Façades of The Hague #70

Villa Helena built in the mid 1930s, Nieuwe Parklaan, in a sober late art deco style.

Both chimneys were originally much taller, especially the one on the south-east facade (on the right hand side of the building) was very monumental.

With its small cosy front terrace it has been an old people’s home for some time.

Now it contains apartments.

[Click on the pictures to enlarge]

© Villa Next Door 2018

All pictures were taken in March 2017

Bertus Pieters

Casper Verborg, A white horse is not a horse; Hoorn & Reniers, The Hague

I visited Hoorn & Reniers gallery to write a review about Casper Verborg’s (1981) present show a white horse is not a horse for Villa La Repubblica. Click here to read the review (in Dutch).

As it happened i focused especially on one work, offspring, a painting with amongst others the presidents Kim and Trump and a lemon yellow gorilla.

But of course there is a lot more recent and surprising work on show.

As i have already written extensively in VLR about the show, i leave you here with some of the many details that attracted my attention.

Best is, evidently, to visit the show yourself and have a close look.

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to Casper Vergorg and Noorn & Reniers, Den Haag

Bertus Pieters

Joncquil and Ton van Kints; Galerie Ramakers, The Hague

Joncquil

IS WORDT WAS (“IS BECOMES WAS”) it says in neon on a bench by Joncquil (1973).

Joncquil

Joncquil

Ton van Kints

Ton van Kints

In a way that defines this fine dialogue/exhibition of works by him and by Ton van Kints (1955) at Galerie Ramakers.

Ton van Kints

Ton van Kints

Ton van Kints

Joncquil

Objectifying time is one of the themes in Joncquil’s work and as such also stresses that theme as a narrative in Van Kints’ works.

Joncquil

Joncquil

Joncquil

Ton van Kints

Van Kints makes, amongst others, ‘new’ works by remaking or renewing older ones.

Ton van Kints

Ton van Kints

Ton van Kints

Ton van Kints

In that process he also piled some of his older distinctive ‘cuckoo nests’ and provided them with a new shiny top.

Ton van Kints

Joncquil

Ton van Kints

These piles have become wall sculptures of time in themselves, while their tops, looking like large, lustrous eyes, give a reflection of the present if you stand in front of them.

Ton van Kints

Ton van Kints

Joncquil

Ton van Kints

His rectangular works presently on show may also look faintly familiar to those who know Van Kints’ works as they too didn’t escape reworking, or rebirth.

Ton van Kints

Ton van Kints

Ton van Kints

Joncquil

It may also show the difference in generation between Joncquil and Van Kints.

Joncquil

Joncquil

Ton van Kints

Ton van Kints

While Joncquil is expanding his horizons in different disciplines, Van Kints reflects on his practices, deepening his knowledge and aesthetics.

Ton van Kints

Ton van Kints

Joncquil

Ton van Kints

As such, in both oeuvres a more retrospective presentation in the near future would obviously be most welcome.

Joncquil

[Click on the pictures to enlarge]

© Villa Next Door 2018

Contents of all photographs courtesy to Joncquil, Ton van Kints and Galerie Ramakers, Den Haag

Bertus Pieters

 

De Ploeg by the Sea; Gemeentemuseum, The Hague

Jan Wiegers

Artist’s movement De Ploeg (‘The Plough’) was founded in 1918 by amongst others the painters Jan Wiegers (1893-1959), Johan Dijkstra (1896-1978) and Jan Jordens (1883-1962) in the Northern city of Groningen.

Jan Wiegers

Jan Wiegers

De Ploeg tried to plough the field of the arts after the First World War.

Jan Wiegers

Johan Dijkstra

Its centenary is especially celebrated in Groningen this year, but the Gemeentemuseum in The Hague has presently made a very fine selection of its collection of graphic works by De Ploeg’s founding and pre-War members.

Jan Wiegers

Jan Wiegers

From 1921 onwards De Ploeg was heavily influenced by German Expressionism, especially by Kirchner’s works.

Hendrik Nicolaas Werkman

Hendrik Nicolaas Werkman

Although some members, notably the great printmaker H. N. Werkman (1882-1945), had good international contacts, De Ploeg never became an internationally renowned movement , like De Stijl, probably also because it had no clear manifesto or influential periodical.

Hendrik Nicolaas Werkman

Hendrik Nicolaas Werkman

Apart from people like Werkman the movement became more conservative toward the Second World War.

