Annet Gelink Gallery Press 2013

Transcription

annet gelink gallery
Annet Gelink Gallery
Press 2013
Laurierstraat 187-189 I NL-1016 PL Amsterdam I tel +31 20,330,20,66 I fax +31,20330,20,65 I info@annetgelink.com
Press Release
29 November, 2013 – 18 January, 2014
David Maljkovic
Afterform
Annet Gelink Gallery proudly presents Afterform, the fourth solo exhibition of David
Maljkovic at the gallery. With Afterform Maljkovic explores new artistic practices. However,
the show does slot into his oeuvre’s overall questioning into the reality of art and the
examination of the legacy of modernism that can be seen in his past work.
Maljkovic’s work often delves into issues surrounding the reception of (modern) art and the
malleability of the experience of art, time and space. The artist presents viewers with works
that react to and create their own space, time and history, whilst also offering answers to
the uncertainty of an unknowable future. In so doing, he often plays on the possibilities
allowed by the media he uses, making works that counter a more intuitive use of the
materials.
On view in the main room is the sound and video installation Afterform (2013). Maljkovic
presents an animation on a large white stage-like pedestal. The work is inspired by a
cartoon published in a Croatian architectural magazine from the 1960s which satirizes
modern architecture and urban planning. The artist mixes himself into the critique, by
adding new elements to position himself in relation to the commentary and allowing the
spectator to make various interpretations.
Maljkovic continues this theme, with large collages that can be seen throughout the space.
These prints are made through the superposition of elements from previous works made
by the artist. In doing so, the collages emphasise Maljkovic’ practice through which he is
constantly looking into and re-evaluating the past. By cutting and arranging the elements,
new forms are created that bring forth a newly emergent situation. These layered
reproductions become the viewers’ gateway through which to enter Maljkovic’s dialogue
with the past.
On view in the Bakery is the work Undated (2013). This 16 mm film shows a pair of hands
creating a new work. For Undated Maljkovic filmed the 90-year old Croatian sculptor Ivan
Kozaric at work, sculpting an amorphous form. Maljkovic later extracted this form, digitally
manipulating it during post-production. This manipulation is heightened by the way the work
is installed: a microphone is placed over the film projector, causing its sound to be amplified
and distorted.
Afterform presents its visitors with a continuation of Maljkovic's exploration into the nature
and history of modern artistic practice, but also shows the artist moving beyond his
previous work, taking his quest to further heights.
David Maljkovic (1973, Rijeka, HR) studied at Academy of Fine Arts in Zagreb; David
Maljkovic participated in the artists' residency program of the Rijksakademie in
Amsterdam. He has had recent solo shows at GAMeC (Bergamo, IT), Baltic Art Centre for
Contemporary Art (Gateshead, UK), Van Abbemuseum (Eindhoven, NL), Wiener Secession
(Vienna, AU) and Sculpture Centre, (NY, US). Upcoming and current shows include
exhibitions at CAC-Contemporary Art Center (Vilnius, LT), Nasjonalmuseet (Oslo, NO),
Kunstmuseum (St. Gallen, CH) and Palais de Tokyo, (Paris, Fr).
Laurierstraat 187-189 I NL-1016 PL Amsterdam I tel +31 20.330.20.66 I fax +3120.330.20.65 I info@annetgelink.com
Kijken
Listig theater
Aan sommige werken is niets te verklaren, zoals aan de sprookjesachtige film van David Maljkovic. Je kunt
alles gewoon zien door Rudi Fuchs. Aan sommige werken is niets te verklaren, zoals aan de sprookjesachtige
film van David Maljkovic. Je kunt alles gewoon zien. En je hoeft niets speciaal te weten. Gewoon, met
geduld kijken. Zoals altijd.
door Rudi Fuchs
Als kind maakten wij kijkdozen waar familieleden tegen een kleine vergoeding in mochten kijken. Het beste
om ervoor te gebruiken was een gewone schoenendoos. In het midden van de korte kant maakte je een rond
gaatje. Als je daar doorheen keek, en door wat gaatjes in de deksel viel wat licht, zag je een kleine lege
ruimte die er qua maat zo vertrouwd uitzag als een huiskamer. Die knusheid had zeker te maken met het
traditionele perspectief van binnenkamers waar wij door de eeuwen heen aan gewend geraakt waren: door de
zo brave kamers in de schilderijen van, bijvoorbeeld, Pieter de Hooch. Maar in de kijkdoos konden natuurlijk
ook andere taferelen worden geënsceneerd. Ik maakte graag het idyllisch rommelige erf van een Brabantse
boerderij.
De dieren en de andere requisieten tekende en kleurde ik bij voorkeur zelf: varkens, koeien, schapen, kippen,
eenden, ganzen, paarden. Verder een paar bomen en struiken, een waterput en de hooimijt en natuurlijk, als
coulissen in mijn ruimte, hoekstukken van de boerderij en een schuur. Bij het uitknippen moest je ervoor
zorgen dat er onderaan stripjes overbleven. Die moest je omvouwen zodat je de figuurtjes op de bodem van
de doos kon plakken als je bezig was met de mise-en-scène van het geheel. Vooral het plaatsen van de bomen
(om de ruimte suggestiever te maken) was gevoelig werk. Tussen de dieren op het erf liet ik ook een boer
optreden. In de deksel plakte ik over een smalle gleuf een strook cellofaan van een snoepverpakking. Geel of
roze was het beste – die zorgden voor mooi zacht licht.
