Bram De Jonghe, En dat ook (And that too); 1646, The Hague

I visited Bram De Jonghe’s present show En dat ook (And that too) at 1646 to write a review for Villa La Repubblica. Click here to read the review (in Dutch; with spoiler alert).

I leave you here with just a few details as it is much better to go and see this fine show yourself.

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all photographs courtesy to Bran De Jonghe and 1646, Den Haag

 

Bertus Pieters

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Steinar Haga Kristensen, Bruine periode – Liegen en opscheppen (Brown Period – Lying and Bragging); 1646, The Hague

Some art, in spite of being made by an obviously inspired, skilled, talented, knowledgeable and hard working artist, just doesn’t ring a bell with me.

Which is the case with Steinar Haga Kristensen’s show Bruine periode – Liegen en opscheppen (Brown Period – Lying and Bragging) presently at 1646.

It may have something to do with the somewhat dilapidated style of painting, old fashioned expressionist and a bit folk-arty, colourful but worn out and a bit empty.

But well, do take a look for yourself. If you feel inspired by these pictures, you may draw different conclusions..

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all pictures courtesy to Steinar Haga Kristensen and 1646, Den Haag.

 

Bertus Pieters

Victor Yudaev, Victor en me; 1646, The Hague

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Last week i visited Victor Yudaev’s show Victor en me at 1646 to write a review for Villa La Repubblica. Click here to read the review (in Dutch).

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It’s a good exhibition in which Yudaev shows several works presented in a greater narrative.

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I’ve written quite extensively about it on VLR so i leave you with these pictures.

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Of course it is better to visit the show, which i warmly recommend.

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[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all pictures courtesy to Victor Yudaev and 1646, The Hague.

 

Bertus Pieters

Dunja Herzog, The Word for World is Forest; 1646, The Hague

Dunja Herzog 01 Susanne Wenger

Dunja Herzog’s presentation The Word for World is Forest at 1646 is in fact two presentations that are obviously connected but still very different.

Dunja Herzog 02 Susanne Wenger

In the front room she presents the work of Susanne Wenger (1915 – 2009) as a great source of inspiration. Wenger saved and revitalized the Yoruba sacred grove in Oshogbo, Nigeria.

Dunja Herzog 03 Susanne Wenger

New sculptures were made there by her and local craftsmen and she became a Yoruba priestess. The sacred grove is meant to be a place where de local gods can dwell and can be felt and communicated with.

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Herzog presents two of Wenger’s wonderful books, a real treasure and it’s amazing it’s actually on show there.

Dunja Herzog 06 Susanne Wenger

Dunja Herzog 07 Susanne Wenger

There is also some video footage of the sculptures in the Osun Grove and there are some descriptions and translations of Wenger’s poetry.

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The back room contains Herzog’s own installation.

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She created her own grove of wonder with beard lichens or vines and objects that seem to be meant for communicating with another world.

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Radiating coloured lights complete the whole ambiance.

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It is difficult to see Herzog’s installation as independent from Wenger’s life work and of course that is deliberate.

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It gives a sense of integrity to the show and it lives up to it.

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[Click on the pictures to enlarge]

 

Bertus Pieters

Shelly Nadashi, Hide and seekers, 1646, The Hague

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I visited Shelly Nadashi’s show Hide and seekers at 1646 on its last day.

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So this posting is a bit late, to say the least.

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1646 06 Shelly Nadashi
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1646 08 Shelly Nadashi

To be short: it was a bit of a meditative exhibition, where you could perform your own spiritual drama in between the splattering of the fountains.

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That doesn’t mean it was all that brilliant, but with the ceramic turn we are witnessing these days, this was surely a sympathetic show.

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[Click on the pictures to enlarge]

Bertus Pieters

Jos de Gruyter & Harald Thys, De Bloemenfontein van Worpswede (The Flower Fountain of Worpswede), 1646, The Hague

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De Bloemenfontein van Worpswede (The Flower Fountain of Worpswede) is a recent video work by Jos de Gruyter and Harald Thys, presently on show in 1646 gallery.

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The work consists of a sequence of scenes in which the actors don’t move and are silent. Some of the protagonists look neutral and unmoved, others

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look mentally disturbed. Where the scenes show a combination of the persons, they don’t look at each other, they all seem to be locked up in their

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own hermetic worlds. Further on, the storyline, as far as there is one, has a Pygmalion-like aspect. There is a story, told by a voice-over and

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subtitled in English, which is more or less absurdist and which has apparently nothing to do with the scenes in the video. In a way it perverts

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the sequence of the film. As far as that is on purpose, it has succeeded, however, as far as i am concerned, that could have been

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done with any other text. Moreover the sequence of scenes are so strong and so well balanced that any other textual addition would be obsolete. Nevertheless, go

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and see this great video work, and if you find the text to be a strong aspect of the work, that’s all the better for you!

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(Click on the pictures to enlarge)

Bertus Pieters