Concepts of Time; National Archaeology Museum, Hooglandse Kerkgracht, LUMC, Leiden

Juliaan Andeweg

This year’s Beelden in Leiden (Sculptures in Leiden) summer show is called Concepts of Time as the venerable National Archaeological Museum (Rijksmuseum van Oudheden) in the city is celebrating its two hundred years anniversary.

Juliaan Andeweg

Part of the exhibition is on show in the museum and that is where i started my own visit.

Juliaan Andeweg

Juliaan Andeweg

Juliaan Andeweg (1986) surely was lucky being able to install his work in the Museum’s Egyptian temple.

Juliaan Andeweg

Works by other artists are on show in a separate hall.

Damian Kapojos

Damian Kapojos

Damian Kapojos

Damian Kapojos

Damian Kapojos (1980) made a sculpture specially for the exhibition in his by now well known vocabulary full of inner conflict and search for harmony.

Camile Smeets

Camile Smeets

Camile Smeets

Camile Smeets

Camile Smeets (1983) undeniably has a place in a show in the Archaeological Museum full of mythology.

Nynke Koster

Nynke Koster

Nynke Koster (1987) is also an artist that springs to mind when thinking about archaeology and time.

Emma van der Put

Emma van der Put

Emma van der Put’s (1988) video is about sculpture and the instability of vision.

Bastienne Kramer

Bastienne Kramer (1961) has a wall for a series of small objects based on the feminine in sculpture from the early days of humanity up to the present.

Bastienne Kramer

There are also two big sculptures by her on show.

Daniëlle van Ark

Daniëlle van Ark (1974) gives a photographic reinterpretation of Michelangelo’s David’s hand.

Bastienne Kramer

Bastienne Kramer

Jasper Hagenaar

Painter Jasper Hagenaar (1977) paints his own self imagined mythologies.

Jasper Hagenaar

The exhibition in the museum is modest but diverse and may give the visitor to the museum some interesting afterthoughts about the present as part of history and archaeology.

Damian Kapojos

Beelden in Leiden’s home base is Hooglandse Kerkgracht, a closed canal turned into an intimate, leafy avenue.

Damian Kapojos

Damian Kapojos

Damian Kapojos

Damian Kapojos

Damian Kapojos

At the north end of the canal the show starts with another, bigger work by Kapojos, like the one in the museum looking like a complete cosmos elegantly kept in balance.

Yair Callender

Yair Callender

Yair Callender

Yair Callender

Yair Callender

Yaïr Callender (1987) is still in his mood of floating, sleeping, dreaming and the world of mythology and mystique it creates.

Jonathan van Doornum

Jonathan van Doornum

One of the more severe works (but uncertain about the will of a stern god) is by Jonathan van Doornum (1987).

Rein Verhoef

Rein Verhoef

Rein Verhoef

There is a certain strictness in this work by Rein Verhoef (1989) too, but of quite a different kind; it looks quite self-evident and the care with which it is made, makes it almost sensual.

Camile Smeets

Camile Smeets

Camile Smeets

Camile Smeets

In her fountain-like work Smeets tries to find yet another basic narrative language.

Robbert Pauwels

Robbert Pauwels

Robbert Pauwels

Robbert Pauwels

Robbert Pauwels

Robbert Pauwels (1983) made a batman as a sentinel, his ears vaguely reminiscing the guarding Anubis’ ears.

Daniel van Straalen

Daniel van Straalen

Daniel van Straalen

Daniel van Straalen

Daniel van Straalen (1987) apparently used Indo-Pacific carving as the base for two poles painted completely white, standing to wait for ancestors that still have to be born.

Juliaan Andeweg

Juliaan Andeweg

Juliaan Andeweg

In Andeweg’s installation i missed the promised “bottle with imitation water,” but it is all the more intriguing.

Lillian Vlaun

Lillian Vlaun (1993) quasi-reconstructed a vase in materials that are not what they seem to be.

Nynke Koster

Nynke Koster

Nynke Koster

Nynke Koster

Koster has an ornamented circle or lid in front of the magnificent gothic facade of the north transept of the 15th century Hooglandse Kerk; the scarab on the circle being a reminder of time.

Lillian Vlaun

The Leiden University Medical Centre (LUMC) is the third venue for Concepts of Time.

