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Lily van der Stokker, Terrible, 2010, Acrylic paint on wall and mixed media. Photo: Hans Wilschut. |
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Lily van der Stokker, Why Do It, 2010, Acrylic paint on wall and mixed media. Photo: Hans Wilschut. |
Museum Boijmans Lily van der Stokker has made Terrible, two three-dimensional wall paintings, especially for Museum Boijmans Van Beuningen. In this series about ugliness, she calls beauty into question. Dutch artist Lily van der Stokker (1954, den Bosch) works in a drawing-like way with fluorescent colours, short, catchy texts and decorative shapes. She starts by making compositions in small sizes and then allows them to expand and play with (public) space. She has made the three-dimensional wall-filling works Terrible and Why Do It especially for the Willem van der Vorm Gallery in Museum Boijmans Van Beuningen Van der Stokker’s works are essentially friendly and optimistic. However, all the frivolity of the colourful pictures conceals a critical attitude. In the short texts that form part of her works she responds to the events in her life and to topical themes in the art world. One example is The Nagger’s Club, a series of wall paintings about arguments and money with texts like, "Rather a rotten way to treat an artist." According to Van der Stokker, who calls herself a ‘feminist conceptual pop artist’, art doesn’t always have to be about beautiful things. In her discussions about beauty the reverse also emerges — ugliness. The ugly, the horrible and the negative have an equal standing in her work. Yet conversely Van der Stokker does not employ these aspects without pleasure and they are given curls, lavish decorations and frills. Van der Stokker made several drawings and murals on the subject of ugliness. A critic who once called her "the worst artist in the Netherlands" inspired her to lay it on even thicker — the result was Terrible. Van der Stokker remarked, "People don’t expect you to do ugly things in a museum." Lily van der Stokker has produced murals in numerous museums, galleries and art institutes in the Netherlands, Europe and America. This is the second time that Van der Stokker has decorated the walls of Museum Boijmans Van Beuningen in Rotterdam. The exhibition is a perfect accompaniment to the current presentation of contemporary drawings, where the museum reflects upon its recent purchases. |
Lily van der Stokker, In the Embellishment, installation view of Plug In # 5 at Van Abbemuseum, April 2006. |
Katinka Lampe, Untitled (50077), 2007m oil on canvas, 50 x 50 cm, AEGON art collection, |
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Katinka Lampe, untitled (60070), oil on canvas, 60x60 cm, 2007.
Katinka Lampe, Untitled (121667), 2006, oil on canvas, 160 x 120 cm, private collection, Paris.
Katinka Lampe, Untitled (240090), 2009, oil on canvas, 240 x 180 cm. |
Kunsthal Rotterdam Katinka Lampe paints portraits. Or at least, you can clearly recognise the representation of a person. Yet, this is not the main motive of the painting. The portrait merely serves as reason to make the painting. The portrait is the imagery concept. At Kunsthal Rotterdam over 50 paintings are presented, which together give shape to the first big survey exhibition on Katinka Lampe ever. Her paintings greatly appeal to the beholders. Conscientiously and with a great sense for beauty she portrays her models, who are generally quite young. The resulting portrait is not an exact copy of reality, but instead a visual impression of it. By including things like a wig or a balaclava or putting a lot of make-up on the model’s mouth she adds an unusual or artificial character to her portraits. Lampe’s work is both vulnerable and distant at the same time. Lampe wants to avoid all that is personal in her art. Therefore she tries to "paint herself out of her paintings" as much as possible. Different from what the title of the exhibition might suggest Lampe gives her works neither titles nor names. She would much rather have the beholder associate freely. The title •Kate, Bob & Luca• refers to how the paintings are to call up images and names. She is constantly searching for the right proportion between content and paint, realism and abstraction. The combination of various painting techniques is typical of her paintings. Big colour areas and minutely painted details, sharp contrasts and soft outlines alternate in her work. Lampe wants to create an "image that is stout yet moving." Lampe seeks inspiration from both photographs in magazines and newspapers and from reproductions of old paintings. A reproduction of a painting by Vermeer, a photograph of a sexed-up model, or a newspaper picture of a criminal can lead her to stage a scene with a model. When staging a model and making the photographs which will serve as point of departure for the painting, some of "reality" is lost. The painting then becomes a stack of conscious and subconscious stylistic choices where Lampe seeks out the tension between the realistic and the illusion. By constantly emphasising that painting is an artificial action, which refers to a considered and gathered reality, you are stimulated as a viewer. The portraits all contain something "unusual" or artificial; overdone make-up or hair done up like a wig, they hence become imperfect on purpose. She sometimes opts for certain motives referring to contemporary and debated topics such as veils or balaclavas. It is not political, but a visual statement because recognisable