOORS AND LETS YOU ADMIRE

Inside the houseboat, the first piece that attracts

strokes, which, combined with many layers of ink,

THE WORK OF ITS RESIDENT ART-

my attention is a painting of a deer by Dutch artist

gives his work a luminous, dreamlike quality.

ISTS, OVER FIFTY TOP TALENTS FROM

Sylvia Evers. The animal returns my gaze with her

Some works of this Amsterdam based painter are

ALL OVER THE WORLD. I LOOK FOR

velvet eyes, standing in front of a candy coloured pink

reminiscent of the 17th century Dutch Masters. As a

ART WHEN I AM ABROAD FOR BUSI-

background that is anything but natural. The two cud-

child, Berends became fascinated by the work of Ver-

NESS, I REGULARLY VISIT LONDON

dling Bambi’s in an Arcadic landscape by Portuguese

meer, Rembrandt and Frans Hals, which he saw in the

FOR EXAMPLE, BUT THE BEST THING

Brigida Mendes seem to be a variation on a theme. Is

Rijksmuseum. But he never copies the Old Masters.

ABOUT THE RIJKSAKADEMIE, IS THAT

this a coincidence? Or could the corresponding motifs

Instead his paintings seem blurred, as if you look at

THE WORLD COMES TO ME, AT AN AF-

of the deer in an artificial landscape be the expres-

the past through a warped lens. Strangely distorted

FORDABLE PRICE.’

sion of a longing for nature – the lost paradise - in our

faces emerge from the rippling surface of time and

urbanised, technological society.

the imagination of the artist, but it is impossible to focus. The figures remain mysteriously undefined,

‘I choose every artwork intuitively. I simply like it or

guiding the spectator into a realm of dreams.

not. But it might reveal some unconscious longing. As a child I read all the fairy-tales I could get my hands

With her choice of artwork, Patty van der Vliet trans-

on. And I guess I am still a dreamer…

forms her private space into a veritable refuge, a

I started collecting a few years ago, inspired by a

dream of paradise in a complex and hurried world.

former colleague, who is an avid art collector. In our

4


ART TO INSPIRE

THE LEASEPLAN CORPORATION ART COLLECTION

Artwork: Untitled Frank van Ammerlaan Mixed media on canvas 160 x120 cm 2011

Text: Robbert Hovenberg

Renowned examples of Dutch corporate collections

College of Art in London. When you look at this piece,

Photo: Maarten Eshuis

are the enormous bodies of artwork collected over

at first glance you see a dark surface with shimmering

the years by large banks like ABN AMRO and ING,

gold embroidery in a minimalist abstract pattern. But

PATRONAGE HAS ALWAYS BEEN

but there are also younger and more modest collec-

the longer you look at it, the more the painting comes

CRUCIAL TO GREAT ART. NOT ONLY

tions, like the one of LeasePlan Corporation, that give

to life and seems to be moving, with different colours

PRIVATE COLLECTORS, MUSEUMS

an interesting insight into the dynamics of corporate

shimmering through the surface. This way it forces

AND GOVERNMENTS ACQUIRE ART

collecting.

our guests and staff to take more time to enjoy it.”

WORKS AND SUPPORT ARTISTS

The LeasePlan Corporation started collecting art

“We do not only focus on technique but also select

THROUGH COMMISSIONS OR EXHI-

in 2003, setting up an art committee made up of

artwork that tries to push boundaries or cause a lit-

BITIONS. THERE IS ALSO AN IMPOR-

employees that have an affinity with art. During the

tle controversy, like the work of photographer Sylvie

TANT TRADITION OF CORPORATE

first couple of years the committee was assisted by

Zijlmans. Zijlmans’ artworks often evolve around dis-

COLLECTING. A GOOD CORPORATE

an external advisor from the museum world to advise

aster and distress. The photograph in the LeasePlan

COLLECTION THOUGH, IS MEANT TO

on acquisitions. After that, the company attracted an

collection is rather daunting at first, showing an inte-

SERVE AS MORE THAN JUST MERE

external curator to provide the collection with an art

rior in which an unknown crisis has occurred. We can

DECORATION OR A DISPLAY OF STA-

historical foundation and to advise on a more regular

see several people trying to manage the disaster, but

TUS. IT CAN BE A SOURCE OF INSPI-

basis. On the outset the theme of the art collection

what exactly happened remains a mystery.“

RATION AND CREATIVE REFLECTION

was ‘Mobility’, but since 2010, the committee decided

An important objective of the art committee is

FOR EMPLOYEES AND VISITORS AND

to let go of these confines in favor of a broader ap-

to engage the staff with art in general. The collec-

A TESTAMENT TO A COMPANY’S SO-

proach to international contemporary art.

tion is therefore not a goal in itself, but a means of

CIAL RESPONSIBILITY.

At the moment, the collection of the LeasePlan

achieving this objective. For that reason, the commit-

Corporation consists of some 300 works of art. The art

tee also organizes cultural activities, including artist

committee not only acquires artworks at galleries or

talks, exhibitions in the entrance hall, and trips to art

art fairs: occasionally it also commissions projects. An

fairs. Nienke: “Since 2007 we have a project which

example of such a collaboration can be seen on the

we call ‘Art Change’ in which we try to stimulate the

entrance wall of the LeasePlan building, which holds

staff to select an artwork from the existing collection

a mural by Jan van der Ploeg. “Our main objective is to

for their own personal office space. Although people

inspire the staff with the art works around the office,”

are free to choose a different work every two years,

says curator Nienke Offringa, “We especially appreci-

we notice that many people grow so attached to the

ate artwork that needs a little more attention before

artwork they first chose that they are often reluctant

you can grasp its full impact. This is for example the

to let go of it and consider it ‘their own’. Hopefully we

case with one of our latest purchases, a painting by

will inspire our employees to one day incorporate the

young Dutch talent Frank Ammerlaan, who is cur-

art they admire during their working hours into their

rently finishing his education at the prestigious Royal

own homes!”

6


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EXHIBITION AGENDA GALLERY EXHIBITIONS Galleries featured in the exhibitions section are also open for visitors outside of the dates indicated. For their full program check the respective gallery website or visit www.artcatalogue.nl. 10 GALERIE DE EXPEDITIE - ZSA-ZSA EYCK 12 GALLERY CULTURAL SPEECH 14 KOCHXBOS GALLERY

PIETERJAN GINCKELS - MICKEYMINNIEPLUTOHUEY...

FEB 22

MELANIE CLEARY - SOLO

FEB 23

RAY CEASAR - SINNOCENCE

MAR 10

16 CANVAS INTERNATIONAL ART

JAN 5

GROUP EXHIBITION - SCULPTURE: SELECTED.

FEB 9

18 TEN HAAF PROJECTS

JAN 5

GROUP EXHIBITION - YOUNG DUTCH MASTERS

FEB 28

20 GALLERY 9

JAN 12

GROUP EXHIBITION - REOPENING EXHIBITION

FEB 9

22 SLEWE GALLERY

JAN 12

GROUP EXHIBITION - SELECTED WORKS

FEB 16

24 GALERIE ROB KOUDIJS

JAN 12

NHAT-VU DANG - ACTIVATE!

