24 April 2018
Opening on the 1st of June a solo exhibition by Icy & Sot: 'A Moment of Clarity' at the Moco Museum in Amsterdam. Stay tuned!
Groot nieuws! Trots! Want Loes Koomen is samen met niemand minder dan Maria Roosen, Emo Verkerk en herman de vries door Marina de Vries, hoofdredacteur van Museumtijdschrift, geselecteerd om een kunstwerk uit te brengen tgv het 30-jarig jubileum. En dat vinden we te gek! Vanaf morgen kunt u de kunstwerken - die paginagroot staan afgebeeld op extra dik papier - bewonderen in het jubileumnummer. In de komende nummers wordt steeds één kunstenaar uitgelicht met de editie die door Museumtijdschrift ism We Like Art! wordt aangeboden. Loes' editie, een tweeluik (zie afbeelding) is vanaf begin juli te koop in nummer 5. Zorg dat je er op tijd bij bent, want als dit geen collectors item wordt...Voor meer informatie en/of bestellingen kunt u mij mailen: firstname.lastname@example.org
'Wij zijn nooit lang ernstig'. Interview in het Financieel Dagblad over Ontroerend Goed
Volgende week in de boekhandel en vandaag groots en meeslepend in het NRC en Het Parool: Ontroerend goed: van kunst kijken naar kunst kopen, Uitgeverij Meulenhoff.
Loes Koomen op de voorpagina van Zuid, de nieuwe wijkkrant voor Amsterdam Zuid, en in het artikel van Annemarieke Weber over (het tekort aan naamsbekendheid van) schilderessen. Vanaf vandaag is de wijkkrant (je moet klein beginnen maar wel meteen in een grote oplage van 54.000 exemplaren) verkrijgbaar!
Another great article which was posted Monday, January 8, 2018 in Huckmagazine.
'AMSTERDAM POLAROIDS' GRAND OPENING: Saturday, January 13th at 5 PM.
Location: Stigter & Van Doesburg Gallery
Address: Elandsstraat 90, Amsterdam
Grand opening: Saturday 13 january 5PM-7PM (+ afterparty!)
Show runs till: February 17th
For more information check this article in Vice.
AMSTERDAM POLAROIDS: BETTIE RINGMA AND MARC MILLER ARE BACK IN TOWN AND SHOW THE UNIQUE POLAROIDS THEY SHOT IN 1979/1980 IN THE BARS OF AMSTERDAM AT STIGTER & VAN DOESBURG GALLERY
In 1979 artists Bettie Ringma and Marc H. Miller had just relocated from New York City to a houseboat in Amsterdam, and needed a way to support themselves. Remembering a photographer they’d seen selling Polaroid portraits at Coney Island, Miller and Ringma decided to try the same—first on the beach at Zandvoort, before finding more success in Amsterdam’s bars and cafés. Long before cell phones, few people carried cameras, and there was high demand for the two roaming Polaroid-picture-takers. Over the next year, Miller and Ringma became local fixtures: house photographers of the Red Light District and the surrounding urban demimonde.
Five or six nights a week, Miller and Ringma made the rounds wherever they were welcome: old-school bruin cafés, Turkish cafés, soccer bars, gay bars, discos, red-light-district bars, tourist traps. Over time, they developed a collection of regular customers always ready to get a new picture, alone or with a bar buddy.
Beyond their evident talents as photographers, Miller and Ringma’s achievement was to retain pictures otherwise scattered to the winds, creating a rare record of this unique vernacular photography tradition. The resulting collection condenses a year of Amsterdam nightlife (1979 to 1980) into a time capsule of colorful characters and period fashion, captured with vibrant colors and rich detail.
Ringma and Miller see these Polaroid bar portraits not only in a vernacular context, but also in the context of fine art. Their art is an original amalgam of Pop and conceptual art. In New York in the late ‘70s, they were part of a group of young artists interested in exploring their own lives and issues of identity. It was an era rich in self-portraiture and Miller and Ringma’s “Paparazzi Self-Portraits" were especially prescient of the “selfies" that would emerge with the invention of digital photos and cell-phone cameras. Like many of their peers, they also hoped to make an art that was accessible both in its content and in its price. “Bettie Visits CBGB” was initially sold through advertisements in rock magazines. The Amsterdam Polaroids were a natural creative progression.