elements are shown in an unexpected, unique context. Everything which can be seen seems to have meaning. The viewer cannot translate or redefine the image literally; the painting strongly appeals to emotion, evoking associations. This stimulates the viewer to give a personal meaning and context. Different from what the title of the exhibition might suggest Lampe gives her works neither titles nor names: this would only diminish the carefully constructed distance that she wants there to be between her portraits and those who see them. It is fully up to the observer to come up with an appropriate name for, or make up the story behind each portrait. Lampe portrays her models, who are generally quite young, with attributes that somehow seem to clash with their youthful innocence: a pair of sunglasses, headphones, balaclava, wig or hooded sweater. Although her portraits are actually quite realistic, Lampe does not consider resemblance important in her portraits. Individual characteristics of models are deliberately pushed into the background. Nevertheless, the appeal of the paintings remains great. The glance of those portrayed plays a determining role. Whether it is self-confident and cutting or shy and dreamy. Sometimes the eyes are hidden away behind big sunglasses or the beholder stares at the back of the person portrayed. Lampe thus manages to create tension in her work. She adds false lashes, big jewellery and headscarves; objects with social and cultural connotations that somehow clash with the youthful innocence of her models. Therefore her paintings both attract and push off at the same time. It is this quality which attributes to her works an extra layer of meaning. Katinka Lampe (*1963) lives and works in Rotterdam. She finished her education at the Academy for Fine art and Design in ’s-Hertogenbosch, The Netherlands in1988. Meanwhile her work has been shown at various international art fairs. Several private — and public collections, amongst which the city gallery of Heerlen, the Nederlandsche Bank and the Parisian Centre National des Arts Plastique have purchased work by Lampe. |
Katinka Lampe, Untitled (240092), 2009, oil on canvas, 240 x 180 cm. |
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Ewoud van Rijn, Everlasting Lust, Collection the artist. |
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Peter Feiler, Was nog Fehlt, 2006, graphite, color pencil, ink, chalk, 460 x 257.3 cm, Collection Museum Boijmans Van Beuningen. |
Peter Feiler, detail Was nog Fehlt, 2006, graphite, color pencil, ink, chalk, 460 x 257.3, cm, Collection Museum Boijmans van Beuningen.
Paul Noble, Egg, pencil on jesmonite, Collection Museum Boijmans Van Beuningen. |
Museum Boijmans The presentation contains recent acquisitions of contemporary drawings. There are some 89 drawings by national and international artists, among them Paul Noble, Luc Tuymans, Hans de Wit, Ronald Cornelissen, Paul van der Eerden, Oscar de las Flores, Peter Feiler, Ewoud van Rijn, Krijn de Koning and Charles Avery. Most of the drawings have not been shown in the museum before. For the third time Museum Boijmans Van Beuningen is reflecting on its own collection in public. On this occasion it is the turn of national and international contemporary drawings. In the light of recent acquisitions and loans the museum is formulating guidelines for the future. Until the last century, drawings, in the form of sketches or preliminary studies, were used mainly in the making of other works of art. Over the course of the 20th century drawing became an art form in its own right that differed from other disciplines in the directness of the technique. A draughtsman is not able to repeat or disguise anything, whereas a painter or sculptor can make endless improvements. Luc Tuymans’s "sous main," which depicts a drawn hand, symbolizes this direct relationship between body and mind. In the mid-1990s major artists elected to concentrate on drawing, experimenting with various materials and techniques. Egg, a work by Paul Noble drawn on a two metre high egg-shaped sculpture, is just one example. Since then drawing has no longer been automatically associated with pencil on paper. This acquisition presentation focuses on the narrative and figurative side of contemporary drawing. Some of the artists have been inspired by comics and literature. Fabulous, terrifying and mysterious parallel universes are depicted on huge sheets of paper, in works like Ewoud van Rijn’s dark fantasy worlds. In some cases these alternative world views can be interpreted as a commentary on modern society. Collection Two, the present installation from the permanent collection, features art up to 1945. This selection focuses on prints and drawings, 150 of which are being shown. The acquisition presentation of contemporary drawings is a fine addition to it. It is the third and last of a series in which the museum is formulating guidelines for its own collection. |
Paul Noble, Ye Olde Ruin, 2003-2004, graphite, Collection Museum Boijmans Van Beuningen. |
Ronald Cornelissen, De Aardappeleetsters, 2007, ink and pencil on paper, 72 x 97 cm, Collection Museum Boijmans Van Beuningen. |
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Ritsue Mishima, North Wind, 2009, Glass, H 37 cm W 46 cm. Photograph: Francesco |
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Ritsue Mishima, Soundless Particles 2007. Vangi Museum Japan. Photograph: Seiichi Nakamura. |
Ritsue Mishima, 100 Years After Unrealised Archaeology, 2008. Shugo Arts Japan, Photograph: Seiichi Nakamura.