FEB 23

26 VOUS ETES ICI

JAN 13

SHAAN SYED - PARTS AND LABOUR

MAR 3

28 REUTEN GALERIE

JAN 19

ALEXA MEYERMAN - SCENES OF DESTRUCTION

MAR 3

30 ART AFFAIRS

JAN 25

EWERDT HILGEMANN - NEW YORK PROJECT

MAR 16

32 GALERIE PIEN RADEMAKERS

JAN 26

ADI DA SAMRAJ - QUANDRA LOKA

MAR 3

34 GALERIE FONTANA FORTUNA

FEB 9

GERARD RANCINAN - THE TRILOGY OF THE MODERNS

MAR 16

36 GALERIE ROGER KATWIJK

FEB 16

BERT LOERAKKER & BART KELHOLT - PAINTINGS & SCULPTURES

MAR 17

38 WITTEVEEN VISUAL ART CENTRE

FEB 16

GROUP EXHIBITION - FOR THE SAKE OF PAINT, THE FLOOD

MAR 23

40 RON MANDOS

FEB 23

NIKA NEELOVA - LOST IN TIME...ADRIFT IN HISTORY

MAR 30

GALLERY PERMANENT COLLECTIONS 42 FLATLAND GALLERY

RUUD VAN EMPEL

44 FRANS JACOBS FINE ART

MINJUNG KIM

46 JASKI ART GALLERY

CHRIS BERENS

48 GALERIE CARLA KOCH 50 GALERIE MOKUM 52 ALEX DANIELS - REFLEX AMSTERDAM 54 LESLIE SMITH GALLERY

STEVEN HEINEMANN DICK PIETERS MARCUS HARVEY - HARLAND MILLER GEORGE WARD TJUNGURRAYI - ZHUANG HONG YI

ARTS CENTRES 56 DE APPEL ARTS CENTRE

DIRK BRAECKMAN - ZARINA BHIMJI

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MAR 31


GALERIE DE EXPEDITIE - ZSA-ZSA EYCK PIETERJAN GINCKELS MICKEYMINNIEPLUTOHUEYLOUIEDEWEYDONALDGOOFYSACRAMENTO THROUGH FEBRUARY 22

Into the Wild iPod 2012 C-print on dibond, framed 46 x 64 x 3 cm Edition of 5

MickeyMinniePlutoHueyLouieDeweyDonaldGoofySac-

In Into the Wild iPod, for example (see picture),

ramento; a title derived from the literal translation

Ginckels alienates this contemporary consumer

of the requirement for creating a password: “8 char-

gadget by taking the characteristic model of the iPod

acters and at least one capital”. An anecdote that

just after it had reached its commercial peak, and

reached Pieterjan Ginckels through Facebook.

positioning it within a conceptual context. Ginckels

With a sense of humor tinged with gravity, Ginckels

literally makes the iPod larger than life, magnifying it

(1982) works on an intelligent oeuvre that toys with

into what he refers to as a wePod or, in other words, a

elements that typify his era: internet, spam, elec-

simple composition he introduces into the landscape.

tronic music, fixed gear bikes, slow coffee. He refers

Pieterjan Ginckels lives and works in Brussels

to his work as ‘families’ of artwork: installations with

and is part of the latest generation of artists whose

pronounced circular, multi-layered and cooperative

work is not tied to a specific medium. With a sense of

aspects that function as generator of metaphors in

humor, Ginckels reveals that his choice for a specific

sound and image.

medium is founded on subjective and banal choices in

The family of new works in this exhibition has its

the piece Why I Don’t Like To Paint (2005) in which he,

roots in digital media, internet, spam, and Facebook

without further ado, lists his reasons for not painting

and is fed by popular visual culture. The works engage

in writing, on a canvas. Ginckels received the Young

with a means of appropriating meanings, construc-

Belgian Painters Award by BOZAR Center for Fine Arts

tions and objects by investing them with an autono-

in 2011.

mous, new life.

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LELIEGRACHT 47 TEL: +31 (0)20 62 04 758 WED - SAT: 1 - 6 PM

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WWW.DE-EXPEDITIE.COM


GALERIE CULTURAL SPEECH WWW.GALERIECULTURALSPEECH.EU POSTJESWEG 6-8 TEL: +31 (0)20 412 17 41 WED - SAT: 12 AM - 6 PM

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MELANIE CLEARY MELANIE CLEARY THROUGH FEBRUARY 23

FIRST SUNDAY/MONTH: 1 - 5 PM AND BY APPOINTMENT

Gallery Cultural Speech shows the work of South Af-

ing, healing and protection, sexuality and fertility.

rican photographer Melanie Cleary (1970, Caledon,

This series has earned Cleary a spot in the finals of the

Western Cape), exhibiting the series New Years Day

prestigious PDN Photo Annual 2012 in New York.

and The Hero Within. Cleary’s photographs are an-

The Hero Within series explores questions of physi-

chored within a genre of socio-political tradition with

cal identity, beauty and dignity where people literally

a strong focus on portraiture. Her images capture the

and figuratively recreate themselves through their

core of South African culture, its rituals, traditions,

‘performance’. While making this series, Cleary came

and most of all, its people.

to see her role as something of an extension of the

The series New Years Day was shot during new

participants’ own strategies for self-display, using an-

year’s day at one of the most popular holiday des-

other medium and context to ‘show off’ their bodies

tinations in South Africa: North Beach in Durban,

to a new audience. In 2011, Cleary received recogni-

where thousands of South Africans come together to

tion for her series The Hero Within as a finalist in the

celebrate the start of the new year. This annual cel-

international Celeste Prize.

ebration in South Africa represents not only the be-

Melanie Cleary currently lives in Cape Town and

ginning of a new annual cycle, but also a preparation

works as a photographer for South African commer-

for the year ahead. Water is a very important part of

cials and as a behind-the-scenes photographer for the

Zulu ritual life. It is used for purification and cleans-

film industry. Untitled From the series: The Hero Within 2009 Lightjet print Large: 100 x 72 cm Small: 58 x 44 cm

Crowd from Above, White Balloon From the series: New Years Day 2012 Lightjet print Large: 100 x 72 cm Small: 58 x 44 cm

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KOCHXBOS GALLERY WWW.KOCHXBOS.NL EERSTE ANJELIERSDWARSSTRAAT 36 TEL: +31 (0)20 681 45 67 WED - SAT: 1 - 6 PM

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RAY CAESAR SINNOCENCE THROUGH MARCH 10

AND BY APPOINTMENT

Ray Caesar (1958) was born and raised in South London, near Brixton. As a child he already displayed a fascination with art, incessantly drawing pictures on anything, including the walls and floors of every room of their tiny house. Caesar’s troubled childhood, plagued by his family’s mounting money problems led them to finally move to Toronto, Canada. After attending college there, Caesar worked as a graphic artist in the art and photography department of The Hospital for Sick Children in Toronto. Both his own childhood and years of experience with abused, neglected and deformed children had a profound influence on his personal and artistic development, making fantasy, human cruelty and disguise to become recurring themes in his work. We can also see the influences of classic European painting in Caesar’s work. The artist himself names Robert Campin, Jan van Eyk, Boucher, Chardin and Gainsborough. However, traces of the iconic imagery of film makers such as Hitchcock and David Lynch are also discernible. While working as a digital animator for GVFX in Toronto, Caesar discovered the basis of the technique he now uses to create his artwork. After his mother

La Chasse

passed away, the artist claims she came to him in a

2012

dream, showing him galleries of work that were to

122 x 122 cm

become his. He decided to quit his job and to fully

3D Digital art, ultrachrome ink on paper

devote his life to pursuing a career as an artist. Caesar builds digital models with invisible skeletons and anatomical joints using a 3D technique, after which he “dresses” them with fabrics and textures. Making digital images of his own skin and that of his

The Manager

wife and using these textures on his doll-like, eerie

2012

characters makes them appear almost lifelike. Caesar parries cruelty with a peculiar sense of humour.