Hendrik Nicolaas Werkman

Jan Wiegers

Today De Ploeg in name still exists, but its members, though fine professionals, with their moderately modernist style are a far cry indeed from the movement’s revolutionary roots.

Jan Jordens

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to the Gemeentemusem, Den Haag

Bertus Pieters

Farewell; Nouvelles Images, The Hague

Farewell Nouvelles Images!

Auke de Vries

Uwe Poth

Michael Tedja

Armando

Dino Ruissen

Lucassen

David Vandekop

Kazuo Kadonaga

[Click on the pictures to enlarge]

© Villa Next Door 2018

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

Bertus Pieters

 

Anima mundi; Museum Boijmans Van Beuningen, Rotterdam

Erzsébet Baerveldt, Pietà

Where does human life start and where does it end?

Erzsébet Baerveldt, Pietà

Johan Tahon, Sacrifice

Johan Tahon, Sacrifice

The answer to that question seems to be obvious enough: it starts with birth and it ends with death.

Anonymous, Nkisi nkondi

Anonymous, Nkisi nkondi

Anonymous, Christ at the Whipping Post

Michaël Borremans, The Angel

But our spirit is able to animate dead matter, and if it doesn’t do so physically it tries to do so spiritually.

Michaël Borremans, The Angel

Berlinde De Bruyckere, Into One-Another II To P.P.P.

Berlinde De Bruyckere, Into One-Another II To P.P.P.

We try to grasp life and death in scientific, philosophical, religious, spiritual and artistic ways.

Michel Nedjar, Untitled, Doll

Melanie Bonajo, Matrix Botanica – Biosphere above Nations

Melanie Bonajo, Matrix Botanica – Biosphere above Nations

Desirée Dolron, Vegetarian Festival Thailand

Where are the differences between science and ritual, between description and imagination, between a Congolese nkisi figure and a robot?

Desirée Dolron, Xteriors VIII

Anonymous, Kawe

Reynold Reynolds, Secret Machine

Or are there no real differences?

Reynold Reynolds, Secret Machine

David Altmejd, Delicate Man Contemplating Options

David Altmejd, Delicate Man Contemplating Options

David Altmejd, Delicate Man Contemplating Options

Hans van der Ham (1960) has curated a wonderful and very full summer exhibition in the Boijmans Van Beuningen Museum in Rotterdam with works and objects varying from robots to Medieval and Renaissance paintings.

Paul de Reus, Doll

Boston Dynamics, Testing Robustness

Boston Dynamics, Testing Robustness

Per room the show is arranged in different chapters.

Boston Dynamics, Testing Robustness

Jeantine Lunshof, Eswar Iyer, Mark Skyler-Scott, Brain organoid

Jeantine Lunshof, Eswar Iyer, Mark Skyler-Scott, Brain organoid

Inez van Lamsweerde, Final Fantasy Series, Wendy

It tries to avoid the sentimental aspects of life and death but instead focuses on the way we try to harness or control life apart from physical human life, and in doing so create different aesthetics.

Head in formaldehyde

Baby in formaldehyde

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Augustijn Claterbos

As such aesthetics has become a matter of life and death.

Augustijn Claterbos

Augustijn Claterbos

Berlinde De Bruyckere

This is surely one of the most inspired and inspiring thematic exhibitions of the season.

Anonymous, Uramun

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to the owners of the works and to Museum Boijmans Van Beuningen, Rotterdam

Bertus Pieters

Christie van der Haak & Suzan Drummen, Once upon a time…; Escher in The Palace, The Hague

In the museum Escher in The Palace is presently a show with works by Christie van der Haak (1950) and Suzan Drummen (1963) in the palace’s ball room and so called green room.

Drummen has composed a work on the floor in the ball room with pieces of glass and other small shiny objects.

She usually improvises her works and in this case it has become a cosmos of wonder around a big reflecting half sphere.

Van der Haak has given the ball room a radical restyling with her patterns which are, appropriately, colourful but also dignified.

Her patterns are on the walls, in the wonderful carpet, in the stylish chairs and even in a glass vase, one of her more recent projects.

In the so called green room there is a close co-operation between the two artists and even – posthumously – with Donald Judd (1928-1994) who designed the palace’s floor patterns.

Seeing this wonderful show one inadvertently gets the idea that this palace is far more suitable for shows concerning style and its impact and peculiarities than for Escher’s work.

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to the artists and Escher in The Palce, Den Haag.

Bertus Pieters