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

 

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Enclosed Volume, works by Geert Baas, Niko de Wit and Yumiko Yoneda; Ramakers Galerie, The Hague

Yumiko Yoneda

To make a statement about volume, the sensuality of its surface, the bulkiness of its mass, the ambiguity of its content and inclusively a lot more, you don’t need a hundred artists, you only need three very good ones.

Yumiko Yoneda

Yumiko Yoneda

Yumiko Yoneda

Yumiko Yoneda

Yumiko Yoneda

That much is clear from the present show of recent and new works by Geert Baas (1955), Niko de Wit (1948) and Yumiko Yoneda (1965) at Galerie Ramakers.

Yumiko Yoneda

Yumiko Yoneda

Niko de Wit

Geert Baas

Niko de Wit

Baas, De Wit and Yoneda are very different artists but their works potentially intensify each other.

Niko de Wit

Niko de Wit

Geert Baas

Geert Baas

Geert Baas

All three seem to aim at a certain perfection of thought.

Geert Baas

Niko de Wit

Niko de Wit

Niko de Wit

Niko de Wit

Even in the tongue in cheek looking objects by Baas it is their aesthetic perfection that puzzles most.

Niko de Wit

Niko de Wit

Yumiko Yoneda

Yumiko Yoneda

Yumiko Yoneda

There is of course a remarkable discrepancy between the angularity of De Wit’s works and the soft curviness of Yoneda’s objects.

Geert Baas

Yumiko Yoneda

Yumiko Yoneda

Yumiko Yoneda

Geert Baas

However their differences evolve into a dialogue in this wonderful ménage a trois.

Geert Baas

Geert Baas

Geert Baas

Geert Baas

Geert Baas

For any group exhibition you need dialogue and space, which in this case becomes a statement of aesthetics..

Niko de Wit

Niko de Wit

Niko de Wit

Niko de Wit

Geert Baas

This is an exhibition to enjoy and wonder, and one which I highly recommend.

Geert Baas

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to the artists and to Ramakers Galerie, Den Haag

Bertus Pieters

Uit het atelier van Klaus Baumgärtner (From Klaus Baumgärtner’s Studio); Galerie Ramakers, The Hague

What imagination and therefore art can do, is far less obvious in the glittering spectacles made to entertain us, than in the sometimes very small gestures and shapes of our daily lives.

Klaus Baumgärtner (1948-2013) based his work on the latter.

He saw the possibilities of found objects, pieces of different materials, plants, wood, found footage, light and shading, to put his (and our) imagination into operation.

I think that was not a matter of modesty, but of a very vivid interest in how shapes and gestures communicate.

Presently you can see works by Baumgärtner at Galerie Ramakers, delicate, not always in shape, but certainly in thought and concept.

The gestures are not just in the bending twigs and branches or in the curvature of shapes and lines, but also in the way of Baumgärtner’s composing and thinking.

It is about the sheer joy of seeing, conceiving and making the objects and they are never just funny jokes.

[Click on the pictures to enlarge]

© Villa Next Door 2018

Content of all photographs courtesy to Galerie Ramakers, Den Haag

Bertus Pieters

Ton of Holland, Medical Body Jewels; Galerie Ramakers, The Hague

With collages, embroidery and paint Ton of Holland (Ton Hoogerwerf, 1956) shows in Galerie Ramakers works in which the usually somewhat obnoxious world of disease becomes a world of symbolism and a kind of decadent aesthetics.

He does so unabashedly and with a sense of humour through which an understanding of the realities of our lives as biological creatures is felt.

It is fun, beautiful and maybe a bit painful.

The show is in its last week, so hurry up to see it all in real/unreal!

[Click on the pictures to enlarge]

©Villa Next Door 2017

Content of all photographs courtesy to Ton of Holland and Galrie Ramakers, Den Haag.

 

Bertus Pieters

Michel Hoogervorst, studio visit, The Hague

During his exhibition Guess Things Happen That Way at Galerie Ramakers (click here for some pictures of that show), Michel Hoogervorst (1961) has opened his studio over the weekends. So i visited him last Sunday.

The studio is in one of the many late 19th century apartments in my own neighbourhood, so it was a visit just round the corner.

Apart from seeing his works in a studio setting, you can also admire a big wall painting which he changes almost completely every week.

Almost, as some details are maintained.

It is like the growing process he often shows in his paintings: there is an end to it and also the wall painting’s last version will disappear.

Happily some accurate photographs of the different versions have been made.

Things happen that way too.

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all pictures courtesy to Michel Hoogervorst

 

Bertus Pieters

Michel Hoogervorst, Guess Things Happen That Way; Galerie Ramakers, The Hague

Some artists need the whole world to give expression to their ideas, others need no more than their daily lives in which flowers in a pot on a shelf and some common words are enough.

Michel Hoogervorst (1961) belongs to the latter.

To quote the title of his present show at Galerie Ramakers, i too guess things just happen that way.

He draws the consequences of his daily existence and that opens a whole world to him and to the viewer.

Measuring from the diversity, quality and quantity of the works on show, which are all recent to very recent, it gives him an almost infinite inspiration.

Such that the exhibition has expanded to his studio where he welcomes visitors in the weekends during the show.

I’ll probably report about that later.

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all photographs courtesy to Michel Hoogervorst and Galerie Ramakers, Den Haag

 

Bertus Pieters

Willy De Sauter; Galerie Ramakers, The Hague

Flemish artist Willy De Sauter (1938) presently has his first solo exhibition at Galerie Ramakers. Ramakers shows older and newer works.

Within the framework of geometric abstract compositions De Sauter offers a lot of liberty and space for reflection.

Some works are softened in their outlook by the use of chalk which, in a way, gives them a sense of humaneness.

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all pictures courtesy to Willy De Sauter and Galerie Ramakers, Den Haag

 

Bertus Pieters

Quand la nature s’éveille (When Nature Awakens); Galerie Ramakers, The Hague

Reinier Lagendijk

Galerie Ramakers says goodbye to winter with a trio exhibition, showing

Reinier Lagendijk

sculptures by Reinier Lagendijk,

Joncquil

paintings by Joncquil and

Eelco Brand

Eelco Brand

animations by Eelco Brand.

Reinier Lagendijk

Reinier Lagendijk

Lagendijk’s sculptures and installations bring shapes and ways of growing that are both unexpected and seemingly natural.

Joncquil

Joncquil

Joncquil

Joncquil

Joncquil

In Joncquil’s paintings anecdotes seem to be on the verge of their concluding phase.

Reinier Lagendijk

Reinier Lagendijk

Eelco Brand

Eelco Brand

Eelco Brand

Eelco Brand

Brand’s meticulously made animations never reach their concluding phase, running their cycles of birth and rebirth.

Reinier Lagendijk

Joncquil

As a whole the show brings together three very different artists who use aspects of nature very distinctively and powerfully.

Reinier Lagendijk

Lagendijk’s sculptures bind Joncquil’s and Brand’s works very well together, displaying their suggestive expression.

Reinier Lagendijk

[Click on the pictures to enlarge]

© Villa Next Door 2017

Content of all pictures courtesy to the artists and Galerie Ramakers, Den Haag

 

Bertus Pieters