14

92 x 61 cm 3D digital art, ultrachrome ink on paper


CANVAS INTERNATIONAL ART GROUP EXHIBITION SCULPTURE: SELECTED. JANUARY 5 - FEBRUARY 9

Lee Yongbaek’s Pieta: Self-Hatred was featured in the solo exhibition The Love is Gone, but the Scar will Heal at the 54th International Art Exhibition – La Biennale di Venezia. The themes love, suffering and hatred are masterfully conveyed in this greater than life-size sculpture. A jointed male mannequin made of FRP, violently beating the figurative mould from which it was supposedly casted speaks to self-destruction, the troublesome relation between (mother) love and hate. In October 2012 Canvas International Art had the great pleasure of presenting Lee Yongbaek’s Pieta: Self-Hatred in Nieuw Dakota. Now, Canvas will exhibit this monumental cast and mould in its own gallery space alongside a selection of sculptural works in a variety of media by some of the gallery’s favourite artists; there will be new works as well as sculptures that have been featured in other Canvas’ shows before. Amongst them are painted fibreglass pieces by Jiao Xingtao (CN) and Ji Yong-Ho’s (KR) mutants made of rubber tyres.

Lee Yongbaek Pieta: Self-Hatred 2011 165 x 370 x 290 cm FRP (Fibre-reinforced plastic)

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TEL: +31 (0)20 428 60 40 DURING EXH: THU - SAT: 2 - 6 PM OR BY APPOINTMENT

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WWW.CANVAS-ART.NL GERARD DOUSTRAAT 142-144


TEH HAAF PROJECTS GROUP EXHIBITION YOUNG DUTCH MASTERS JANUARY 5 - FEBRUARY 28

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WWW.TENHAAFPROJECTS.COM LAURIERSTRAAT 248 TEL: +31 (0)20 428 58 85 WED - SAT: 12 - 6 PM AND BY APPOINTMENT

Aldwin van de Ven Bird Study 2012 Mixed media on board 60 x 50 cm

Young Dutch Masters is a group show at Ten Haaf Projects with three young Dutch painters: Aldwin van de Ven, Arjan Hijbeek and Mari Stoel. The exhibiting artists work mostly in a figurative manner, memories and feelings play an important role in depicting their reality. Aldwin van de Ven (1980) graduated from The Rijksacademie in 2012. In his work, Aldwin likes to explore the unexpected. Starting point is always a memory or a scrabble from the past from which he starts his journey in painting. His reality is not of one that is here, or has been, but one that originates while painting. Aldwin van de Ven is interested in how an artwork comes to life without having a fixed idea beforehand. Arjan Hijbeek (1988) is a recent graduate from the Rietveld Academy (2012). His work shows a world that exists if things had gone different in the past. Many of his subjects are family. Arjan Hijbeek likes to examine the choices his family made and that also afArjan Hijbeek

fected and shaped his life.

All my Male Blood Relatives 2012

Most of Mari Stoel’s (1977) two-dimensional works

Oil on panel

are landscapes. The scenes are sometimes quite nor-

50 x 50 cm

mal but then again depicting a struggle for life. Stoel is influenced as well by abstract painters as Mondriaan: if we forget the figures in his work we see an abstract composition. Mari Stoel graduated from the AKV|St. Joost MA in ‘s-Hertogenbosch in 2010.

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GALLERY 9 WWW.GALLERYNINE.NL KEIZERSGRACHT 548 TEL: +31 (0)6 13 212 049 THU - SAT: 12 - 5 PM

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GROUP EXHIBITION REOPENING EXHIBITION JANUARY 12 - FEBRUARY 9

AND BY APPOINTMENT

From January 12, gallery 9 will celebrate the reopen-

The tension of Martijn Duifhuizen’s (1976) work is

ing of the gallery on a new address and in a complete-

found in its surface, in the subtle. The artist is always

ly renovated, new gallery space at the Keizersgracht.

looking for the strongest possible expression of what

Martijn Duifhuizen

On show will be a selection of works by all of the art-

he wants to convey. Sometimes emphasizing a spe-

Untitled

ists the gallery represents. The accent lies on minimal-

cific action or gesture, at other times accentuating

2012

shape or surface. The black squares in the work de-

Acrylic paint on stainless steel, velvet

picted are holes in steel strips. The strips are painted

52,3 x 50,1 x 3 cm

ist abstract art, both two and three dimensional. In the work of Tineke Porck (1954), rationality and

black. Behind these strips is a steel container, 3 cm

emotion are brought together. Because her method

deep and coated with matt black velvet. Together the

is partly calculated, partly intuitive, it has a very dis-

strips form horizontals and verticals and symbolize an

tinct signature. In addition to the limitation in shape,

imaginary melody.

and the focus on the essence of connection, the attainment of a certain stillness is characteristic. In this

Other artists represented are Gerhard Frömel, Jan-

Tineke Porck

specific work one might see different stages of life.

tien Kahn, Ineke van Koningsbruggen, Takashi

Untitled triptych

Viewed from the left the undefined stage of youth,

Suzuki, Dov Shlein, Dick Cassée, Karin Gielen,

2012

then in the middle the depth and the brightness of

Dorry van Haersolte, Anneke Klein Kranenbarg

Oil paint on wood

full life, and finally the stage of elderly age.

and Coen Vernooij

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10 x 30 cm


SLEWE GALLERY WWW.SLEWE.NL KERKSTRAAT 105 A TEL: +31 (0)20 625 72 14 WED - SAT: 1 - 6 PM

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GROUP EXHIBITION SELECTED WORKS JANUARY 12 - FEBRUARY 16

AND BY APPOINTMENT

Krijn de Koning Work (Office Blocks) 2012 painted wood, 8 parts 160 x 140 x 210 cm Selected Works is the title of a group exhibition at

Museum in Amsterdam in 1975. Since then his paint-

Slewe Gallery from January 12 until February 16,

ings developed from a monochrome plane, in which

2013. A fine selection of works by several artists

several coloured layers have been put on top of each

represented by the gallery will be on show. The show

other, towards compositions of contrasting colour

will include both paintings, sculptures and drawings.

planes next to each other. His more recent canvases

Participating artists are a.o. Dan Walsh (USA), Adam

use different coloured circles or dots to create colour

Colton (GB), Alan Charlton (GB), Michael Jacklin

interactions that create a specific pictorial space. They

(NL), Jan Roeland (NL), Martin Gerwers (DE),

float on a whitish coloured or raw canvas, but suggest

Peter Davis (GB), G端nter Tuzina (DE), Frank Van

space that is occupied with a certain light. The edges

den Broeck (NL), Krijn de Koning (NL) and Jerry

of these dots are in some cases sharp, in others vague

Zeniuk (DE). The exhibition will give an overview of

and atmospheric. They are brought into a harmonious

artists recently shown at the gallery.

equilibrium and have a strong spatial effect. Born in 1945 in Bardowick (DE), as a son of Ukrain refugees,

Colours are essential in the paintings of Jerry Zeniuk.