After moving to Amsterdam in 1979, Ringma and Miller curated “American Punk Art” show at Art Something (formerly Other Books and So, founded by Ulises Carrión in 1975). Art Something would also host an exhibition of their Polaroids under the title “Amsterdam Privé” in 1980, which was covered by Amsterdam’s leading press outlets (NRC, Het Parool), with a lead photo feature in the Nieuwe Revu.
At Stigter & Van Doesburg a large group of original polaroids will be on view (and for sale), and a select group scans on a 30x30 cm format, in an edition of 8, which have been printed in 2018, especially for the exhibition.
In recent years, Ringma and Miller’s early collaborations have been exhibited in New York City at the New Museum of Contemporary Art (2012) and the Queens Museum (2016), and been written about in the New York Times, Art News, the Guardian, Vice, Dangerous Minds, and Flashback.
Bettie Ringma (b. 1944, Ermelo, NL) and Marc H. Miller (b. 1946, New York) worked as artistic collaborators in New York and Amsterdam between 1975 and 1981. In New York, they attracted attention for their photo series “Bettie Visits CBGB” (1976–8), showing Ringma with leading punk music groups in the famous Bowery club. In 1978, Miller and Ringma expanded their collaboration to include Curt Hoppe, who created larger-than-life photorealist paintings after their “Paparazzi Self-Portraits.” Miller and Ringma were the curators of the ground-breaking exhibition “Punk Art” at the Washington Project for the Arts in 1978.
Bettie Ringma first moved to New York in 1974. She has worked variously as an art therapist, school yearbook photographer, multilingual tour guide, and the American correspondent for the Nieuwe Revue. She continues to split her time between New York and Europe.
Marc H. Miller currently operates the website 98 Bowery, dedicated to underground art from the 1970s and ’80s, and continues to work on curatorial projects—most recently, Hey! Ho! Let’s Go! Ramones and the Birth of Punk (Queens Museum, New York City and Grammy Museum, Los Angeles, 2016–17).
Op 8 februari 2018 verschijnt bij Uitgeverij Meulenhoff: 'Ontroerend goed: van kunst kijken naar kunst kopen' Een handboek voor beginnende en ervaren kunstkopers door Manuela Klerkx en Oscar van Gelderen
Er is onroerend goed – vastgoed, buitenkant, status – en er is ontroerend goed – kunst, binnenkant, passie. Bij velen heerst het idee dat kunst een (linkse) hobby van de elite is en niet toegankelijk voor ‘gewone mensen’. Galeries worden als hoogdrempelig ervaren, de prijzen zijn niet transparant en de teksten over de kunstwerken zorgen eerder voor verwarring dan opheldering. Maar er is ook goed nieuws: het bezitten van kunst is niet voorbehouden aan de rijken der aarde; er is ook prachtige kunst te koop voor een paar honderd euro (als je maar goed zoekt en ‘vroeg’ durft te kopen). De stap van kijken naar kopen is voor velen echter een obstakel: de kunstwereld kenmerkt zich door geheel eigen codes, die Manuela Klerkx en Oscar van Gelderen, zelf kunstkenners en -verzamelaars, in Ontroerend goed proberen te kraken. Hoe worden prijzen bepaald? Kun je onderhandelen met galeries? Hoe werkt een kunstbeurs? Er is zo veel keus: hoe weet ik welke kunst bij mij past en hoe en waar koop ik die?
Naar aanleiding van het verschijnen van 'Ontroerend goed' staande volgende events op het programma:
Lancering Top 50 Beste (levende) Nederlandse kunstenaars i.s.m. Hans den Hartog Jager
Donderdag 8 februari; 15.00 – 16.00 uur; Locatie: Reflections Room op Art Rotterdam
Speciale editie van de Young Collectors Circle: naar aanleiding van het verschijnen van
'Ontroerend goed' geven de auteurs een stoomcursus 'Art Rotterdam voor beginners (en
Vrijdag 9 februari; 17.00 – 18.00 uur. Locatie: Reflections Room op Art Rotterdam
Rondleiding door de auteurs op Art Rotterdam (i.s.m. Young Collectors Circle)
Vrijdag 9 februari; 18.45 – 20.00 uur
Lancering 'Ontroerend goed' in Amsterdam
Zaterdag 10 februari; Locatie: stay tuned
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: email@example.com.
/// 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.