Façades of The Hague #53

Building Molenstraat corner Oude Molstraat.

Façade probably (re)built in the 1920s.

The part in Oude Molstraat contains the popular pub and restaurant de Oude Mol.

[Click on the pictures to enlarge]

©Villa Next Door 2017

All pictures were taken in March 2016

 

Bertus Pieters

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Painting Now; Livingstone Gallery, The Hague

Aaron van Erp

To write an article about paintings in The Hague for Villa La Repubblica i visited amongst others Livingstone Gallery where works by six painters born in the 1970s and 80s are on show. Click here to read the article (in Dutch).

Aaron van Erp

Aaron van Erp

Ruri Matsumoto

They are Aaron van Erp (1978), Ruri Matsumoto (1981), Jan Wattjes (1981), Ingrid Simons (1976), Thijs Jansen (1986) and Amir Tirandaz (1984).

Ruri Matsumoto

Ruri Matsumoto

Jan Wattjes

Jan Wattjes

Jan Wattjes

As i have written quite extensively on VLR about this exhibition, i leave you here with some pictures, but of course it is better to go and see the real thing.

Ingrid Simons

Ingrid Simons

Ingrid Simons

Thijs Jansen

Thijs Jansen

Thijs Jansen

Amir Tirandaz

Amir Tirandaz

Amir Tirandaz

Aaron van Erp

[Click on the pictures top enlarge]

©Villa Next Door 2017

Content of all photographs courtesy to the artists and Livingstone Gallery, Den Haag.

 

Bertus Pieters

Kevin A. Rausch, After the years of trying; Hoorn & Reniers, The Hague

To write an article about paintings in The Hague for Villa La Repubblica i visited amongst others brand new gallery Hoorn & Reniers where paintings by Austrian painter Kevin A. Rausch (1980) are on show. Click here to read the article (in Dutch).

The way his paintings are based on drawing may remind you a bit of his compatriots Klimt and Schiele.

His somewhat melancholic figures seem to contemplate life in a kind of gardens of the mind, full of anxieties.

As sculptures some of his figures seem to have walked out of his paintings.

As i have written more about this show in VLR i leave you here with some impressions without further comments.

[Click on the pictures to enlarge]

©Villa Next Door 2017

Content of all photographs courtesy to Kevin A. Rausch and Hoorn & Reniers gallery, Den Haag

 

Bertus Pieters

Jeroen Doorenweerd meets Gutai; PARTS Project, The Hague

To write an article about paintings in The Hague for Villa La Repubblica i visited amongst others PARTS Project where paintings by Jeroen Doorenweerd (1956) and documentation about Gutai are on show. Click here to read the article (in Dutch).

Gutai was a Japanese artists group in the 1950s and 60s which radically experimented with paint and other media.

Their work existed mainly of actions and performances.

They also worked with paint but without the usual tools, using alternatives like their bodies, their feet, machines and by smashing bottles with paint on the ground.

The aim was to find new terms of aesthetics and to exterminate the individual as much as possible to let the materials speak for themselves.

Doorenweerd only later heard about Gutai when he was already making paintings based on actions, and he immediately felt an affinity with the group.

His works presently on show were made by moving a hanging bucket with a hole and paint running and splashing through it over his canvasses.

His works, like those of the Gutai group, are far less about personal lyricism or philosophy than about action itself.

Which makes it more radical than the usual action painting.

[Click on the pictures top enlarge]

©Villa Next Door 2017

Content of all photographs courtesy to Jeroen Doorenweerd and PARTS Project, Den Haag

 

Bertus Pieters

Gert Scheerlinck, Objects of disguise; Twelve twelve gallery, The Hague

At the moment Belgian artist Gert Scheerlinck has an exhibition at Twelve twelve gallery.

I stress the fact that Scheerlinck is a Belgian artist as Belgian artists seem to have a special feeling for the absurd.

The Dutch usually tend to perceive absurdity as an abrupt kind of humour, but for Belgians absurdity has to do with the human condition itself.

They use absurdism both as an escape from and a confrontation with the human condition.

Scheerlinck certainly does so with his objects and materials taken from everyday life.

Most objects are based on ideas, but Scheerlinck takes the other way round: his objects become ideas again.

His objects and installations, sometimes tiny and usually hardly photographable, are on the verge to become ideas while leaving the viewer puzzled.

And that is where absurdity takes its chance.

[Click on the pictures to enlarge]

©Villa Next Door 2017

Content of all photographs courtesy to Gert Scheerlinck and Twelve twelve Gallery, Den Haag.

 

Bertus Pieters

Paul Beumer, The message of the flower is the flower; Dürst Britt & Mayhew, The Hague

Some time ago i visited Dürst Britt & Mayhew gallery’s present exhibition of works by Paul Beumer to write a review for Villa La Repubblica. Click here to read the review (in Dutch).

As i have written quite extensively about the show on VLR i just leave you here with some shots of details of the show. Do go there yourself to get the complete picture!

[Click on the pictures to enlarge]

©Villa Next Door 2017

Content of all pictures courtesy to Paul Beumer and Dürst Britt & Mayhew, Den Haag

 

Bertus Pieters

[At] Home, works by Hamid El Kanbouhi, Fernando Sánchez Castillo and Marjan Teeuwen; Nouvelles Images, The Hague

Fernando Sánchez Castillo

The title [At] Home covers only part of the present exhibition at Nouvelles Images. For instance guest artist Fernando Sánchez Castillo (1970) shows his video Guernica Syndrome, Azor.

Fernando Sánchez Castillo

Fernando Sánchez Castillo

Azor was Franco’s yacht. Sánchez bought it and had it demolished to neat parcels of junk.

Fernando Sánchez Castillo

Fernando Sánchez Castillo

The definitive demolition goes on overnight and looks like a faint echo of the demolition of Guernica.

Fernando Sánchez Castillo

Fernando Sánchez Castillo

But it also shows that the trauma of the Franco era is still there in Sánchez’s homeland Spain (and sadly we can still witness it in recent developments there).

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

History, perception and its traumas are also part of Hamid El Kanbouhi’s (1976) great and impressive installation Take a LeaFe,

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

Hamid El Kanbouhi

It tries to balance between different cultures, expectations and facts.

Marjan Teeuwen

Marjan Teeuwen

Marjan Teeuwen

Marjan Teeuwen

Marjan Teeuwen (1956) shows her photo series Destroyed House Gaza, probably the most literal interpretation of the show’s title.

Marjan Teeuwen

Marjan Teeuwen

Marjan Teeuwen

Marjan Teeuwen

She shows the destroyed house as a stage of remembrance, its trauma and its re-ordered emptiness.

Marjan Teeuwen

Marjan Teeuwen

Marjan Teeuwen

In a way they may remind you of Anselm Kiefer’s paintings of the 1980s.

Marjan Teeuwen

Marjan Teeuwen

Marjan Teeuwen

Remembrance and destruction, the more they become traumatic the more they become monumental as well.

Marjan Teeuwen

Fernando Sánchez Castillo

As such Nouvelles Images has made a very coherent and moving show in which the aesthetics of all three artists communicate very well.

Hamid El Kanbouhi

Hamid El Kanbouhi

Demolition and distortion and us trying to find a way, a place and a reason in them, traumatic as they may seem, have an aesthetics of their own.

Hamid El Kanbouhi

Hamid El Kanbouhi

Earlier works by El Kanbouhi and Teeuwen are adding to these aesthetics.

Hamid El Kanbouhi

[Click on the pictures to enlarge]

©Villa Next Door 2017

Content of all photographs courtesy to the artists and Galerie Nouvelles Images, Den Haag.

 

Bertus Pieters