Alexandra Hunts & Anna Fijnstein

The place, although sympathetic, is not photography friendly, so here is a choice of the more or less photographable works.

Alexandra Hunts & Anna Fijnstein

Alexandra Hunts (1990) and Anna Frijstein (1991) made a number of variations on the Willendorf Venus.

Sander van Noort

Sander van Noort (1986), originally a painter, now also makes sculptures based on classical sculpture.

Jonathan van Doornum

Jasper Hagenaar

Sander van Noort

Camile Smeets

Camile Smeets

Bas de Wit

There are also sculptures by Bas de Wit (1977) who seem to lead a life apart from reality.

Jasper Hagenaar

Bas de Wit

Daniëlle van Ark

Nynke Koster

Generally curator Sandrine van Noort (curator of the LUMC art collection) has made a very strong choice, avoiding easy sentimentalism and easy art that should appeal to different target audiences.

Nynke Koster

Nynke Koster

Nynke Koster

Nynke Koster

There is a strong sense of history being part of the contemporary world, and there is place for mysticism, mythology and ideas about craftsmanship in present day art practice.

Nynke Koster

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to the artists and Beelden in Leiden.

Bertus Pieters

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Wayne Thiebaud; Museum Voorlinden, Wassenaar

I went to Museum Voorlinden to write a review about the present Wayne Thiebaud retrospective for Villa La Repubblica. Click here to read the review (in Dutch).

As I have written quite extensively about the show in VLR, I leave you here with some pictures of details that struck me.

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to Wayne Thiebaud, the owners of the works and Museum Voorlinden, Wassenaar.

Bertus Pieters

Jean Brusselmans; Gemeentemuseum, The Hague

Jean Brusselmans (1883-1953) is undeservedly not a household name.

This is probably because he was outstripped by colleagues of his generation as Brusselmans’s personal style took quite a long time to evolve.

The present exhibition at the Gemeentemuseum shows works from the 1930s and 1940s, his most prolific and characteristic period.

Although his experiments and endeavours weren’t always successful, as the exhibition shows, they also brought him to making some nearly immaculate masterpieces.

In every new painting he tries to find a balance in form, colour and mass in his subjects, resulting in his best works in a fine lyricism or a distinguished monumentality.

Whether his subjects are joyful or sorrowful, Brusselmans always avoids sentimentality and overt expressiveness.

Pain, love and joy to him were clearly never a narrative but sentiments that should be worn with human dignity, without decorum but with style, not something to move the viewer to tears but to let him/her discover the glance of them.

For any lover of painting there are a lot of wonderful and fascinating works on show.

Works where you can see Brusselmans trying how to decide about colours and shapes,  sometimes painting over original details but then  making them visible again.

You see him deciding to leave certain parts sketchy or just open, next to fully painted parts. Details become decorations and decorations become expression.

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all pictures courtesy to all owners and Gemeentemuseum, Den Haag

Bertus Pieters

Tell Freedom; Kunsthal KAdE, Amersfoort

Buhlebezwe Siwani

I went to Kunsthal KAdE in Amersfoort to write a review for Villa La Repubblica about the show Tell Freedom, with works by 15 or 16 (it is ambiguous) young artists from South Africa. Click here to read the review (in Dutch) and see some more pictures.

Buhlebezwe Siwani

The lighting in KAdE was horrible for taking photos, and the few pictures i tried to take of Dineo Seshee Bopape’s works are so bad that i skipped them, for which i apologise. However you can see some pictures of her work at Witte de With in Rotterdam if you click here.

Buhlebezwe Siwani

In the mean time i hope these pics will inspire you to go and see the works in real, which i’d wholeheartedly recommend.

Buhlebezwe Siwani

Take your time though, as there’s a lot to be seen.