Zeniuk emigrated to the United States with his par-

Jerry Zeniuk

Not only as carriers of emotion, but also because, in

ents in 1950, where he grew up in Colorado. After his

Untitled

the eye of the artist, their interaction also reflects

studies he moved to New York, where he had his first

2012

social and human relationships in general. Zeniuk be-

exhibition. Since the seventies he stayed regularly in

Oil on canvas

came known in the seventies, when he participated

Germany, participating in several exhibitions. Today,

170 x 170 cm

at the Fundamental Painting show in the Stedelijk

Jerry Zeniuk lives in Munich.

22

Photo: Peter Cox


GALERIE ROB KOUDIJS WWW.GALERIEROBKOUDIJS.NL ELANDSGRACHT 12 TEL: +31 (0)20 331 87 96 WED - FRY: 12 - 6 PM

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NHAT-VU DANG ACTIVATE! JANUARY 12 - FEBRUARY 23

SAT: 12 -17 PM

A platinum brooch covered in diamonds needs little explanation. The sparkle is bound to seduce, the social position of the owner is obvious; what is left to talk about? Nhat-Vu Dang wants to make jewellery that is likely to start a conversation. He feels that it is a shame that in daily life people have become more and more introvert and self absorbed. What is wrong with smiling in the queue at the cashier or an unexpected talk on a bus ride, every now and then surprises, here and there some excitement? One and a half year ago, at the occasion of his graduation at the Rietveld Academy in Amsterdam, Dang presented big sculptural pieces of jewellery. They were made from straightforward grey cardboard. Only when being used, did the pieces reveal their secrets. In putting on the bracelets, unexpectedly colours flashed into sight. While walking, the brooches briefly exposed a brightly coloured tongue with every step you made. The new work that Nhat-Vu Dang will present at his first-ever solo exhibition at Galerie Rob Koudijs, once again shows his awareness of the interaction between the wearer of jewellery and the people he or she will meet. Likewise the surprise of things hidden plays a vital role again: elements of his necklaces fit into each other and due to the clever structure the owner has the possibility to make a choice about the final appearance of a piece. In fact, you can switch them either ‘on’ or ‘off’. His new brooches look like simple combinations of geometric, white shapes, yet you perceive the glow of invisible colours. The overview picture unveils both the effect and the secret of these pieces, as well as their perfect construction. Brooches Red Fold, Green Fold, Pink Fold 2012 High density foam, paint, remanium steel 9 x 16 cm

Necklace Hidden Green 2012 Glass, wood, high density foam, paint, epoxy, elastic rope ø 26 cm

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VOUS ETES ICI SHAAN SYED PARTS AND LABOUR JANUARY 13 - MARCH 3

Vous Etes Ici, run by Francis Boeske and Hans Gieles since 1990, moved to a new gallery space in the last months of 2012. The spacious, former industrial hall, located at the NDSM-wharf in Amsterdam North offered possibilities to develop a new gallery concept. Next to its international gallery program, which currently changes every six weeks, Vous Etes Ici created two extra exhibition rooms. One space is dedicated to vintage objects and furniture, occupied on a permanent basis by Destijds Design. Every presentation is a thematic selection from their stock. For ‘The Guesthouse’ Vous Etes Ici invites colleagues, curators and collectors to curate an independent show. This concept offers the visitor an extension of the regular expectations when visiting a contemporary art gallery. Canadian born Shaan Syed (1977) lives and works in London where he graduated at Goldsmiths College in 2006. Syed is a painter balancing on the borders between abstraction and representation, surface and depth, and the material aspects of painting. His accidental jokes and hidden references to things like crossword puzzles, props, grids and personal experiences make his works a form of rough-edged modernism with its own distinctive idiom. Destijds Design: Italian Vintage Objects www.destijdsdesign.nl The Guesthouse: Art Consultancy Tanya Rumpff presents: Adam Kokesch www.galerietanyarumpff.nl

Shaan Syed Missing You 2012 Oil paint, spray paint and oil pastel on canvas 140 x 101,5 cm

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REUTEN GALERIE WWW.GALERIES.NL/REUTEN PRINSENGRACHT 510 TEL: +31 (0)20 620 75 37 WED - SAT: 1 - 6 PM

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ALEXA MEYERMAN SCENES OF DESTRUCTION JANUARY 19 - MARCH 3

FIRST SUNDAY/MONTH: 2 - 5 PM AND BY APPOINTMENT

12:03 AM 2012 Inkjet print on transparency film 24 x 20 x18 cm (variable)

Alexa Meyerman (1967) prints architectural elements onto transparency film which she subsequently puts together to form hologram-like structures and buildings. Her transparent photo-objects can be seen as deconstructions. In spite of traces of human presence, these models have in common that they are empty, or temporarily abandoned. Like in memories or dreams, the buildings are re-constructed; some details have been emphasized, other are dissolving or dissolved. The concepts of interior and exterior become exchangeable. Her miniature installations constantly transform under the influence of light and point of view, adding a new dimension to the static nature of architecture, making new entrances, exits or rooms appear and disappear. Unavoidably you feel the need to approach these buildings closely, only to find out that you can not hide in these idle constructions, which in the end only consist of light and darkness.

Wormhole 2011 Inkjet print on transparency film 21 x 21 x 21 cm (variable)

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ART AFFAIRS EWERDT HILGEMANN NEW YORK PROJECT JANUARY 25 - MARCH 16

30


VEEMKADE 354   TEL: +31 (0)6 21 281 428 THU - SAT: 11 AM - 5 PM

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OTHER DAYS BY APPOINTMENT

Threesome Photoshopped version for exhibition on Park Avenue, New York, 2014 Three parts, different heights: 600, 550, 500 cm, base 100 cm each

Amsterdam based artist Ewerdt Hilgemann has

ny and started to exhibit his work across Europe be-

been invited by the Park Avenue Sculpture Committee

fore moving to Gorinchem, the Netherlands in 1970.

to exhibit his work on the median along Park Avenue

Hilgemann started his career with wall pieces made

for a period of three months, starting August 2014.

out of wooden pegs, related to the Zero movement,

This prestigious location has seen many famous art-

but over time developed into a conceptual artist mak-

ists preceding his performance, e.g. Fernando Bo-

ing stone and metal sculptures.

tero, Bernar Venet, Keith Haring, Niki de St. Phalle and

From 1977 to 1998 Hilgemann taught Concept

many others.

Development at the Sculpture Department of Wil-

The artist’s models of the sculptures designated for

lem de Kooning Academy in Rotterdam. As from the

the eight locations between 50th Street (The Waldorf

mid-1990’s, he also regularly exhibited in the United

Astoria Hotel) and 67th Street (Park Avenue Armory)

States, as well as the Far East. Since 1984 the artist

will be shown by Art Affairs. All works are made

lives and works in Amsterdam. Here he developed a

of stainless steel in different configurations, single

special vacuum process, with which he removes the

pieces as well as groups of two or more.

air from the interior of geometrical shapes made

Ewerdt Hilgemann (1938) was born in Witten,

out of stainless steel and designed by him, causing

Germany and after briefly studying at the Westfälis-

the material to deform according to natural, physi-

che Wilhelms-University in Münster, he attended

cal laws. This way, his work gained a less formal and

Werkkunstschule and the University of Saarland

more expressive quality. The resulting forms can be

in Saarbrücken. In the 1960’s he had residencies at

best described as ‘implosion sculptures’. In his new-

Kätelhöhn Printers in Wamel, Asterstein in Koblenz

est series, Hilgemann continues to employ this tech-

and Halfmannshof in Gelsenkirchen, Western Germa-

nique.