Wij waren dus bezig om situaties in het echt na te maken. Dat was gewoon. In de kijkdoos verzonnen
we ook verhalen. Ik was acht of negen. Van abstracte kunst had ik, eind jaren veertig, geen benul. Mijn
voorstellingsvermogen was dus beperkt, al had ik toen niet dat gevoel. Ik kon alles fantaseren wat bij me
opkwam.
De film begint met het beeld van een parmantige, stationair stappende ober, koddig als een stripfiguur
Maar in het kader van het thema ‘waarheid en leugen’ wil ik het hebben over een recent werk van David
Maljkovic uit Zagreb dat over hetzelfde gaat. We zullen dan zien waar we terechtkomen. Het is een film van
een goede vijf minuten (onophoudelijk herhaald) die op een simpel uitvouwbaar scherm geprojecteerd wordt
dat opgesteld staat in de verre hoek van een laag, rechthoekig, wit podium. De film zelf is een manipulatie
van een komische Kroatische tekenfilm, begrijp ik, uit de jaren zestig. In hoofdzaak zien we twee mannen
tegenover elkaar aan een vierkante tafel. Daarop staat ook een schaakklok waarvan bij gelegenheid een
wijzer beweegt. Maar in plaats van met een schaakbord met stukken is de strak getekende tafel gevuld met
rechthoekige blokken (staand en liggend) die zo ordelijk zijn gerangschikt als de experimentele volumes in
een maquette van een nieuwbouwproject. De twee mannen, ernstig als schakers, beschouwen de stelling. Na
enige tijd beginnen ze te trillen en te beven (alsof ze in de war zijn) totdat het hele beeld in horizontale vagen
wordt weggewist. Op een ander moment zijn de vagen verticaal of verwarder, maar ze vegen het beeld uit.
De film begint echter met het beeld van een parmantige, stationair stappende ober, koddig als een stripfiguur,
die op een blad een slank geometrisch bouwsel aandraagt. Het gestap van de ober gebeurt op een platte doos
die in proportie lijkt op het echte podium waarop het scherm staat. Die rechthoekige plak komt trouwens
regelmatig terug, als in een muziekstuk een vast accoord. Als dan het beeld van de twee schakers met hun
maquette weer eens is weggeveegd, komt de ober andere vormen aandragen: geometrische vormen en
constructies die uit ander werk van David Maljkovic afkomstig zijn. Tegen het eind duikt een tekening op
van een slangenbezweerder met zijn fluit. Groter en kleiner zweeft die door het beeld en toetert – zodat een
klein vormpje in de maquette ineens zo groot wordt als een toren. Vervolgens wordt die toren de sokkel van
een ouderwetse filmprojector (in silhouet). Ten slotte zien we die platte rechthoekige vorm, die al eerder
voorkwam, boven in beeld en gedragen door een kamerpalm die doorbuigt zoals Atlas die de wereldbol
draagt. Ook de plant is een motief uit eerder werk.
Aan dit sprookjesachtige werk is niets te verklaren. Je kunt alles gewoon zien. Je hoeft ook niets speciaal
te weten. Met geduld kijken. In de ruimte van een film, en met gebruikmaking van de abstracte vormen en
figuurtjes die nu volstrekt normaal zijn voor een veertigjarige, maakt Maljkovic ook een soort kijkdoos. Uit
de jaren zestig herinner ik me discussies over zoiets als Het Probleem van Abstracte Kunst maar nooit hoorde
je over het probleem van figuratieve kunst. Die was normaal. Maar juist daar lag de beperking, en vaak het
manco aan fantasie. In dit compacte, vrolijke en listige theater worden die problemen effectief opgeruimd.
PS Afterform is nog tot 18 januari te zien bij Galerie Annet Gelink in Amsterdam, annetgelink.com
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k u n n e n w e l s u b s id ie a a n v r a g e n b ij h e t
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F r i e z e L o n d o n 1 7 t / m 2 0 o k t , R e g e n t ’s
P a r k , L o n d e n . Z ie f r ie z e lo n d o n .c o m
Press Release
7 September - 5 October 2013
Roger Hiorns
Annet Gelink Gallery proudly presents Roger Hiorns’ second solo exhibition at the gallery.
Over the years, Hiorns has developed a singular body of work, introducing new materials
and surprising forms. He prefers to work with materials that ‘have their own autonomy and
their own aesthetic’, materials such as brain matter, fire, foam and liquid copper sulphate.
Exemplary in this respect is his work Seizure (2008) - the London council flat that Hiorns
encrusted in blue crystals. With this work, the outcome was uncertain, depending on the
dynamics of the chemistry: the material’s inner working. This concept of a thing making
itself, an object that self-produces rather than being produced by the agency of the artist, is
a central theme throughout the artist’s work.
The works in the current show share this autonomous character, this idea of selfproduction, while also having their own specific aesthetic. The so-called ‘foam pieces’, which
are either suspended from the ceiling or presented on wooden stools, seem to create
foam endlessly and from nothing. The ceramic and steel pots, vases and vessels contain a
detergent and are fed air from small compressors. Over the course of time, soapy
substances move steadily upwards, before collapsing, forming saggy columns on the floor.
Akin to Seizure, the sculptures suggest an independence from their surroundings - both
from the gallery space as from its visitors. The foam pieces appear to us as if they exist
separate from our world, in another place and time. The works offer no composition, nor
dialogue, they offer only themselves. As Tom Morton writes: Foaming efficiently, it is a
perfect model of functionless functionality, an object concerned only with perpetuating its
own meaningless, mutable forms. With each day, the foam pieces reinvent themselves,
presenting infinite shapes in the course of the exhibition.
