27 - 30 december
Please join us for the opening of This Art Fair at the Beurs van Berlage, Damrak 243 in Amsterdam on Wednesday, December 27th from 18 till 22 hrs.
We will show work by Iranian artists Parnian Ferdossi, Mohammad Hassanzadeh & Ahmad Moradi and Najaf Shokri, carefully selected by Simindokht Dehghani, founding director of Ag Galerie in Teheran and for the first time on view in The Netherlands.
We look forward to seeing you at our booth G8.
3 December 2017
Op 3 december doe ik, namens de Young Collectors Circle, mee aan een debat als onderdeel van het Crowdfunded event 'De Orient 2.0', een tentoonstelling in Pulchri Studio Den Haag(tot 13 december 2017). Centraal staat de vraag: 'Voor welke uitdagingen staan kunstenaars en kunstgaleries om een betekenisvolle rol te bemachtigen op de mondiale kunstmarkt van de 21-ste eeuw?' In Pulchri Studio dus, op zondag 3 december van 14.00 tot 16.30 uur. Voor meer info: https://www.voordekunst.nl/projecten/6551-kunstproject-de-orient-20-1
Locatie waar het debat wordt gehouden: Louis Quinze zaal, Pulchri Studio De exposities de Oriënt 2.0 en de expositie Marius Bauer, Verslaafd aan het Oosten (op zondag geopend tot 17.00)
Philippa van Loon (1963), jongste en enig levende telg van de familie van Loon (bekend van het Museum van Loon op de Keizersgracht in Amsterdam), beleefde haar punkjaren in Londen waar ze beeldhouwkunst studeerde aan de Chelsea School of Art. Ver weg van de do’s en dont’s die nu eenmaal hoorden bij haar afkomst zocht zij haar eigen weg temidden van popsterren (Boy George), fashion icons (Vivienne Westwood) en kunstenaars (de Young British Artists) in Swinging Londen. Het resultaat van deze mish mash van generaties en culturen is te zien op de solo tentoonstelling ‘Natural Born Rebel’ die opent op donderdag 30 november om 17 uur (tot 22 uur), Kerkstraat 117 in Amsterdam. Wilt u daarbij aanwezig zijn, of wilt u graag meer informatie/beeldmateriaal/een persbericht? Dat kan. Stuur een mailtje naar: firstname.lastname@example.org.
/// TALK: MANUELA KLERKX /// in samenwerking met de Young Collectors Circle.
Manuela Klerkx schreef samen met Oscar van Gelderen het boek' Ontroerend Goed: Van kunst kijken naar kunst kopen' (Uitgeverij J.M. Meulenhoff). Het boek wordt in februari gelanceerd tijdens Art Rotterdam, maar tijdens de busreis naar de kunstbeurs Art Düsseldorf zal Manuela vast een voorproefje delen van deze mustread voor (beginnende) verzamelaars.
Wil je mee? Schrijf je dan hier in.
November 1, 2017
It's official! Our book about art & collecting (mainly written for starting, but also fun for more seasoned collectors) will be published in february 2018 at Meulenhoff publishing house.
October 21, 2017
You are cordially invited for the opening of the exhibition The Raft, Art is (not) Lonely on Saturday October 21 at 14.00, in Oostende, Belgium. The exhibition runs through April 15th, 2018. You can order tickets here. Berend Strik is one of the participating artists together with Bill Viola, Adrian Paci, Berlinde de Bruyckere, Aernout Mik, Michael Borremans, Luc Tuymans, Steve McQueen, Mike Figgis, a.o.
'The Raft. Art is (not) Lonely' curated by Jan Fabre and Joanna De Vos featuring artists Berend Strik, Steve McQueen, Michael Borremans, Luc Tuymans, a.o.
'The sequel to The Sea - Salut d’honneur Jan Hoet' opens on the 22nd of October 2017. In this second edition of the international triennial exhibition, the ‘raft’ plays a pivotal role. 'The Raft. Art is (not) Lonely' is about the vessel and the ecstasy of art. Earlier this year, the artist Jan Fabre was invited to curate this new edition, a challenge that he accepted with enthusiasm! Joanna De Vos will co-curate the project.
Friday, September 29th, 2017
Today you can read all about the work of painter Loes Koomen in the Amsterdam newspaper Het Parool (translation into English is in the making!). This weekend you are welcome in her studio, during the 'Atelierroute, to watch her paintings and two silkscreens, released especially for the occasion. Address: Atelier Loes Koomen, KNSM Laan 185, Amsterdam, saturday september 30th and sunday october 1st between 12 - 18 hrs as part of the Open Ateliers Route. Free entrance.
Art Noord in Museum Belvédère in Heerenveen (Friesland) 21 - 24 September 2017
An artfair in the Belvédère Museum in Heerenveen where galleries and artists from the northern part of Holland promote their work.
Galerie de Roos van Tudor, Galerie de Vis, Galerie Hoogenbosch, Galerie LOOF, Galerie Steven Sterk, Kunsthandelen Galerie de Vries, Kunsthandel en Galerie Richard ter Borg, Kunsthandel Peter ter Braak, Kunstruimte Wagemans, melklokaal, Prentwerk, Ruimte P60, Uitgeverij Philip Elchers en vier noordelijke fotografen.
Gaat dat zien!
"On the Spot" an exhibition in Museum Belvédère in Heerenveen running through 17 September 2017.