GALERIE PIEN RADEMAKERS ADI DA SAMRAJ QUANDRA LOKA JANUARY 26 - MARCH 3

Adi Da Samraj (New York, 1939 – Fiji, 2008) created art for more than forty years. His earliest photographs date from the early 1960s and in the late 1990s he entered into an intensive period of photographic work, featuring extraordinarily sophisticated multiple exposures. Quandra Loka – a suite of interrelated photographs with a single overarching subject matter – was created by Adi Da in 2002-2003. Quandra Loka represents the pinnacle of Adi Da’s photographic method. Almost all of the images in this suite are complex multiple exposures, typically involving more than two (and even as many as ten or more) superimposed layers. He created each of these multi-exposed images entirely in camera, mostly underwater, without the use of artificial lighting and the aid of any digital or darkroom manipulation. As a result, his works are of a contemplative and enigmatic character. Adi Da’s art was featured as an official solo exhibition at the 2007 Venice Biennale and since his participation the late American-born artist has commanded a large international following. From January 26 until March 3 his work will be shown in a solo exhibition at Galerie Pien Rademakers. This exhibition marks the European premiere of images from the Quandra Loka suite.

Quandra Loka #304 150 x 300 cm Dibond with perspex overlay Courtesy Galerie Pien Rademakers and Da Plastique

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KNSM LAAN 291 TEL: +31 (0)20 622 54 96 WED - SUN: 11 AM - 6 PM

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GALERIE FONTANA FORTUNA GÉRARD RANCINAN THE TRILOGY OF THE MODERNS FEBRUARY 9 - MARCH 16

The Trilogy of the Moderns, a show by photographer

Gérard Rancinan started his career at the Sygma press

Gérard Rancinan is divided into three chapters ded-

agency, traveling the globe and bearing first hand

icated to how the acceleration of history, the power

witness to events of historical importance. Constantly

of science, the virtual world and globalization impact

breaking down barriers, he is, alternately, a photo-

mankind. Rancinan creates a unique representation of

grapher working on communication campaigns, and

the Modern Man and appeals to everyone’s imagina-

an investigator deconstructing the great sagas of

tion with larger-than-life photographs. Each fresco in

contemporary life.

this Trilogy is conceived in the tradition of the photo-

Rancinan’s images have been awarded with a

graphic moment: a true ‘mise en scène’ developed in

number of prizes, including four World Press Awards.

the course of several months with a restless attention

His work will be exhibited in the recently inaugu-

to detail, character and material elements, in an effort

rated Le Louvre - Lens and his photographs are part

to touch the deepest recesses of the reality of today’s

of important contemporary art collections. During a

world. The Trilogy of the Moderns consists of the photo

recent Phillips de Pury auction in London in May 2012,

series: Metamorphoses, Hypotheses, and Wonderful

Rancinan became one of the highest ranked photog-

World.

raphers in the world today. This show will take place on a remote location. Check www.fontanafortuna.com for details.

Batman Family 2011 125 x 180 cm Argentic print mounted on plexiglass in artist’s frame

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HOBBEMASTRAAT 14 TEL: +31 (0)20 737 05 97 WED - SAT: 12 - 5 PM AND BY APPOINTMENT

URL WEBSITE

WWW.FONTANAFORTUNA.COM


GALERIE ROGER KATWIJK WWW.GALERIEROGERKATWIJK.NL LANGE LEIDSEDWARSSTRAAT 198-200 TEL: +31 (0)20 627 38 08 WED - SAT: 1 - 6 PM

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BERT LOERAKKER BART KELHOLT RECENT PAINTINGS / BRONZE OBJECTS FEBRUARY 16 - MARCH 17

SUN: 1 - 5 PM AND BY APPOINTMENT

During this dual exhibition at Galerie Roger Katwijk, Bert Loerakker will show a whole new series of expressive paintings for the very first time. The artist

Bart Kelholt

breaks with his usual diptychs through which he pre-

Untitled

sented his work until two years ago. Since that time he

2012

experimented with monochrome panels that serve as

Bronze

a support for his landscapes. From these experiments,

24 x 12 x 12 cm

his most recent series emerged, in which several panels with varying patterns and paintings were merged into one work of art. Loerakker also drastically lowered the horizon in his landscapes, causing dramatic and swirling clouds to make their entry. Around it, the painter places brightly colored panels, monochrome and with lines. Individually, these separate elements seem to contrast, but concatenated they seem to complement each other and synthesize. Bart Kelholt’s bronze sculptures offer a pleasant counterweight. For more than twenty years, sculptor Kelholt has been designing minimalistic forms that stand out by their expressiveness. His bronze objects have a monumental appeal and show a strong affinity with architecture, even though they are mostly modest in size. Some of his objects are open and transparent, others more closed and robust. Kelholt’s craftsmanship is remarkable: he casts all his images himself and makes good use of the natural patina of his material. Bert Loerakker Untitled 2012 Alcrylic and Lacquer on canvas on panel 100 x 120 cm

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WITTEVEEN VISUAL ART CENTRE GROUP EXHIBITION FOR THE SAKE OF PAINT, THE FLOOD FEBRUARY 16 - MARCH 23

After the successful exhibition (Dis)connections, an

Gé-Karel van der Sterren belongs to a new genera-

overview of Dutch sculpture since 1950, Witteveen

tion of Dutch painters who have rediscovered the art

visual art centre will now show a selection of contem-

of painting and have no qualms about working in this

porary Dutch painting.

medium. They take their inspiration from their own

Titled For the Sake of Paint, the Flood, curator Frans

life histories, from pop music and video clips, from

Franciscus puts 15 painters on show : “These selected

comic books and advertisements, and from religion.

masters are one by one so explicitly present that the

The subjects in Gé-Karel van der Sterren’s paintings

exhibition will unite a flood of painting with a tsu-

are unusual, seductive and striking: a burning petrol

nami of images.”

station, a cake with a lavish filling, a flayed cow in

The participating artists : Ronald Ophuis, Ab van

a meadow. Van der Sterren is not averse to manipu-

Hanegem, Philip Akkerman, Gé-Karel van der

lating images, using exuberant colour-schemes or

Sterren, Roland Schimmel, Anya Janssen, Ron

especially injecting a strong dose of humour, gener-

Amir, Michael Kirkham, Sven Kroner, V & B: Alex

ally black humour, into his work. And he takes a real

Jacobs & Ellemieke Schoenmaker, Niels Smits

delight in painting. Gé-Karel van der Sterren depicts

van Burgst, Gijs Frieling, Hans Broek.

today’s hedonistic society with ingenious painterly devices. In so doing, he exploits the properties of paint to the full; for instance, he uses acrylic paint to depict a mass of liquid fire and oil paint to suggest a cake filling. His themes are related to compulsive consumerism and the hedonism of post-industrial society. He does not condemn these trends, but uses his poisonous palette and sometimes macabre sense of humour to make us see and more importantly to feel their downside.