Roger Hiorns (b. 1975, Birmingham) studied at Goldsmiths College in London. Since then
he has had solo exhibitions at the Aspen Art Museum in Colorado, The Art Institute of
Chicago, the Tate Britain, the Camden Arts Centre in London and the UCLA Hammer
Museum in Los Angeles. In 2009 he was nominated for the Turner Prize with his
installation ‘Seizure’, commissioned by Artangel. Recently, Hiorns had a large solo show in
the Netherlands at the Hallen, in Haarlem. He participated in several group exhibitions
amongst others at the Birmingham Museum and Art Gallery, Nottingham Contemporary
and the Walker Art Center in Minneapolis.
Venice Biennial Roger Hiorns and Erik van Lieshout participate in this year’s Venice
Arsenale show The Encyclopedic Palace, curated by Massimiliano Gioni. At the same time,
Meiro Koizumi’s work is on view in Unattained Landscapes at the Japan Foundation, while
Wilfredo Prieto participates in the biennial’s collateral event Emergency Pavilion: Rebuilding
Utopia at the Teatro Fondamenta Nuove.
Amsterdam Drawing From 19-22 September we will be participating with the second
edition of Amsterdam Drawing at the NDSM Wharf, a fair that focuses exclusively on
works on paper. We will be showing work by Meiro Koizumi, Erik van Lieshout, Raymond
Pettibon, Jim Shaw and Dick Verdult. For more information please visit the website:
http://amsterdamdrawing.com/#home
On view Barbara Visser participates in the group show Artificial Amsterdam at De Appel,
on view until 13/10. Visser also participates - together with Erik van Lieshout - in the
groupshow (T)HERE at the Bonnefanten Hedge House Foundation, on view until 27/10.
Roger Hiorns takes part in the groupshow Dread - Fear in the age of technological
acceleration at De Hallen, on view until 24/11. Meiro Koizumi takes part in the exhibit
NOW JAPAN at KADE, on view until 02/02/14.
06/07/2013 – 17/08/2013
If you will it, it is not a dream
Annet Gelink Gallery proudly presents a summer show with works by Yael Bartana,
Alicia Framis, Ryan Gander, Meiro Koizumi, Erik van Lieshout, David Maljkovic,
Wilfredo Prieto and Glenn Sorensen. The exhibition If you will it, it is not a dream after the neon by Yael Bartana - celebrates the power of the human mind; our
idealism, our ability to dream, to imagine and to envision different realities.
The works on view, whether it’s political utopias (Bartana’s ‘Jewish Renaissance
Movement in Poland’), fictional faraway fields (Framis’ Departures) or more
abstract works like Gander’s Remorse in Black and Black, make you think about
coincidences, untold stories and parallel realities – they trigger the imagination.
On entering the gallery space, the viewer encounters Glenn Sorensen’s Songbird.
Songbird conceals more than it shows, despite the minute attention to detail. The
painting breathes an atmosphere of tranquillity, which prevents the viewer from
reaching unambiguous conclusions. In his drawings Wilfredo Prieto explores
different aspects of his creative process, ranging from his student years to his
most recent exhibition. When addressing Prieto’s work, Gerardo Mosquera
phrased the following equation: 'sharp idea + simple artefact = maximum meaning'.
This pointedly defines the works on view. The selection of drawings includes
preparatory sketches for projects and exhibitions, and drawings of works.
On the back wall, Erik van Lieshout’s large scale Mother + Sister shows elements of
his mother’s life as a social worker in Africa, where she rubs and massages the
hands and feet of African women. The drawing, executed in bold black lines, shows
scenes that are also a part of Van Lieshout’s film Ego, which is currently on view at
the Venice Biennale. In Ego the artist portrays his family, who are all social workers.
The film centres on the question why people do something for each other, delving
into the idealism that is at play.
In her Shrines triptych, Yael Bartana addresses the sprits of pioneers Sigmund
Freud and Theodor Herzl, who in different approaches sought to bring redemption
to the individual and to the collective. She has declared them the spiritual gods of
the Jewish Renaissance Movement in Poland (JRMiP), which she initiated in 2007.
Interestingly, the founder of modern psychoanalysis and the visionary of a state for
Jews lived just a couple of houses away from each other on Berggasse in Vienna,
yet their paths never crossed.
Alicia Framis’ Departures work recalls the scene of a departure hall. Instead of the
usual flights, you can board a plane to Airhaven; Metropolis, Cloud City or ShangriLa. Framis’ work refers to a diverse range of both utopian as dystopian
destinations, which she collected from novels, comic books, films and the history of
architecture. Presenting a plethora of parallel realities, Departures lets us ponder
the present we find ourselves in.
The group show continues in the bakery, which has been turned into a black box
where people can watch Meiro Koizumi’s Double Projection (2013). Koizumi’s work
deals with the power and complexity of the human being. We see the protagonist,
an old Japanese man, struggling to face his own past, which is enveloped by guilt.
There is a tension at work between the man’s recollections of his own traumatic
past, and the manner in which he is being scripted by Koizumi to talk about this.
This tension creates an intriguing border between fact and fiction.
In a show where black and white prevails, colour is everywhere.
DICK VERDULT
INTERNET AND ELVIS WILL NEVER DIE
25.05 – 30.06.2013
Annet Gelink Gallery proudly presents Internet and Elvis
will never die, her first solo exhibition by Dick Verdult. In a
world eager for answers, Verdult’s work easily
intimidates. But exactly by cherishing the question,
Verdult’s work opens up a different way of thinking,
encompassing a reality where the truth constantly turns.