Haroon Gunn-Salie

Haroon Gunn-Salie, Aline Xavier

Haroon Gunn-Salie, Aline Xavier

Haroon Gunn-Salie, Aline Xavier

Haroon Gunn-Salie

Neo Matloga

Neo Matloga

Neo Matloga

Neo Matloga

Kemang Wa Lehulere

Kemang Wa Lehulere

Kemang Wa Lehulere

Kemang Wa Lehulere

Bronwyn Katz

Bronwyn Katz

Bronwyn Katz

Bronwyn Katz

Bronwyn Katz

Lerato Shadi

Lerato Shadi

Lerato Shadi

Lerato Shadi

Sabelo Mlangeni

Lebohang Kganye

Buhlebezwe Siwani

Mawande Ka Zenzile

Mawande Ka Zenzile

MADEYOULOOK

Nolan Oswald Dennis

Nolan Oswald Dennis

Nolan Oswald Dennis

Nolan Oswald Dennis

Nolan Oswald Dennis

Nolan Oswald Dennis

Lebohang Kganye

Lebohang Kganye

Francois Knoetze

Francois Knoetze

Francois Knoetze

Francois Knoetze

Francois Knoetze

Ashley Walters

Ashley Walters

Kemang Wa Lehulere

Donna Kukama

Donna Kukama

Donna Kukama

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to the artists and Kunsthal KAdE, Amersfoort

Bertus Pieters

Tirzo Martha, No Excuses!; Museum Beelden aan Zee, The Hague

Monument for Togetherness

No excuses indeed for having any later the first solo exhibition in the Netherlands of works by Curaçao artist Tirzo Martha (1965) in Museum Beelden aan Zee.

The Great Epiphany of Curaçao

The Great Epiphany of Curaçao

The Great Epiphany of Curaçao

The Great Epiphany of Curaçao

The Great Epiphany of Curaçao

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

Reinvention of the Afro-Era (Ananzi Colonialism)

God Is My Pilot

God Is My Pilot

Regarding the great impression his works, so generously full of details and narratives, make, you might think such a solo show is shamefully long overdue but you might also consider it to be just in time.

God Is My Pilot

God Is My Pilot

God Is My Pilot

Louis Vuitton Gang

Louis Vuitton Gang

Louis Vuitton Gang

Louis Vuitton Gang

Louis Vuitton Gang

Louis Vuitton Gang

Louis Vuitton Gang

Captain Caribbean: The Truth Will Set You Free

Captain Caribbean: The Truth Will Set You Free

Captain Caribbean: The Truth Will Set You Free

Captain Caribbean: The Truth Will Set You Free

Social and political commitment have become fashionable these days, usually to the detriment of content and expression.

Captain Caribbean: The Truth Will Set You Free

Captain Caribbean: The Truth Will Set You Free

The Banned Partnership

The Banned Partnership

The Banned Partnership

The Banned Partnership

The Banned Partnership

The Banned Partnership

The Great Caribbean Warp

The Great Caribbean Warp

The Great Caribbean Warp

The Great Caribbean Warp

The Consequence of Giving Me Carte Blanche At Plein Air

The Consequence of Giving Me Carte Blanche At Plein Air

Social and political commitment need a warm heart and an open and practical mind towards society, even in art.

The Consequence of Giving Me Carte Blanche At Plein Air

The Consequence of Giving Me Carte Blanche At Plein Air

The Consequence of Giving Me Carte Blanche At Plein Air

Ai Wei Wei, Sate Batata Hopi Sous

Ai Wei Wei, Sate Batata Hopi Sous

Ai Wei Wei, Sate Batata Hopi Sous

Ai Wei Wei, Sate Batata Hopi Sous

Ai Wei Wei, Sate Batata Hopi Sous

Ai Wei Wei, Sate Batata Hopi Sous

The Ancestral Debate

The Ancestral Debate

The Ancestral Debate

The Ancestral Debate

The Ancestral Debate

The Ancestral Debate

Martha clearly has both and he is able to combine joy and pain, sarcasm and tenderness, a feeling for both mysticism and sobriety, exuberance and balance, passion and humour in one work.

The Ancestral Debate

The Venus of Kawa Korsou

The Venus of Kawa Korsou

The Venus of Kawa Korsou

The Venus of Kawa Korsou

The Venus of Kawa Korsou

The Concept of Colonialism

The Concept of Colonialism

The Concept of Colonialism

The Concept of Colonialism

The Concept of Colonialism

The Prestige of the Ignorant

The Prestige of the Ignorant

The Prestige of the Ignorant

There is a certain order and an almost classical feeling for proportions and composition in his works that allow you to find the details and let them tell their stories.

The Prestige of the Ignorant

The Prestige of the Ignorant

The Prestige of the Ignorant

The Prestige of the Ignorant

The Prestige of the Ignorant

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

As for these details, they can be commonplace objects but also the way Martha assembles them, the way he constructs his works, the texts he uses and the way he uses them.