November 8, 2017
Twenty ceramic pieces of the installation 'Google's Eyes' by Merijn Bolink are currently on display at the the exhibition 'Humans and Artificial Creativity' on the occasion of the Design Week in Turkey. Istanbul aims to highlight the potential of design being an integral part of innovation and one of the principal pillars of growth and development in the belief that design has the utmost potential to differentiate oneself (from a large span of sectors) to become competitive and successful.
Merijn Bolink: 'I believe it's possible that algorithms can develop a soul of their own at some point, so we should start establishing forms of communication, just in case this soul is already emerging. In this project I try to communicate with algorithms through the use of images. Let's approach our machines in search for images.' The event will be taking place from November 8-12, 2017 at Lütfi Kirdar International Congress and Exhibit Complex. Source: Crystal Tay for The Artling
November 4, 2017
Thinkspace is pleased to present Human (Nature), its first solo exhibition and full gallery takeover by internationally acclaimed Iranian, Brooklyn-based artist-activist duo, ICY and SOT. The brothers, born in the northwestern Iranian city of Tabriz, started their legacy as street artists by producing simple, single layer stencils and wheat pasted stickers in 2006. Throwing them up covertly, and as quickly as possible, wherever they could throughout the city’s less-traveled recesses, ICY and SOT were genuinely tapped into the impermanence of street art as a medium given their interventions would last no more than 24 hours in the highly regulated and censored Islamic political regime. Isolated by the political oppression steadily in place since the Islamic Revolution of the late ‘70s, the brothers, and their art grew and thrived under severely impeded circumstances.
All public exhibits and expressions of art in Iran are subject to intense scrutiny and suppression, forced to submit to government approval before any kind of dissemination. This is the unlikely political climate under which ICY and SOT found their voice. Every act of creativity under said circumstances becomes an act of protest and countercultural dissent, not to mention one of great risk and uncertainty. The brothers are no strangers to reprimand in a country where the political stranglehold demands imprisonment for minor acts of transgression. Their earliest imagery grew from this place of profound longing, driven by a desire to express compassion, truth, hope, and connect with the silenced cities and its inhabitants. Some of their first intercessions into the Iranian streets were recurring representations of children, specifically of a little boy with downcast stance walking forward. In their minds, the clearest and most direct expression of innocence and resilience they could invoke in a world of adult subjugation and violence.
One of the more remarkable aspects of the brothers’ work is that it evolved in a near cultural vacuum, emerging from anonymity and under the most restrictive circumstances to international recognition and acclaim. Though there were punk and skater countercultures that emerged in Iran in spite of the prevailing political climate, the brothers had no access to other manifestations of “street art” as an international genre with historical antecedents. It wasn’t until they were able to access internet sites beyond Iran’s firewall that they came into contact with other examples of the medium and its emergence as a “legitimate” art form, owing in significant part to New York’s vibrant 70’s and 80’s city culture. It was also through social media and image-based sites like Flickr that they were finally able to circulate photographic evidence of their work, the only extant and surviving record of their highly temporary intercessions in the streets of Iran, and were able to amass a following, connecting them with other artists and exponents of street-based art.
Finally, in 2012 they were granted travel Visas to attend a solo exhibition of their work in New York City, traveling to the US and leaving Iran for the first time. They took the opportunity to immigrate, settling in Brooklyn with mounting legal tensions surrounding their freedom of expression at home, and have since established themselves as thriving, generous, and active members of the artist community there. They have now created work all over the world, delivering poignant and humbling expressions of human pathos and compassion worldwide. Their output is immediately recognizable for its clean graphic aesthetic, reminiscent of print media, their use of elaborate multi-layer stencils, and now photo-based and sculptural works. Increasing in sophistication and diversity of messaging, the brothers have tackled topics such as poverty, homelessness, women’s rights, gun control, immigration, and climate change, converting the same terse and impactful language they had cultivated as political acts of protest in their home country to gestures of activism worldwide. Their work has richly evolved into several tangential and intersecting adjuncts as they continue to experiment with not only murals and walls, but gallery-based artworks, public interventions, like their advertising takeover series, and site-specific sculptural installations. All executed in the same minimal graphic language, sparse color, through clean impactful compositions.
In Human (Nature) ICY and SOT return to one of the most fundamental and widely disavowed plights that face us, globally and universally as humankind – the necessity of nurturing the environment we have steadily marauded and violated beyond repair. Invoking the peaceful balance of nature as a counterpoint to the deleterious effects of human consumption and waste, ICY and SOT want to inspire us all to see the planet’s vulnerability and to make small strides towards productive change and personal accountability.
The brothers continue their inspiring pursuit of truth and personal expression, reminding us with every public emission and imprint left on the world of the real power of art, imagery, and public activism in a world of discouraging desensitization. Now, more than ever, the active cultivation of freedom, mutual respect, and compassion through art is the cultural lifeline we’d all do well to support.
Berend Strik (1960, Nijmegen) is best known for his embroidered work. Since 2012, Strik has been working on a series of artist theaters entitled 'Decipher the Artist's Mind'. For the exhibition 'The Raft, Art is (not) Lonely', the artist explores the living space of apartment 340. Using existing iconographic material and his own work, he combines elements of the lives of artists like Spilliaert, Géricault and Ensor to create a large-scale, space-filling installation.