Due to his father’s work for a multinational, Verdult
travelled the world. Before his 20 birthday Verdult had
already moved 20 times over, living in countries as
divergent as Guatemala, Argentina, South Africa and
France. This global, fragmentary lifestyle determines and
is part of his rhizomatic practice as an artist. As an
anthropologist of his own culture Verdult carefully
selects elements from different cultures, displaying them
in unusual and surprising juxtapositions. One could say
that his work is not so much made up from objects, but
from relations created between different people and
materials. Interaction becomes form.
th
In Verdult’s universe one does not travel from A to B,
everything happens all the time and simultaneously. With
the current exhibition Internet and Elvis will never die the
white cube space is transformed into an environment of
light, movement and sound – bringing together different
works, furniture, lamps, a fridge and multiple projection
devices. Verdult calls the exhibition his third aviary (the
first and second being In the name of Antwan (Van
Abbemuseum, 2011) and Was Li Arbey Oswal
Dick Verdult, Dalias, 1993. Photo by Peter Cox
pregnant? (Arti & Amicitae, 2013)). In Verdult’s
perception an aviary is “an artificial volume that suggests peace, logic and hierarchy to the one looking in
from outside”. Stepping inside the aviary “the perspective flips immediately and pleasantly”. The aviary thus
creates a situation whereby each viewer can take a different selection out of the existing elements to
create his own poetic composition.
Verdult has produced many independent films, worked as a filmmaker and editor for VPRO television, in
addition to founding several art groups, including the IBW (Instituut voor Betaalbare Waanzin (Institute for
Affordable Lunacy)) and Festicumex, a festival for a non-existent music genre. With ease, Verdult flits from
large scale collaborations to working as an independent artist. Next to this, Dick Verdult is also a
musician. Under the name Dick El Demasiado he released his first CD in 2002 and he has since become,
through his performances, albums and concerts, a cult figure in Latin American music, well known in
lands as far afield as Russia and Japan for his Cumbias Lunaticas and Experimentales.
In Internet and Elvis will never die Verdult offers us a means to weave sense with poetry and Internet with
Elvis.
Dick Verdult (Eindhoven, 1954) studied from 1973-77 at Université Paris VIII Vincennes, departments
Film and, Plastic Arts in Paris. Recently, he had an extensive solo-exhibition at the Van Abbemuseum
(2011-2012). He represented the Netherlands in Gwangju Biennale 2012, and he is preparing for an
exhibition at the end of this year at Museo El Chopo in Mexico.
Metropolis M » Reviews » The Internet and Elvis will never die
05-09-13 11:11
Dick Verdult’s first solo exhibition at Annet Gelink combines video, audio and poveraesque assemblage sculpture. All works have a sense of being partially gleaned and
partially customised by the artist’s hand. Purposefully executed with unskilled,
autodidactic, labour; the kind of labour found equally in a Favela as in Contemporary
art.
Linked together by a timed lighting rig, the fragmented material on display is connected into one
digressive but total whole. Where one work ends and another begins isn’t clear; which is appropriate to
an exhibition that is literally wired together as a low-fi mechanical ecology. The works are both
metaphorically and, occasionally, literally in communicating with one another.
The artist proposes the work as an aviary, an analogue to the sealed, interconnected and artificial
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environment the work references in its title, the Internet. The title makes reference to Elvis, who
according to a widely disseminated and much parodied conspiracy theory, may not have died as
reported on the 16th of August 1977. The immortal and mythical version of Elvis, like the works in the
show, defies finitude.
The exhibition functions as an a-temporal bubble, the nodal entries of video and audio pieces along
side the sculptures express the paradigm of recycling, remixing and repurposing of junk. To think of
the junk object in this context is to consider the inbuilt capacity for repurposing of all objects. This
consideration brings about two implications for the object. Firstly, objects loose their status as waste
and are imbued with a new agency of potential. And secondly, that this that the definition of junk or
not-junk looses it’s meaningful application; as all object have an inherent junk-ness from their very
inception in he world.
There is an overall apocalyptic, or post apocalyptic feel to Dick Verdult’s exhibition. Not an apocalypse
of warring destruction but the apocalyptic collapse of time and space brought about by the potent
determinism of the Internet. We should not forget that the precursor of the Internet, ARPANET, was
designed by the US military to survive a nuclear war. It was intended as a communication network that
would outlast the material effects of Armageddon. In this sense the Internet is inherently and implicitly
a post-apocalyptic and immortal medium; one that is expressly designed to exist outside the entropic
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processes of time. Like the mythical Elvis of urban folklore, it will never get old.
By using materials not associated with digital environments Dick Verdult’s exhibition reveals that the
changes determined by the dominant medium of our age affects more than what take place within the
medium itself.
Dick Verdult
The Internet and Elvis will never die
Annet Gelink Gallery
25 May - 30 June 2013
All images courtesy Annet Gelink Gallery Amsterdam
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Absurde totaalinstallatie
Dick Verdult: Internet and Elvis will never
die. T/m 30 juni. Annet Gelink Gallery, Laurierstraat 187-189, Amsterdam. Di t/m vr 1018u, za 13-18u. Inl: annetgelink.nl
Zijn wieg stond in Eindhoven, maar kunstenaar/filmmaker en musicus Dick Verdult (1954) is net zo Brabants als een amazonepapegaai. Met een vader die werkte bij
een groot internationaal bedrijf, verhuisde
Verdult van het ene naar het andere continent. Het nomadische bestaan in Afrika,
Zuid-Amerika en Europa leidde ertoe dat
hij een prettig anarchistisch oog ontwikkelde voor alles wat bizar en bijzonder is.
