Miranda Meijer and Astrid Nobel; A Gallery Named Sue, The Hague

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At A Gallery Named Sue is a good presentation of works by Astrid Nobel and Miranda Meijer.

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Nobel reflects on a combination of aspects like hiding or mythologizing reality, in this case the wood in this construction, is real, but only under its cover of gesso and ink.

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Also, it doesn’t lead you anywhere.

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Nobel’s other piece is called Lacus somniorum (Lake of Dreams), which is one of the so-called seas on the Moon. It more or less has the shape of the Lacus and consists of ink drawn waves.

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But it is not just a set of connotations that make this work: the open parts of the flaking frame combined with the irregular mass of waves that can’t flow away have a charm of their own.

MMAN 07

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Nobel’s work combines surprisingly well with Meijer’s (colour) pencil drawings.

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MMAN 10 Miranda Meijer

MMAN 11 Miranda Meijer

Meijer leaves any connotations to the spectator, but, like Nobel, she shows that she is the artist who is in power to speak to the spectator’s mind.

MMAN 12 Miranda Meijer

MMAN 14 Miranda Meijer

On Villa La Repubblica i wrote a short article about this specific work.

MMAN 15 Miranda Meijer

Click here to read the article (in Dutch).

MMAN 13 Miranda Meijer

This well presented exhibition is in its last week, so hurry up to see it!

MMAN 16 Miranda Meijer

[Click on the pictures to enlarge]

Content of the pictures courtesy the artists and A Gallery Named Sue.

Bertus Pieters

Drawing Front (and back); Quartair, The Hague

Astrid Nobel, 7. 29/32

Astrid Nobel, 7. 29/32

Astrid Nobel, 7

Astrid Nobel, 7

I’m afraid you are too late to visit the show Drawing Front (and back) at Quartair, which is a pity as it was quite an interesting one. Twenty-five artists gave a small personal artistic biography in drawings, ideally showing a children’s drawing, one from their teens and some more from a later age.

Sarah Pape García, 7

Sarah Pape García, 7

Sarah Pape García, 22

Sarah Pape García, 22

The results were, apart from endearing, sometimes stunning. Although the show is over I thought it was interesting enough to show some pictures for the record.

Femke Bakker, 9

Femke Bakker, 9

Femke Bakker, 27

Femke Bakker, 27

Taking presentable pictures of everything was not possible and I’m sorry to say I have no footage of the works by Justin Bennett and Rens Krikhaar because of much too irritating reflections in the glass (Sorry gentlemen, but it was a pleasure seeing them anyway!). The numbers behind the names under the pictures refer to the age of the artists at the moment of drawing.