Ritsue Mishima, Medusa, 2009, Glass, H 34 cm W 35 cm, Photograph: Francesco Barasciutti.
•Ritsue Mishima, Comet, 2008, Glass, H 41 cm W 35.5 cm. Museum Boijmans Van Beuningen Collectio,. Photograph: Francesco Barasciutti. |
Museum Boijmans Ritsue Mishima, een van de meest toonaangevende glasontwerpers van het moment, vult met glazen objecten een Japanse wintertuin in Museum Boijmans Van Beuningen. Een tuin waarin wordt gespeeld met het inspirerende Hollandse licht dat door het Venetiaanse glas steeds anders wordt gevangen. Museum Boijmans Van Beuningen presenteert dit voorjaar een tentoonstelling met een serie van circa dertig glazen objecten van de Japanse glaskunstenaar Ritsue Mishima (Kyoto 1962). Speciaal voor de tentoonstelling wordt er een twintigtal nieuwe vazen gemaakt die aansluiten bij de locatie. Daarnaast worden enkele bruiklenen en stukken uit de collectie van het museum getoond. Mishima’s vazen staan laag bij de grond in een speciaal aangelegde Japanse zen tuin in het museum. Door over het pad langs de stukken te lopen, ervaren toeschouwers een emotievol Hollands lichtspel. Mishima is van oorsprong interieurstylist voor architecten en magazines. In 1996 kreeg haar carrière een extra dimensie toen ze tijdens haar zoektocht naar de ultieme vaas zelf begon met ontwerpen. Ze gebruikt voor haar stukken uitsluitend kristalhelder glas. Samen met een team van specialisten wekt Mishima het glas tot leven. Hiervoor wordt veel kracht en inspanning gebruikt. Alle mogelijke koude en hete decoratietechnieken, van applicatie, slijpen, polijsten tot graveren worden ingezet om tot een ware Mishima te komen. De energie die er wordt ingestopt bij de ontwikkeling van de objecten, wordt gevangen in de vazen. Iedere Mishima vaas staat op zich en heeft een eigen karakter. Het licht wordt hierdoor telkens op een andere manier weerkaatst. Mishima’s emoties zijn verbeeld in haar werken. Soms als speelse, vloeiende vormen, de andere keer als woeste krachtige elementen. Inspiratie voor de vormen haalt Mishima uit de Venetiaanse lagune met het betoverende licht en het rijke zeeleven. Daarnaast speelt ook het heelal met zijn hemellichamen, sterren en meteorieten een belangrijke rol in de vormgeving van de werken. Mishima “Hoe kan in mijn emoties uitleggen? Dankzij de glasblazers, mineralen en vuur wordt alles vermengd tot glas. In een race met de tijd komt alles samen en groeit een vorm van binnen uit. Het onophoudelijke ritme van materie en actie tijdens het glasblazen kan me steeds weer vervullen met opwinding en passie.” Ritsue Mishima woont en werkt afwisselend in Tokyo en Venetië. In binnen- en buitenland, waaronder Tokyo, Berlijn, San Francisco en Milaan vinden regelmatig exposities plaatst van haar werken. Ook zijn de objecten te zien in het Venetië Paviljoen op de 53e Biënnale in Venetië (2009). In Londen ontving Mishima in 2001 de Giorgio Armani prijs voor beste kunstenaar op de Sotheby’s Contemporary Decorative Arts Exhibition.