Als relatieve buitenstaander leerde hij observeren én absorberen. Kleuren, klanken,
geuren en beelden vormden één borrelende bron van inspiratie.
De sporen van dat fladderende bestaan
zijn terug te vinden in Verdults multimediale installaties die de laatste twee jaar in
het Van Abbemuseum in Eindhoven en Arti in Amsterdam te zien zijn geweest. Voor
het eerst heeft nu ook een professionele galerie zich over de wat laatbloeiende kunstenaar ontfermd: die van Annet Gelink.
Verdult mocht de ruimte geheel naar zijn
hand zetten. Opnieuw heeft hij een donkere, droomachtige totaalinstallatie gebouwd, die bestaat uit schilderijen, video’s, een enkel beeld, geluidswerken en
uit trechters en tandwielen bij elkaar gebricoleerde knipperlampen.
Bij binnenkomst wacht je een schok.
Lichten springen aan en uit. Beelden bewegen in alle mogelijke hoeken en gaten. Er
klinken stemmen, muziek schalt. Kijk je
naar een documentaire, een verzameling
aan elkaar gemonteerde internetfragmenten of found footage? Waar moet je überhaupt het eerst naar kijken? Naar de pop
art-achtige ode aan de Eindeloze Zuil van
Brancusi? Of toch liever de uithangborden,
waarop zinnen staan die recht uit het
Dick Verdult: ‘Je eigen slager’ Foto Michel Claus
handboek van dooddoeners lijken te komen als ‘Toeval maakt een hoop goed’ of
‘In Nederland heeft iedereen last van last’.
Hoe uit dit pandemonium een rode
draad los te peuteren?
Niet dus. Sta stil en kijk. Laat je verleiden door het licht: volg dat licht. Je ziet
Mexicaanse mannen dansen in een park pas later besef je dat het alleen mannen
zijn die dansen. Je ziet een dodelijk eenzame danskoningin op een praalwagen in
Argentinië. Flarden van een razend slecht
gespeelde Nigeriaanse soap dienen zich
aan, kinderen dansen op straat en plotseling verkeer je in de ‘Nuit et Brouillard’
van naoorlogs Oost-Europa.
Zo glijd je verder. Je tast, maar raakt nét
niet aan. Je volgt de choreografie die Verdult heeft uitgestippeld. Absurdistisch is
die choreografie, vol toevallige schoonheid
en mededogen. Als alles is gezien, maar
niet alles per se begrepen, dan vertrek je, in
de wetenschap iets speciaals te hebben
meegemaakt.
Lucette ter Borg
Press Release
13.04.13 – 18.05.13
RYAN GANDER
Once upon a Bicycle, not so long ago
Annet Gelink Gallery proudly presents the fifth solo exhibition by Ryan Gander (Chester, 1976): Once upon a
Bicycle, not so long ago, showing an entirely new body of work. Gander’s practice is as deeply conceptual as it is
playful, recalling fictional stories and events, personal memories and art history - in particular the history of
Modernism. In his current show at Annet Gelink Gallery, Gander reminisces, exhibiting his great skill as a visual
storyteller.
On entering the gallery, the first work one encounters is “My head on your Belly” (2013); a marble sculpture of the
items of luggage Gander always travels with. Together with the title, the work seems to constitute a longing for
home. A little further in the exhibition, one finds “Investigation # 99 – the halo effect” (2013), consisting of two
sculptures which Gander has made from a description of an unfinished project by his father. Central in the
exhibition space “I is … (iii)” (2013) is shown, a marble sculpture representing a den, which consists of a simple
shelter made by the artist’s three years old daughter using a sheet and a full-size Rietveld Crate chair and smaller
Rietveld Crate chair, designed for children. Although this work directly recalls Gander’s family life, it also hints to
art history (De Stijl) by the use of the Rietveld Chairs and by the technique of ‘draping’. By rendering drapery in
marble, Gander alludes to classical sculpture - creating a playful tension between tradition and modernity.
Gander’s works are often extremely layered, threading together fact and fiction, the personal and the historical.
By contrast to the traditional medium of marble, in “Investigation # 92 - With heart dotted 'i's” (2013) the artist
employes striped toothpaste as his material, from which to fashion an alphabet. Likewise, the lamps he made for
his wife are constructed from unorthodox media. In Gander’s practice, everything can become a work of art; the
artist doesn’t limit himself in material nor in subject.
By mentioning his wife, three-year-old daughter or father in his work, Gander easily engages his audience. One
should keep in mind however, that his practice is as rigorous as it is poetic.
Recent projects include Esperluette, Palais de Tokyo, Paris, FR; dOCUMENTA (13), Kassel, DE; Boing, Boing,
Squirt, Museo Tamayo, Mexico City, MX; Locked Room Scenario, commissioned by Artangel, London, UK; and
ILLUMInations at the 54 International Art Exhibition of the Venice Biennale.
th
The Bakery:
JACQUELINE BEBB
She Showed a bit of Skirt, but Settled for a Kit-Kat
In the Bakery, Annet Gelink Gallery proudly presents the first show by Jacqueline Bebb (Chester, 1977): She
Showed a bit of Skirt, but Settled for a Kit-Kat. At Annet Gelink Gallery, Bebb shows three works, each
representing specific moments in time and describes them as ‘semi-autobiographical and intentionally awkward’.
They consider both fondness and regret and come from an ongoing series of work exploring the theme of
dissonance.