Gé-Karel van der Sterren Nudist Beach [Naakstrand] 2012 Oil on canvas 200 x 270 cm

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KONIJNENSTRAAT 16 A TEL: +31 (0)20 623 96 84 TUE - SAT: 12 - 6 PM

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RON MANDOS WWW.RONMANDOS.NL PRINSENGRACHT 282 TEL: +31 (0)20 320 70 36 WED - SAT: 12 - 6 PM

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NIKA NEELOVA LOST IN TIME...ADRIFT IN HISTORY FEBRUARY 23 - MARCH 30

Nika Neelova (Moscow, 1987) makes sculptural installations out of reclaimed architectural features and burnt timber. Through her practice, she is interested in exploring history through architectural manifestations, selecting architectural fragments containing history and using their physical residues to gain access into the past. Her work is addressing architecture as having a longer memory span, investigating its relationship with history and memory, and thereby seeking to expose the moment when it turns memory into commemoration. By incorporating fragments that have outlived their history and context, Neelova’s work is address-

The Entire Earth Behind it 2012 10 square meters of parquet flooring cast in concrete, timber 4x3x2m The Future Can Wait & Saatchi New Sensations, London

ing the notions of physical and historical displacement and enforcing a sense of anachronism. Her installations are created by a continuous writing in and erasing of certain fragments, constructing and deconstructing certain narratives. By unearthing elements from the past and discarding the knowledge of a later course of events they are imagining a hypothetical present for this past, embedding history into new narratives. Through applying this new set of filters to selected sections of the past, they are borrowing their samples and continuously rewriting their history, eventually depriving them from original function or meaning. The architectural structures that often appear in her pieces are depicted in the prospect of an imposed ending, caught at the instant, right before it happens. The objects incorporated are often cast to emphasize their distance from the originals. The material manifestation of the work draws on the life and afterlife of materials, often appearing on the edge, before falling into decay. The physical presence of the work echoes the gravity and grandeur of monuments, whereas the entropic properties of the materials reflect on the briefness of the moment.

Partings 2012

Nika Neelova lives and works in London, her work

Somerset House door cast in concrete, burnt timber, rope

is also included in the current exhibition Gaiety is the

5x4x3m

most outstanding feature of the Soviet Union in Saatchi

The Crisis Commission, Somerset House & Christies, London

Gallery, London.

Photography courtesy Sam Mellish

40


FLATLAND GALLERY RUUD VAN EMPEL PERMANENT COLLECTION

The photographic images of Ruud van Empel (1958), digital collages made from fragments of hundreds of his own photographs, have a sense of permanence. His subjects seem to have time to stand and stare: time to evaluate, to be part of nature, to watch their dreams. The softness of his tone, though, in no way diminishes the sharpness of his work. If you get it, you notice Van Empel’s underlying concept of genuine concern on how unsettling reality can be. Ruud van Empel graduated from the Academy of Fine Arts Sint Joost in Breda, the Netherlands in 1981. In that year he was awarded the St. Joost Prize which was followed by the prestigious Charlotte Köhler Prize in 1993 and the H.N. Werkman Prize in 2001. Exhibited internationally with great success, his first retrospective with over 80 works opened in 2011 in the Groninger Museum in the Netherlands and is travelling abroad to the MoPA-Museum of Photographic Arts, San Diego in 2012 and to the photography museum Fotografiska, Stockholm, Sweden and the Fotomuseum Antwerpen (FoMu), in Belgium in 2013. His work is featured in public and private collections, including, but not limited to the Caldic Collection, Rotterdam, the Netherlands; the Sir Elton John Collection, Atlanta, USA; The FNAC Collection, Paris, France; Flatland Foundation, Amsterdam; The J. Paul Getty Museum Collection, Los Angeles, USA; George Eastman House, Rochester NY, USA; Christian Louboutin, Paris, New York; Tel Aviv Museum of Art Collection, Tel Aviv, Israel and Vente – Privee Collection, Paris, France.

42


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Generation # 2 2010 Cibachrome, dibond/plexiglass 124 x 330 cm


FRANS JACOBS FINE ART WWW.JACOBSFINEART.COM EMMY ANDRIESSESTRAAT 582

PERMANENT COLLECTION

TEL: +31 (0)20 638 17 29 BY APPOINTMENT ONLY

Minjung Kim was born in 1962 in Gwangiu, South

away from the figurative tradition of her country of

Korea. From the age of six, her family encouraged her

origin towards an investigation of the expressive val-

to study painting under various teachers, including

ue of marks and maculas, two stylistic elements that

the famous watercolorist Yeon gyun Kang, and, be-

combine perfectly with the ‘process-based view of

tween the ages of thirteen and twenty-nine, Oriental

the world’ and the ability to ‘channel the energy’, both

calligraphy. This latter study allowed her to under-

of which she learned in her study of calligraphy. This

stand the fundamental precepts of Asiatic speculative

change of direction was also dictated by her attend-

tradition. Studying calligraphy did not just endow

ing courses at the Brera Accademy held by Maurizio

Minjung with her vision of the world but also taught

Bottarelli, who focused his lectures on the perceptive

her to communicate by means of the extremely con-

quality of maculas and on experimentation in water-

trolled use of the brush, which “channels” the energy

colors techniques.

and directs it onto the paper.

Her exploration of the interrelationship between

When in 1980 she enrolled in the Hong Ik univer-

Oriental and Western techniques and conceptions

sity in Seoul, Minjung had already received a very

continues outside the Academy. In her pictorial work

thorough artistic education which was completed

- which she always executes on the floor in keeping

trough the detailed study of Oriental painting under

with Oriental tradition, because both literally and

Taejun Ha, Sunam Song and Sukhchang Hong. Once

metaphorically the floor is the basic support for all

her university course had been completed in 1985,

painting - Minjung tends to use increasingly con-

she earned a Master’s degree at the same university

centrated watercolors in order to express effectively

with a thesis on the four basic materials in ink paint-

the intensity the colors contain. Furthermore, in her

ing (rice paper, brush, ink pigment and the pigment

works made during 1998 on overlaid layers of paper,

grinding stone).

to generate an effect of three-dimensionality, to pro-

In 1991 Minjung decided to move to Italy and en-

vide the viewer with a chronological dimension, and

roll at the Brera Academy in Milan. Here she studied

to indicate layers of time symbolized by the layers of

the analysis of the works of Western artists who, dur-

paper.

ing the 20th century. In particular, certain works by Paul Klee and Franz Kline prompted her to approach

Minjung currently lives and works in Italy, France and

a new aesthetic direction that progressively took her

the United States.