Babette Wagenvoort

Babette Wagenvoort

Babette Wagenvoort, 43

Babette Wagenvoort, 43

Babette Wagenvoort, 33

Babette Wagenvoort, 33

Babette Wagenvoort, 3

Babette Wagenvoort, 3

Babette Wagenvoort, 15

Babette Wagenvoort, 15

Anne Forest, 22

Anne Forest, 32

Anne Forest, 8

Anne Forest, 8

Anne Forest, 22

Anne Forest, 22

Paul van der Eerden, 38

Paul van der Eerden, 38

Paul van der Eerden, 61

Paul van der Eerden, 61

Johan Gustavsson, 37

Johan Gustavsson, 37

Johan Gustavsson, 30

Johan Gustavsson, 30

Wieske Wester, 30

Wieske Wester, 30

Erik Jan Ligtvoet, 17

Erik Jan Ligtvoet, 17

Erik Jan Ligtvoet

Erik Jan Ligtvoet

Cybil Scott, 5

Cybil Scott, 5

Cybil Scott, 26

Cybil Scott, 26

Melissa Cruz García, 8

Melissa Cruz García, 8

Melissa Cruz García, 26

Melissa Cruz García, 26

Melissa Cruz García, 36

Melissa Cruz García, 36

Michael Karr, 12

Michael Karr, 12

Michael Karr, 30

Michael Karr, 30

Michael Karr, 20

Michael Karr, 20

Tanja Smit, 48

Tanja Smit, 48

Tanja Smit, 30

Tanja Smit, 30

Tanja Smit

Tanja Smit

 Johan van Oord, 34

Johan van Oord, 34

Johan van Oord, 8

Johan van Oord, 8

Wietske Heldens

Wieteke Heldens

Wietske Heldens, 3

Wieteke Heldens, 3

Channa Boon, 48

Channa Boon, 48

Channa Boon, 28

Channa Boon, 28

Lieke Peeters, 20

Lieke Peeters, 20

Lieke Peeters, 10

Lieke Peeters, 10

Jorn van Leeuwen, 10

Jorn van Leeuwen, 10

Thom Vink, 42

Thom Vink, 42

Marjolijn van der Meij, 15

Marjolijn van der Meij, 15

Marjolijn van der Meij, 45

Marjolijn van der Meij, 45

Ronald Cornelissen, 28

Ronald Cornelissen, 28

Nina Roos, 5

Nina Roos, 5

Nina Roos, 28

Nina Roos, 28

Stefanie Scholte, 7

Stefanie Scholte, 7

[Click on the pictures to enlarge]

 

Bertus Pieters

A Blue Room, Quartair, The Hague

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At Quartair eight artists were invited to reflect artistically on quotations from the oeuvre of Louis Couperus (1863-1923), one of the greatest novelists in the Dutch language. The artists were free to choose from Couperus’ works.

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Wieteke Heldens chose from The Tour (Antiek toerisme) and Ecstacy (Extaze), collected from these texts all words indicating a colour and tried to reproduce them in two paintings.

EBK 05 Robbert Pauwels
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Robbert Pauwels, who likes using pedestals for his works and referring to classical and baroque sculpture,

EBK 07 Robbert Pauwels
EBK 08 Robbert Pauwels

appropriately took a passage from the novella Psyche to make his Psyche and Eros.

EBK 09 Geeske Harting

Couperus, as a real fin de siècle novelist, was refined and often described the tarnishing or decay of beauty. Geeske Harting was

EBK 10 Geeske Harting

clearly inspired by that element in her surprising diptych Spleen with withering violets, which she based on parts of About me and others (Van en over mijzelf en anderen).

EBK 11 Astrid Nobel
EBK 12 Astrid Nobel

Astrid Nobel chose three passages from Metamorphosis (Metamorfoze) for her work Niet meer hetzelfde (Not the same anymore, based on the quote “It was the same as what had been and still: not the same anymore”) and she combines different other elements of the text in it.

EBK 13 Tim Breukers
EBK 14 Tim Breukers

Vert de l’abîme (sorry to say, but it is vertige de l’abîme) by Tim Breukers is based on a trifle called The binoculars (De binocle) about an opera visitor who, sitting high in a balcony seat,

EBK 15 Tim Breukers
EBK 16 Tim Breukers

can hardly resist throwing his opera glasses on a bald head deep down in the opera hall during a Walküre staging. Indeed Breukers creates a real abîme with a leftover of his visit to the top, where he could have… might have….

EBK 17 Hans Hoekstra

Hans Hoekstra’s painting Van Oudijcks val (Van Oudijck’s Fall) is based on the final part of the novel The Hidden Force (De stille kracht) where a high officer in the colonial Dutch East Indies, Van Oudijck, a man with phlegmatic Dutch authority, is worn out completely by the country and its magic.

EBK 18 Hans Hoekstra

Although the theme is clear in the otherwise attractive painting, I don’t really see the link to the story in particular to Van Oudijck.

EBK 19 Selma van Panhuis
EBK 20 Selma van Panhuis

Selma van Panhuis had herself inspired by a passage from Footsteps of Fate (Noodlot) with one of the novel’s protagonists thinking about his mistrust of human intuition.

EBK 21 Selma van Panhuis
EBK 22 Selma van Panhuis

Surely Van Panhuis shows the power of intuition which is part of her work and as such she shows you can’t escape from fate.

EBK 23 Pim Voorneman
EBK 24 Pim Voorneman
EBK 25 Pim Voorneman

Pim Voorneman shows in his installation Pièce de milieu, based on a passage from Ecstacy, the sensuousness of objects in a stifling bourgeois interior as it is often described by Couperus in his great novels.

Geeske Harting

Geeske Harting

Altogether this is a very fine exhibition curated within a very original framework, appropriately staged in The Hague, as Couperus often described the upper middle class of The Hague in his books.

Astrid Nobel

Astrid Nobel

There is an audio tour available in which you can hear all relevant passages from Couperus’ books as read by Philip Peters. Alas, it is in Dutch only, but hearing Peters pronounce all the different colours for Heldens’ paintings must be a feast to anyone’s ears.

EBK 28
[Click on the pictures to enlarge]

Bertus Pieters