In both “Almost, Sweet Talk, Caffeine (My Dissonance)” and “Skulk”, Bebb reflects on her youth and considers her
occasional less than perfect behaviour. In “How Much I Fancied Her 1995 – 2001”, she looks back at an ongoing
quarrel she had with her best mate, simply referred to as BM. The argument concerned the level of affection one
of them thought the other showed towards a girl. At the time, a pie chart was drawn to illustrate the argument,
but on reflection neither could remember the specifics of it, only their shared endeavour. The work is comprised
of a wooden pie chart made to the specifications of the original drawing. Each segment of the pie represents a
year between 1995-2001, with the varying angles denoting the level of affection held for the girl. One pie chart
has been gifted to various pubs that the artist and BM used to drink in together in Chester. A second pie chart is
exhibited as a sculpture in the current exhibition and the third was gifted to BM as a testimony to their friendship.
It was given with the dedication: BM, I did wrong you once and I am sorry.
Bebb participated in the group show Chester at CO2 in Rome (2012) and she has had a solo show Carrying Off in
Aldeburgh (2013).
Press Release
19.01.13 – 23.02.13
CHASING RAINBOWS: A GROUP EXHIBITION WITH WORKS BY ANYA GALLACCIO, ANTONIS PITTAS AND
SARAH VAN SONSBEECK
Annet Gelink Gallery proudly presents the group exhibition Chasing Rainbows. The poetic title is
derived from a work of the same name by Anya Gallaccio. ‘Chasing Rainbows’ is a saying, used to
describe when one tries in vain to realise something impossible. In 1998 Gallaccio turned this
expression into reality. With light and fine glass elements, she created a rainbow that was
continuously shifting and disappearing from the spectator’s field of vision, each time at the moment
they wanted to come closer. This elusive quality sets the tone for Chasing Rainbows, the exhibition.
The work of Anya Gallaccio, Antonis Pittas and Sarah van Sonsbeeck is just as elusive as Gallaccio’s
shifting rainbow. In Chasing Rainbows their work meets for the first time and it is striking how much
time, transformation and space play a role in all of their practices. The site-specific installations in
Chasing Rainbows not only change meaning during their exhibition but sometimes even change their
forms.
Anya Gallaccio’s work is of an elusive nature and consists mainly of organic materials which are
transformed during their exhibition. For Chasing Rainbows Anya Gallaccio will install the work Head
over heals (Barcelona) from 1995, consisting of 365 orange Gerberas strung together in the form of a
daisy chain. Sarah van Sonsbeeck presents Moment of Bliss (2011), a light installation made for the
Funeral Museum (Uitvaartmuseum) in Amsterdam. With this work Van Sonsbeeck imitates the colours
of a sunset, simply because they make you happy. The installation conforms effortlessly to the
gallery’s space and illuminates the visitors both literally and metaphorically. Antonis Pittas
contributes his marble sculpture Landart (2012) - a replica of a step of the Syndagma Square in
Athens – on which a sample from a newspaper headline is hand drawn in graphite. The text confers the
harsh words of Christine Lagarde, director of the International Monetary Fund (IMF), in which Lagarde
reminds Greece of the fact that they are struggling with economic problems, and of their obligation
towards the international community by repeating time and again the word ‘implementation’. Pittas
takes the words out of their original context and investigates how they can have a new meaning
within the gallery’s space. Just like Gallaccio’s work, Landart has an evolving nature: Pittas has
vowed to return to the work midway through the exhibitions run and erase the sentence, replacing it
with a new sentiment. At the end of the exhibition the new sentence is removed and only the memory
will remain.
Chasing Rainbows also marks the moment at which the large monographic publication Anya Gallaccio,
will be launched. This book, with essays by Norman Bryson, Briony Fer, Lucia Sanromán and Jan van
Adrichem, is available in the gallery. In addition, the publication Sessizlik Belediyesi / Municipality
of Silence, Sarah van Sonsbeeck’s latest book, will be celebrated. In this book, in her continuous
search for silence, Van Sonsbeeck has invited her friends and colleagues to define what silence means
to them.
Anya Gallaccio studied at Kingston Polytechnic and Goldsmiths College (London). Early in her career
she received international recognition through her participation in Damien Hirst’s ‘Freeze’
exhibition. Gallaccio has exhibited at many national and international, solo and group exhibitions,
including Camden Arts Centre (London), Sculpture Center (New York), Barbican Gallery (London),
Palazzo delle Papesse (Italy), Annet Gelink Gallery (Amsterdam), Kunstmuseum Bonn, Germany. In
2003 she was nominated for the Turner Prize and presented her work at Tate Britain, London. She is a
professor of the Visual Art department of the University of California, San Diego.
Antonis Pittas (1973) studied Fine Art at Piet Zwart Institute (Rotterdam) and at Sandberg Institute
(Amsterdam). In 2010 Pittas held a residency at the Van Abbemuseum, where he realised a project in
the Eye (Oog). Recent exhibitions include the Benaki Museum (Athens), the Bakery (Annet Gelink
Gallery, Amsterdam) and CCS Bard Galleries (Hessel Museum), NY.
Sarah van Sonsbeeck (1976) studied Architecture at TUDelft (MA) and Expressive Arts at Gerrit
Rietveld Academie (BA). During 2008 and 2009 she held a residency at Rijksacademie van Beeldende
Kunsten (Amsterdam). Recent exhibitions of her work have taken place at Museum De Paviljoens
(Almere), The Bakery (Annet Gelink Gallery, Amsterdam), Stedelijk Museum (Amsterdam) and Museum
Abteiberg (Mönchengladbach), Van Abbemuseum (Eindhoven).