44

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MINJUNG KIM

Pieno di Vuoto 2008 Mixed technique on ricepaper 248 x 148 cm


JASKI ART GALLERY WWW.JASKI.NL NIEUWE SPIEGELSTRAAT 29 TEL: +31 (0)20 620 39 39 MON - SUN: 12 - 6 PM

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CHRIS BERENS PERMANENT COLLECTION

Diaspora 2012 Graphite and ink on paper on panel  148 x 111 cm

As a child, Chris Berens’ (1976) mind often wan-

Berens’ first significant solo show was at Jaski Art

dered off into his own fantasy world, a realm full of

Gallery in Amsterdam in 2005. After that, three more

adventure, haunting scenery and mysterious and

exhibitions at Jaski followed: Zilver, The Heaven Show

enchanting creatures. His drive to recreate and share

and Delicate. Along with Delicate, his second book was

this hidden realm led him to study illustration at the

released. 99 copies of the book were accompanied by

Academy of Art and Design in ‘s-Hertogenbosch, from

unique miniature paintings.

which he graduated in 1999. He went on to work as a

Go West, his first show in the United States followed in

freelance illustrator and animator, and set up his stu-

December of 2008 at at RoqlaRue Gallery, Seattle. The

dio in an abandoned building in the countryside near

show was a sold out success.

his hometown. In his spare time, Berens continued to

In the summer of 2009 Chris was honored with a

develop and perfect his own complex and time con-

retrospective at the Noord Brabants Museum in ‘s-

suming painting technique that would allow him to

Hertogenbosch and in the winter of 2009/2010, he

bring to life this inner world.

had his first New York show at Sloan Fine Art Gallery.

The artist started to paint details that sprang from

The exhibition Leeuwenhart in Seattle and Jaski Am-

his daydreams over and over again on the coated layer

sterdam in 2010 was followed by the publication of

of a glossy paper, using ink and different types of var-

the book Mapping Infinity, published together with

nish. He then cut out fragments, separated the coated

Jaski Art Gallery. Deborah Harry, an avid admirer of

layer from the underlying paper, and stacked and uni-

Berens’ work asked him to design the album cover for

fied them on a larger panel, assembling his subjects

the new Blondie album Panic of Girls. In October 2013,

and narratives piece by piece. Through this technique,

Chris Berens will have his first solo-exhibition in Tokyo

his images appear slightly blurred, a kind of tilt-shift

and currently preparations for a documentary about

effect which adds to their mysterious appeal. It is like

his life and work are underway.

looking at the artists’ fantasy world through a magic lens.

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GALERIE CARLA KOCH WWW.CARLAKOCH.NL VEEMKADE 500 TEL: +31 (0)6 42 397 440 BY APPOINTMENT ONLY

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STEVEN HEINEMANN PERMANENT COLLECTION

Untitled Ceramic object Height 45 cm, width 34 cm depth 44 cm

Steven Heinemann (1957, Toronto, Canada) is fascinated by the "pottery space" of his objects, by the space they contain and the containment vessel itself. Ten years ago he returned to making bowls, and at first he concentrated on its two-dimensional space: he applied decorations to the interior surface of his objects. Recently, Heinemann started to focus more on the three-dimensional aspects of his work: he has started playing with the forms of the bowls themselves, even though he has not abandoned his decorations. Heinemann’s objects are mostly simple bowl shapes, monochrome except for the decoration on the inside. At the moment he often applies cracks, but occasionally he adds a figurative drawing to his objects. More work by Steven Heinemann and other renowned ceramists can be viewed by appointment at Carla Koch Gallery.

48


GALERIE MOKUM WWW.GALERIEMOKUM.NL OUDEZIJDS VOORBURGWAL 334 TEL: +31 (0)20 624 39 58 THU - SUN: 12 - 5 PM

Dick Pieters (1941) is fascinated by the Flemish

ing, often working for weeks, sometimes months on

painting from the fourteenth and fifteenth centuries,

end in one single colour before changing to the next.

with its attention to detail and its efficacy of repre-

Some of his pieces consist of up to eight layers.

sentation. But early modern masters such as Paul Klee

Dick Pieters about his work: “Sometimes I work

and Wassily Kandinsky have also exerted influence on

as long as two years on a painting. And then, one

him, as did the (magical) realist Wim Schumacher,

day, there is a moment when I feel, “This is it, now

Pyke Koch and Dick Ket. In his use of colour, how-

it’s ready.” This moment often comes by surprise. My

ever, Pieters also finds a kindred spirit in particularly

paintings have no specific purpose. The painting itself

Vincent van Gogh, although this is not immediately

is the intention. Imagine enjoying a beautiful view,

evident in his work.

does one at that instant wonder what its purpose is?

The artist starts his works by sketching the con-

In life, everything seems very complicated until you

tours of his subject on a panel in a thin layer of burnt

discover that the truth lies in simplicity, the obvious,

umber. He then begins to apply dots and dashes, usu-

such as nature, music, love. The same goes for my

ally in one colour. His method is incredibly painstak-

paintings.”

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DICK PIETERS PERMANENT COLLECTION

Evening Mood [Avondstemming] 2012 Oil on panel 64 x 53 cm

The Swimmer [De zwemmer] 2012 12 x 14 cm Oil on panel

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GALERIE ALEX DANIELS - REFLEX AMSTERDAM MARCUS HARVEY PERMANENT COLLECTION

Boy With A Blue Gun 2012 Oil on canvas on MDF 120 x 80 x 5 cm

British artist Marcus Harvey (1963) made his name at the groundbreaking Sensation show at London’s Royal Academy of Arts in 1997 with his unforgettable large-scale portrait of serial killer Myra Hyndley, made from child-size hand-prints. The work earned him instant national and international acclaim. One of the first generation of Young British Artists, Harvey graduated from Goldsmiths College in 1986, and is a friend and contemporary of Damien Hirst. Artistically promiscuous, Harvey’s work has ranged from highly worked figurative paintings to vital, impastoed oils of nudes delineated by black lines known as his Readers Wives, playful politicised sculptures as well as a powerful mosaic image of Margaret Thatcher. This series of Glass-Paintings, is inspired by themes of domesticity and voyeurism. Through the prism of a textured glass door, intimate acts and objects are partly obscured.

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WWW.REFLEXAMSTERDAM.COM WETERINGSCHANS 79 A TEL: +31 (0)20 627 28 32 TUE - SAT: 10 AM - 6 PM AND BY APPOINTMENT

Harland Miller (1964) is a both a writer and an artist. After living and exhibiting in New York, Berlin and New Orleans during the ‘80s and ‘90s, Miller achieved critical acclaim with his debut novel, Slow down Arthur, Stick to Thirty (2000), the story of a kid who travels around northern England with a David Bowie impersonator. In 2001 Miller produced a series of paintings based of the dust jackets of Penguin books. By combining the motif inherent in the Penguin book, Miller found a way to marry aspects of Pop Art, abstraction and figurative painting at once, with his writer’s love of text. Miller continues to create work in this vein, expanding the book covers to include his own phrases, some hilarious and absurd, others with a lush melancholy. Harland Miller lives in London. The gallery also represents and has works available by: Arman, Karel Appel, Andrew Moore, Miles Aldridge, Nobuyoshi Araki, Roger Ballen, David laChapelle, Chen Nong, Christo, Phyllis Galembo, Lauren Greenfield, Chantal Joffe, John Copeland, Mahomi Kunikata, Robin Lowe, Yasumasa Morimura, Takashi Murakami, Daido Moriyama, Gary Lee Boas, Erwin Olaf, Bill Owens, Larry Sultan, Tim Hailand, Daniël Spoerri, Robert Yarber and Chris Verene. You Are No Longer Part Of My Life By Medical Opinion 2012 Oil and pencil on paper 230 x 170 cm

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HARLAND MILLER PERMANENT COLLECTION