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

Chapel for Tirzo Martha

The Fall of the Afro Myth

The Fall of the Afro Myth

The Fall of the Afro Myth

The Fall of the Afro Myth

The Fall of the Afro Myth

The Fall of the Afro Myth

The Fall of the Afro Myth

Martha has also co-operated with students and people from the neighbourhood in one work called Monument of Togetherness.

The Fall of the Afro Myth

The Divine Ascent

The Divine Ascent

The Divine Ascent

The Divine Ascent

The Divine Ascent

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

It looks very open and transparent.

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Kiko Ta Nos Identidat

Monument of Togetherness

The whole show is well composed and presented.

Monument for Togetherness

Monument of Togetherness

Monument of Togetherness

Monument of Togetherness

Monument of Togetherness

Monument of Togetherness

Monument of Togetherness

Next week is the last week of this marvellous exhibition (already one of the very best in BaZ for this year as far as i’m concerned) so hurry up to take a closer look in BaZ if you haven’t done so yet.

Monument of Togetherness

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all pictures courtesy to Tirzo Martha and Museum Beelden aan Zee, Den Haag.

Bertus Pieters

Maaike Schoorel, London | Rome | New York | Amsterdam; GEM, The Hague

As it happened, i entered GEM to see Maaike Schoorel’s (1973) show together with a couple.

The man walked around for a few seconds, came back to his lady and said it’s all empty spaces, there’s really nothing to be seen in these paintings.

The lady smiled at me understandingly and said well, somebody has to paint that too and they left the exhibition.

Maybe painting just wasn’t the couple’s cup of tea.

On the other hand it also shows what is going on in Schoorel’s paintings.

She makes abstractions of common themes like interiors, still lifes, portraits etc, usually based on photographs.

Her ways of abstraction are purely intuitive.

She minimalises the information, but not in a minimalist way.

Whether you recognise the picture or not isn’t really important.

In a way they all look like moments of just awakening, the moment you start looking, but still not realising what you really see.

Or they are like loud music heard from far.

When making pictures of these paintings i realised that photographs won’t give you any idea of them.

That is my regular conclusion, but with Schoorel’s work this is all the more true.

I am a great admirer of these works, but Schoorel’s way of painting may also become a kind of mannerism.

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all pictures courtesy to Maaike Schoorel and GEM, Den Haag

 

Bertus Pieters

Bieke Depoorter, As it may be; The Hague Museum for Photography

In its basement The Hague Museum for Photography shows works by Bieke Depoorter (1986) from her recent collection As it may be.

Depoorter tried to look behind the front doors of Egyptians to give a more intimate view of Egyptian daily life.

They have become delicate, sensitive and very rich pictures of a daily world that is unknown to outsiders.

During a later visit she has asked Egyptians to write their reactions about the photographs in the pictures themselves.

That is an interesting turn in what would otherwise be a more or less exotic, ethnographic series, rich in detail and beautiful as it is.

[Click on the pictures to enlarge]

© Villa Next Door 2017

Contents of all photographs courtesy to Bieke Depoorter and The Hague Museum for Photography

 

Bertus Pieters

Hans Eijkelboom, Identities 1970 – 2017; The Hague Museum of Photography

Since the 1960s Western Europe is living in the age of consumerism which is now our all pervading way of life.

To maintain or build an identity has become something for the market as well.

You might be mistaken that identity is a matter of religion, nationality, ethnicity or whatever.

Forget it, identities are simply bought these days, they are trade.

That is most obvious in your clothing.

Observing people’s struggle to have an identity due to or in spite of the market has been and still is Hans Eijkelboom’s (1949) main subject as a photographer.

The Museum of Photography shows a retrospective of his work.

There are his early projects where he often plays a role himself in front of the camera, while his later sequences where he compares people wearing the same kind of cloths are also extensively present.

Eijkelboom doesn’t judge his subjects, he just observes them and seems to be constantly amazed by the commonness of his fellow human beings and the way they try to escape that commonness.

Hans Eijkelboom 19

There is a dry but not wry sense of humour in his works.

Everybody who is interested in how we look alike and how we don’t in our public lives – as i do –  should see this.

[Click on the pictures to enlarge]

©Villa Next Door 2017

Content of all photographs courtesy to Hans Eijkelboom and The Hague Museum of Photography.

 

Bertus Pieters