De Witte Raaf
Chasing Rainbows bij
Annet Gelink Gallery.
Marian Cousijn
DE WITTE RAAF
Editie 162 maart-april 2013
Hou deze tekst mee gratis beschikbaar.
Stort uw bijdrage.
€5
Recent vond bij Annet Gelink Chasing
Rainbowsplaats: een indrukwekkende
Of neem een (steun)abonnement.
groepstentoonstelling met werk van
Anya Gallaccio, Antonis Pittas en
Sarah van Sonsbeeck. Van Gallaccio,
de bekendste van het trio, verscheen gelijktijdig een omvangrijke monografie. De galerie combineert
vaker een gevestigde naam met kunstenaars van een jongere generatie. In dit geval pakte dat erg
goed uit; het werk van de twee jongere kunstenaars deed absoluut niet onder voor dat van Gallaccio.
Bij binnenkomst viel direct Pittas’ imposante Landart op: een marmeren balk waarop met potlood
het woord ‘implementation’ is aangebracht. Op de grond lagen hoopjes grafietpoeder, ontstaan
tijdens het aanbrengen van de letters. De tegenstelling tussen het zware, ongenaakbare marmer en
het fragiele, losse poeder is groot. Niet alleen in de vorm van het werk schuilt een interessante
tegenstelling. De lange marmeren balk is een replica van een traptrede van het Syntagmaplein in
Athene, dat regelmatig het decor voor demonstraties vormt. Het materiaal doet denken aan de
archeologische restanten van de machtige klassieke Griekse beschaving, bakermat van de
democratie. Het staat in schril contrast met het woord ‘implementation’, dat Pittas aantrof in een
uitspraak van de directeur van het Internationaal Monetair Fonds over de kritieke huidige politieke
en economische situatie van Griekenland. Pittas eigent zich woorden of zinnen uit de actualiteit toe;
voor Landart decontextualiseert hij telkens een nieuwe tekst. Tijdens de duur van de tentoonstelling
kwam hij meerdere malen langs om op performatieve wijze woorden uit te wissen en aan te brengen.
Soms worden gewiste teksten later opnieuw aangebracht. Zo vormt het werk een archeologie van de
recente geschiedenis. Het marmer mag er dan ongenaakbaar uitzien, het werk is vluchtiger dan het
lijkt.
Vluchtigheid vormde een rode draad door de tentoonstelling. Head over Heels (Barcelona)van
Gallaccio bestaat uit 365 oranje gerbera’s die aan elkaar geregen als een madeliefjesketting in de
ruimte hangen. Met het verstrijken van de tijd verwelken de bloemen, waardoor het werk
onherroepelijk verandert en uiteindelijk uit elkaar valt.
Van Sonsbeeck probeert met de installatie Moment of Bliss het vluchtige juist te vangen: het
zeldzame, magische moment waarop een zonsopgang een kamer één minuut lang in een feloranje
gloed zet. Door middel van een theaterlamp wordt het ongrijpbare fenomeen nagebootst. Door de
herhaling mist het de magie van een echte zonsopgang; toch is het een ontroerend werk. Het is
gemaakt voor het Uitvaartmuseum, maar is zo lichtvoetig dat het, zelfs in combinatie met verwelkte
bloemen en een blok marmer op de vloer, geen associaties met een begrafenis oproept.
De tentoonstelling liep door in The Bakery, de benedenruimte van de galerie met een meer intiem
1 of 2
15-04-13 12:49
De Witte Raaf
karakter. Hier waren als in een soort schatkelder drie glanzende werken van de kunstenaars te zien.
Gallaccio’s prachtige bronzen afgietsel van een zwerfkei, een driehoek die perfect glimmend door
Pittas op de muur was aangebracht, en een gouden werk waarin Van Sonsbeeck haar onderzoek naar
stilte voorzet. ‘Silence is golden’, zo luidt het gezegde, maar geldt het omgekeerde ook?
Behalve de metaalachtige glans van het oppervlak hebben de drie werken gemeen dat ze door hun
esthetische vorm bedrieglijk eenvoudig lijken. Achter het schijnbaar simpele gebaar van Pittas gaat
een diepgaand onderzoek naar het Russisch suprematisme schuil; de bronzen sculptuur van
Gallaccio is slechts één onderdeel van een artistiek proces waarbij een zwerfkei na een lange reis tot
een hoopje stof getransformeerd wordt. Voor het werk van Van Sonsbeeck blijkt niet alleen het
spreekwoord, maar ook het gewicht van een muntstuk van 2 eurocent een uitgangspunt te zijn. Dit
gegeven doet onwillekeurig denken aan zwijggeld: uiteindelijk kan een grote hoeveelheid goud in
sommige gevallen wel degelijk stilte opleveren, hoewel de titel van het werk Silence is golden, but
this is no silence luidt.
De combinatie van de werken in The Bakery vormde een zeer harmonieus geheel, en eigenlijk kon
dat van de hele tentoonstelling gezegd worden. Tijdens de opening klopte het bijna té goed: nergens
wrong het. Enkele weken later was de bloemenketting aan het ontbinden, vertoonde het marmer
groezelige sporen van uitgewiste woorden en hadden onvoorzichtige bezoekers voetstappen in het
grafietpoeder achtergelaten. De tijd had zijn werk gedaan;Chasing Rainbows was er nog beter van
geworden.
• Chasing Rainbows, met werk van Anya Gallaccio, Antonis Pittas en Sarah van Sonsbeeck, 19
januari – 2 maart, Annet Gelink Gallery, Laurierstraat 187-189, 1016 PL Amsterdam
(020/330.20.66; www.annetgelink.com).