Ritsue Mishima, Portrait in Glass Factory. Photograph: Benedetta Spinelli. |
Ritsue Mishima, Portrait in Atelier. Photograph: Benedetta Spinelli. |
Ritsue Mishima, Meteor Shower, 2004, Glass, H 41 cm W 35.5 cm. Museum Boijmans Van Beuningen Collection. Photograph: Francesco Barasciutti. |
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Hans Schabus, Europahaven, Rotterdam, 17 juni 2009, Courtesy of the artist. |
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Marjolijn Dijkman, Here be Dragons, 2009. Courtesy of the artist. |
Lara Almarcegui, A Wasteland in the Port of Rotterdam, 2009. Courtesy of the artist.
Ilana Halperin, A Brief History of Mobile Landmass, 2009, audio and slide installation, production still. Photo: Dr. Hugh Tuffen. Courtesy of the artist.
Jan Dibbets, 6 Hour Tide Object With Correction of Perspective, 1969/2009, production photo. Photo: Havenbedrijf Rotterdam NV/Freek van Arkel. Courtesy of the artist.
Christina Hemauer and Roman Keller, The Postpetrolistic Internationale, 2009, choir performance with stage. Photo: SKOR/ Paloma Polo. Courtesy of the artists. |
Museum Boijmans In 2009 several national and international artists undertook an artistic journey of discovery into the past, present and future of the Port of Rotterdam under the umbrella title of Portscapes, drawing inspiration from the port. Museum Boijmans Van Beuningen is showing ten art projects that resulted from it in a high-profile exhibition. The construction of the Second Maasvlakte, an enormous reclamation project creating 2,000 hectares of land in the North Sea, prompted the Port of Rotterdam Authority to embark on an ambitious art programme. A series of art projects was put together in association with the art and public space foundation SKOR (Stichting Kunst en Openbare Ruimte) and Latitudes, a team of curators from Barcelona. Results Containers New World
Fucking Good Art (Rob Hamelijnck and Nienke Terpsma), Portscapes_ON AIR, base camp on Maasvlakte. Courtesy of the artists. |
Jorge Satorre, The erratic. Measuring compensation, 2009, preparatory drawing. Courtesy of the artist. |
Paulien Oltheten, Great if two pairs of legs walk are synchronized for a moment, 2009, |
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Carsten Höller, Flicker Films (Werra Son), 2005, Three screen film installation, Duration: 14 mins., Courtesy Gagosian Gallery, London, from Carsten Höller, LOGIC, Gagosian Gallery, London, 1.9.-8.10.2005), Installation views, Guggenheim, New |
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Carsten Höller, Shawinigan Swinging Room, 2007, Polystrene panels, glue, metal wire, 1154 x 388 x 145 cm, Courtesy Esther Schipper, Berlin, Photo: © National Gallery of Canada, Terrence Brennan, from the exhibition One, Some, Many/Deux plus tout, 3 shows by Carsten Höller, National Gallery of Canada, Shawinigan Space, Shawinigan/Quebec (2.6.2007-30.9.2007). |
Carsten Höller, Shawinigan Swinging Room, 2007, Polystrene panels, glue, metal wire, 1154 x 388 x 145 cm, Courtesy Esther Schipper, Berlin, Photo: © National Gallery of Canada, Terrence Brennan, from the exhibition One, Some, Many/Deux plus tout, 3 shows by Carsten Höller, National Gallery of Canada, Shawinigan Space, Shawinigan/Quebec (2.6.2007-30.9.2007).
Carsten Holler, Gesangskanarienmobile (Singing Canaries Mobile), 2009, Powdercoated steel construction, wood, PVC, Installation: approx. 500 x 300 x 250 cm, 7 bird cages: 45 x 45 x 60 cm (L x W x H), Courtesy Esther Schipper, Berlin, Photo: © Carsten Eisfeld, Berlin, from Vogel Pilz Mathematik, Esther Schipper, Berlin, 01.05.-20.06.2009.
Carsten Höller, Swinging Curve, 2009, Styrofoam, wood, 1460 x 730 x 270 cm (L x B x H), Courtesy Gagosian Gallery, London, Photo: © Attilio Maranzano, from "Fare Mondi//Making Worlds", 53rd Biennale di Venezia, 07.06- 22.11.2009.