LESLIE SMITH GALLERY GEORGE WARD TJUNGURRAYI PERMANENT COLLECTION

George Ward Tjungurrayi (ca. 1932) is an Aborigi-

After the death of his brother Yala Yala in 1998, George

nal from Australia’s Western Desert. He is a member

began to devote himself increasingly to painting, and

of the Pintupi language group and was born near the

gradually developed a distinctive, personal style. The

sacred site of Lakarra in Western Australia. Like many

immense salt lake Kaakuratintja (Lake MacDonald)

other Pintupi, he came to Papunya in the wake of one

often takes an important place in his paintings. The

of Jeremy Long’s Welfare Branch Patrols in 1963. 

combination of meticulous, geometric designs in

George spent a lot of time looking at the work of

George’s work, combined with the somewhat wavy,

his brothers Yala Yala Gibbs and Willy Tjungurrayi,

volatile dot-work results in exciting, vibrant and ever

who had become two of the most important early

moving surfaces. In 2004 George won the Art Gallery

Aboriginal painters. George, who considers himself

of New South Wales’ Wynn Prize for landscape paint-

a true ‘Bushman’, moved deeper back into the desert

ing.

to Kiwirkurra and in 1984 he first began painting the classical grids of circles that tell the stories of his country and ancestors (Tingari). Kutungka Napanangka Dreaming Acrylic paint on canvas 152 x 152 cm 2010

54


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ZHUANG HONG YI PERMANENT COLLECTION

AND BY APPOINTMENT

Zhuang Hong Yi Flowergarden 2012 Mixed media on canvas Ă˜ 200 cm

Zhuang Hong Yi was born in Sichuan, China, in

Today Zhuang lives in The Hague with his wife and two

1962. After finishing his studies at the Sichuan Col-

children and travels between his studios in Amster-

lege of Fine Arts in Chonggin, he and his wife Lu Luo,

dam and Beijing. With an almost neurotic approach

also an artist, moved to Groningen, The Netherlands.

to materials, Zhuang Hong Yi manipulates thousands

There he continued his education at the Minerva

of rice papers, creating large fields of flowers, which

Academy of Arts. After finishing his studies, Zhuang

he then works over with layers of acrylic paint. In his

started to receive immediate recognition, culminat-

work we see references to Western Impressionism and

ing in a solo exhibition in the Groninger Museum in

influences of his life in the Netherlands, all the while

2001 and again, this time with his wife Lu Luo, in

staying true to his heritage by employing traditional

2007, under the name Studio Beijing.

Chinese techniques and materials.


DE APPEL ARTS CENTRE DIRK BRAECKMAN ZARINA BHIMJI NOVEMBER 17 - MARCH 31

Zarina Bimji Yellow Patch (still from film ) 2011 35mm colour film and transfer to DVD Image below: Exhibition Dirk Braeckman Photo by Cassander Eeftick Schattenkerk

This winter de Appel arts centre simultaneously

Since the early 1990s Dirk Braeckman (Belgium, 1958) has built up an oeuvre of enigmatic photographs, large

presents solo projects by the Belgian photogra-

prints in black and white and shades of grey that reveal ambiguous images: desolate areas, reflecting wallpaper,

pher/filmmaker Dirk Braeckman and the Brit-

a blurred painting, a fragment of a nude. Braeckman gives central place to atmosphere, texture and suggestion.

ish artist Zarina Bhimji. Braeckmans sensitive

The photographs have a snapshot-like, ephemeral quality, while each image is actually composed in a very pre-

and large-scale photographs in shades of grey

cise way. Every detail is important: the cropping, the light, colour and texture, the lack of focus, and the material

do not tell elaborate stories but are charged

on which the photograph is printed. Braeckman approaches and treats photography like a painter.

with an atmosphere which makes them “tick

In this exhibition Braeckman presents a carefully chosen selection of new photographs culled from the un-

away like time bombs”, in the words of the au-

titled publication recently released by Roma Publications (a cross between an artist’s book and a catalogue rai-

thor Luc Sante. The suggestive force and narra-

sonné). From his extensive archive of negatives Braeckman selected “new images”, that have never been printed

tive potential of images are just as essential for

and that will be premiered in de Appel arts centre. Braeckman will equally reveal one of the lesser well-known

Bhimji, whose latest film Yellow Patch (2011)

aspects of his oeuvre in de Appel: a new film for the first time, which elaborates on previous film experiments.

has its Dutch premiere in de Appel arts centre.

In Zarina Bhimji’s work (UGA, 1963) beauty merges with politics and poetry so something new emerges. Her work is characterised by a deliberate use of visual ambiguity. The works reflect spaces, micro details and the light of distant interiors. The location of light is an important and intricate element of Bhimji’s composition. The stillness and suspension of everyday life. The atmosphere is tactile, a moist light. The spaces refer to disconnection, incompleteness and belatedness. The exhibition develops in two phases: from November 16 to February 3 de Appel premieres Bhimji’s new production Yellow Patch, from February 5 to March 31 de Appel showcases the installation Waiting (2007). Yellow Patch is Bhimji’s second large film production. The 35mm film was entirely shot in India and was inspired by trade and immigration routes across the Indian Ocean. Beautiful close-ups of desolate Haveli palaces and colonial offices in the port of Mumbai are coupled with atmospheric images of the desert and the sea and accompanied by an evocative soundtrack. Waiting was shot in East-Africa in a factory used to process Sisal and has an abstraction that hovers somewhere between film and painting. The washed-out colour of the hair-like material, the light, and the interior of the factory create a saturated monochrome that, combined with the film’s soundtrack, becomes immersive. In Braeckman and Bhimji’s work, ambiguous and “open” recordings of architecture, landscapes, objects and spaces are the signifiers. They seem to emphasise the intrinsic expressive power of the image and invite the audience to a ‘slow’ reading of the work. Zarina Bhimji’s exhibition in de Appel arts centre is supported by Outset Contemporary Art Fund.

56


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WWW.DEAPPEL.NL PRINS HENDRIKKADE 142


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INDEX - CITY MAP 10 DE EXPEDITIE - ZSA-ZSA EYCK

LELIEGRACHT 47

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12 GALLERY CULTURAL SPEECH

POSTJESWEG 6-8

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14 KOCHXBOS GALLERY

EERSTE ANJELIERSDWARSSTRAAT 3-5

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16 CANVAS INTERNATIONAL ART

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18 TEN HAAF PROJECTS

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22 SLEWE GALLERY

KERKSTRAAT 105 A

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24 GALERIE ROB KOUDIJS

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26 VOUS ETES ICI

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28 REUTEN GALERIE

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30 ART AFFAIRS

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36 GALERIE ROGER KATWIJK

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38 WITTEVEEN VISUAL ART CENTRE

KONIJNENSTRAAT 16

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40 RON MANDOS

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42 FLATLAND GALLERY

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44 FRANS JACOBS FINE ART

EMMY ANDRIESSESTRAAT 582

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46 JASKI ART GALLERY

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48 GALERIE CARLA KOCH

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50 GALERIE MOKUM

OUDEZIJDS VOORBURGWAL 334

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52 ALEX DANIELS - REFLEX AMSTERDAM WETERINGSCHANS 79 A

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54 LESLIE SMITH GALLERY

MINERVAPLEIN 10

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56 DE APPEL ARTS CENTRE

PRINS HENDRIKKADE 142

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The Art Catalogue Amsterdam Winter 2013