De Witte Raaf
Postbus 1428, B-1000 Brussel
Tel +32 2/223.14.50
Fax +32 2/223.23.18
info@dewitteraaf.be
Press Release
01.12.2012 - 12.01.2013
ERIK VAN LIESHOUT
Annet Gelink Gallery proudly presents its first solo exhibition of Erik van Lieshout (1968, Deurne). In his multimedia
installations Van Lieshout raises contemporary social-political themes such as the multicultural society, the position of
minorities and the consumer society. He approaches these issues from a personal view by making himself the subject.
Because of this approach Van Lieshout’s installations are both a personal document and a critical rendering of the
developments in current society.
On arrival the visitor enters the magical, noisy world of Erik van Lieshout. The gallery is occupied by an architecture
characteristic for Van Lieshout, dominated by wood, lace curtains and a video projection. Red, yellow, blue, black and
white refer to the modernistic ideals of De Stijl and Mondrian.
The film in the installation, JANUS (2012, 51 minutes), is about a man from the working-class neighbourhood RotterdamZuid named Janus; the contents of his house were bought by Van Lieshout after his death. Van Lieshout plunges into Janus’s
life by filming his family, neighbours and fellow-townsmen. By means of interviews he makes a connection with artpolitical subjects such as the role of the artist and the reduction on art grants. ‘Does it bother you as well that the art
grants are stopping?’, Van Lieshout asks Janus’s neighbour residents in Rotterdam-Zuid. The pictures of Janus’s
environment are interlaced with fragments of Van Lieshout’s studio, where a personal interview with actor Marien
Jongewaard takes place. Questions such as ‘What is my role as an artist?’ and ‘What do I need?’ return in existential
monologues of Van Lieshout, interpreted by Jongewaard. Against the backdrop of the economic crisis Van Lieshout focuses
himself at his own self-image as an artist and at what is expected of an artist.
In the back of the room hangs a 5 meters wide charcoal drawing in which Van Lieshout has depicted himself in situations in
Rotterdam-Zuid, on the street and in Janus’s house. In big letters the word CONTACT is written. The Bakery features the
installation Ministry of Subculture (2012) – a group of works on paper with the subject ‘elite/non-elite’, an associative
series of absurdities in which the Royal family, Marlene Dumas and Pim Fortuyn are effortlessly interchanged with pin-up
girls and modernistic architecture. Just like Mondrian, Van Lieshout analyses ordinary reality by constructing, breaking up
and reconstructing images. Looking for new forms to express ‘that which you… feel’.
Erik van Lieshout lives and works in Rotterdam. His work has been exhibited worldwide, e.g. big solo exhibitions at the
MMK – Museum für Moderne Kunst in Frankfurt (on view until 13 January 2013), the Hayward Gallery in London (2011) and
Museum Boijmans Van Beuningen in Rotterdam (2006). The first big presentation in a Dutch museum took place at Couplet 2
in the Stedelijk Museum Amsterdam in 1994. Van Lieshout participated in numerous international exhibitions, among
which at Manifesta 9, Genk; Walker Art Center, Minneapolis; Museion, Bolzano; Stedelijk Museum, Amsterdam; Museum
Ludwig, Cologne; S.M.A.K, Gent; Istanbul Museum of Modern Art; BAWAG Contemporary, Vienna; Witte de With Center for
Contemporary Art, Rotterdam; MuHKA, Antwerp; New Museum, New York; Kunsthaus Zurich; Hammer Museum, Los Angeles;
Wrong Gallery, Tate Modern, London; ICA London; ZKM, Karlsruhe; Gwangju Biennale; Centre Pompidou, Paris; Centre d’Art
Contemporain, Geneva; Museum of Modern Art, Tokyo; Groninger Museum, Groningen.
The video projection JANUS is made with the support of the Netherlands Film Fund.
Yael Bartana The opening of Yael Bartana’s solo exhibition at Secession in Vienna will take place on 6 December. The exhibition is on
view until 10 February. Eri k van Lies hout In the group exhibition The New Public at Museion in Bolzano are shown new drawings of Erik
van Lieshout until 13 January 2013. Meiro Koiz umi In connection with his nomination for the Future Generation Art Prize 2012, the work
of Meiro Koizumi will be shown during the exhibition of the 21 nominated artists. This exhibition is on view from 3 November until 6
January at the PinchukArtCentre in Kiev (UA). The winning artist will be announced on 7 December. R oger Hi or ns The solo exhibition of
Roger Hiorns will be on view until 24 February 2013 at the Hallen in Haarlem. Davi d Maljkovic At the Abbe museum in Eindhoven is on
view the solo exhibition Sources in the Air until 27 January. Afterwards the exhibition will travel to BALTIC Centre for Contemporary Art in
Gateshead (UK) and GAMeC - Galleria d'Arte Moderna e Contemporanea in Bergamo (Italy). Rya n Gander The solo exhibition Esperluette
Artists’ Library is open for visitors until 7 January 2013 in Palais de Tokyo (Paris). Wilfre do Priet o’s newest publication The Emperor’s
New Clothes is now available at the Annet Gelink Gallery and has been published in 75 editions through a collaboration between the Annet
Gelink Gallery and Nogueras Blanchard. Each example has been signed by the artist. E d van der Elske n The publication Look. Ed!, in
connection with the exhibition at the Annet Gelink Gallery with the identical title (from 8 September until 13 October 2012), is available at
the Annet Gelink Gallery and several bookshops.

Annet Gelink Gallery Press 2013

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