Carsten Höller, Drehendes Hotelzimmer (Revolving Hotel Room), 2008, chairs, table, bed, wardrobe, light bulbs, steel construction, 4 glass platforms, engine, approx. 600 x 600 cm, 180 cm (incl. furniture), Courtesy Gagosian Gallery, London, Photos: © Attilio Maranzano, Installation views Guggenheim, New York. |
Museum Boijmans Museum Boijmans Van Beuningen presenteert een tentoonstelling van beeldend kunstenaar Carsten Höller. In Divided Divided creëert Höller speciaal voor het museum een installatie van 1500m2, waarin hij diverse elementen uit zijn oeuvre verder onderzoekt en vorm geeft. Carsten Höller toont vier werken die speciaal op maat gemaakt zijn voor Museum Boijmans Van Beuningen. Hij presenteert een nieuwe serie samengestelde vliegenzwammen (Triple Giant Mushroom), videoprojecties van elkaar overlappende flikkerende beelden (Flicker Film), een mobile van vogelkooien (Singing Canaries Mobile) en een zwevende kamer (Double Swinging Room). Deze werken worden geplaatst op basis van een geometrische verdeling van de ruimte. De plattegrond van de installatie in Museum Boijmans Van Beuningen is gebaseerd op een eenvoudige wiskundige formule, waarnaar alle werken binnen de installatie zich voegen. De formule bestaat uit het continu halveren van de basisvorm, het vierkant. Carsten Höller heeft deze formule ook toegepast op alle elementen van de Singing Canaries Mobile en op de indeling van de Double Swinging Room. Ook de vliegenzwammen bevinden zich op kruispunten van dit geometrische grid. Carsten Höller onderzoekt de wisselwerking tussen de mens en zijn omgeving in zeer uiteenlopende experimenten. Zijn installatie in Museum Boijmans Van Beuningen legt de nadruk op onze visuele perceptie; ze tonen hoe deze functioneert en gemanipuleerd kan worden. In Double Swinging Room wordt de bezoeker bijvoorbeeld op het verkeerde been gezet door de hangende wanden van deze ruimte. In het werk Flicker Film wordt duidelijk hoe de hersenen geprojecteerde beelden aanvullen. Carsten Höller woont en werkt in Stockholm (Zweden). In 2002 was hij al te gast bij Museum Boijmans Van Beuningen met de installatie Light Corner waar de toeschouwer een ervaring van licht, kleur en warmte onderging. Recentelijk presenteerde hij The Double Club (Londen, 2008) in samenwerking met Fondazione Prada, waar een dialoog werd gecreëerd tussen de Congolese en Westerse hedendaagse cultuur. In Guggenheim Museum (New York, 2008) presenteerde hij Revolving Hotel Room, waar een volledige hotelkamer op vier draaiende plateaus werd geplaatst. Bezoekers konden een overnachting boeken en de museumcollectie op eigen houtje ontdekken. Uitgeverij Hatje Cantz (Berlijn) publiceert een uitgebreid overzicht van het werk van Carsten Höller in het voorjaar van 2010. De tentoonstelling Divided Divided in Museum Boijmans Van Beuningen zal deel uitmaken van dit overzicht. Deze publicatie zal verkrijgbaar zijn in de museumwinkel.
Carsten Höller, Scale model of Triple Giant Mushroom, 2009-2010
Carsten Höller, Gesangskanarienmobile (Singing Canaries Mobile), 2009, Powdercoated steel construction, wood, PVC, Installation: approx. 500 x 300 x 250 cm, 7 bird cages: 45 x 45 x 60 cm (L x W x H), Courtesy Esther Schipper, Berlin, Photo: © Carsten Eisfeld, Berlin, from Vogel Pilz Mathematik, Esther Schipper, Berlin, 01.05.-20.06.2009. |
Carsten Höller, Shawinigan Swinging Room, 2007, Polystrene panels, glue, metal wire, 1154 x 388 x 145 cm, Courtesy Esther Schipper, Berlin, Photo: © National Gallery of Canada, Terrence Brennan, from the exhibition One, Some, Many/Deux plus tout, 3 shows by Carsten Höller, National Gallery of Canada, Shawinigan |
Carsten Höller, Flicker Films (Werra Son), 2005, Three screen film installation, Duration: 14 mins., Courtesy Gagosian Gallery, London, from Carsten Höller, LOGIC, Gagosian Gallery, London, 1.9.-8.10.2005), Installation views, Guggenheim, New |
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