Your Guide to Amsterdam Art Weekend 2018 – 2018阿姆斯特丹艺术周末指南


Your Guide to Amsterdam Art Weekend 2018 - 2018阿姆斯特丹艺术周末指南

David Claerbout, the “confetti” piece, 2018, film still. Courtesy: the artist and Annet Gelink Gallery, Amsterdam

David Claerbout, ‘the “confetti” piece’
Annet Gelink Gallery
23 November 2018 – 5 January 2019

The room is filled with joy. Well-dressed couples embrace each other, clap their hands and look at the ceiling where shiny confetti rains slowly down. David Claerbout’s latest video the “confetti” piece (2018) captures a moment at an election night party in the United States. But what first appears joyous soon turns sinister – as in much of Claerbout’s work, the devil is in the detail: while all the other guests celebrate, a young boy silently screams trying to protect himself from the falling confetti as if in mortal danger. Suddenly the colourful particles lose their lightness and a gravitational force seems to pull the confetti to the ground. Using digital modification techniques, Claerbout’s videos reflect upon time and its manipulation. In this regard, the quotation marks in the title already hint to the artist’s interest in the margins between appearance and reality – the confetti pieces are actually computer generated. Before the artist produces his elaborate videos, he usually starts by plotting the story on paper, scene by scene. At Annet Gelink’s project space, The Bakery, one can follow how the artist turns analogue into digital by looking at the drawings. In addition, the Eye Filmmuseum have invited Claerbout to give a talk on ‘dark optics’, a phrase he coined to describe image-production as a process which increasingly takes place on computers rather than through the camera’s lens.

Your Guide to Amsterdam Art Weekend 2018 - 2018阿姆斯特丹艺术周末指南

Lily van der Stoker, I Am an Artwork, I Am Three Years Old, 2004, acrylic paint on wall and mixed media. Courtesy: the artist

Lily van der Stokker, ‘Friendly Good’
Metahaven, ‘Earth’
Stedelijk Museum
Until 24 February 2018

‘Friendly Good’, the title of Lily van der Stokker’s current exhibition at Stedelijk might be the first two words that spring to mind when looking at her works. Pink clouds, pale pastel flowers and phrases such as ‘I’m an art work and I’m 3 years old’ plaster the walls. But what first appears as a mural for a young girl’s bedroom, conceals sly roots in conceptual art history. Van der Stokker combines a visual language that is regarded to be typically feminine with phrases such as ‘Organized & Tidy’ to question the role of women, in the art world and at home.

Metahaven’s ‘Earth’ marks another first survey on view at Stedelijk. Four galleries of the museum are filled with the Dutch artist collective’s immersive video installations while another room focuses on their textile and print works from the past couple of years. Like many of their works, the centrepiece of the exhibition, Eurasia (Questions on Happiness) (2018), combines storytelling with digital superstructure and investigates the technological intersections between Asia and Europa.

On 25 November, two more shows open at the museum: Raquel van Haver presents a new series of monumental paintings of the industrial area of Bijlmeer in Amsterdam in her show ‘Spirits of the Soil’ and ‘Freedom of Movement’ unites artists working in the Netherlands within the field of time-based media featuring, among others, Kate Cooper, Yael Bartana and Rory Pilgrim.  


Your Guide to Amsterdam Art Weekend 2018 - 2018阿姆斯特丹艺术周末指南

Marliz Frencken, Gesluierde Vrouw Met Baby (Veiled Woman With Baby), 1991, oil on canvas. Courtesy: the artist and Althius Hofland Fine Arts, Amsterdam

‘Fabric Faces, Powder Phrases’
Althuis Hofland Fine Arts
22 November – 5 January 2018

‘We have not yet heard enough, if anything, about the female gaze. About the scorch of it.’ Althuis Hofland Fine Arts must agree with writer Maggie Nelson on that. For its upcoming exhibition, the gallery invited seven women artists to a group show that focuses on the construct and deconstruction of female identity. Drag and genderqueer icon Vaginal Davis presents a small series of make-up paintings for which she swapped brush and oil colours for mascara and hair conditioner. While using beauty products and elixirs strongly associated with femininity, Davis conquers two stereotypes at once, combining the image of a typically male painter with one of a clichéd woman. But a closer look at the works’ titles reveals that Davis’s make-up compositions are more than just abstract colourful combinations, they also pay tribute to women of colour the artist admired, for example, TV stars Louise Beavers and Judy Pace. Sophie Lee also dedicated her work to a woman she looks up to: her video I found manna and I ate it (2018) is loosely centred on the German Benedictine Abbess, composer and philosopher Hildegard von Bingen (1098–1179 CE). The piece explores Bingen’s visions in relation to contemporary ideas about a female sociality.


Your Guide to Amsterdam Art Weekend 2018 - 2018阿姆斯特丹艺术周末指南

Sam Samiee, Copernicus (detail), acrylic on paper. Courtesy: the artist 

Gabriel Lester, ‘Shake a Face’
Sam Samiee, Casino Copernicus’
Galerie Fons Welters
23 November 2018 – 12 January 2019

For 20 years, Galerie Fons Welters has supported young artists by following a strategy of double presentations: while the gallery uses the main space to present works by artists from its regular programme, the front space is always dedicated to a young position. During Amsterdam Art Weekend the gallery presents two exhibitions by Sam Samiee and Gabriel Lester. Samiee, who took part in this year’s Berlin Biennale, aims to unite Western visual culture with the literary culture of the East. His installations, often consisting of paintings and objects, break with the iconography of traditional European painting and are instead based on a Persian concept of combining ethics and aesthetics. For his solo show ‘Casino Copernicus’ he combines the psychoanalytic concept of ‘the unconscious’, referring to theories by Jean Laplanche and Julia Kristeva, with the idea of painting as a gamble. In the main space, Gabriel Lester’s ‘Shake a Face’ gives an overview of several series of works the artist has created over the past couple of years that all focus on the concept of metamorphosis in relation to contemporary society.


Your Guide to Amsterdam Art Weekend 2018 - 2018阿姆斯特丹艺术周末指南

Shezad Dawood, Plymouth Sound (Cold War Archive) II, 2018, silkscreen, acrylic, spray paint on textile. Courtesy: the artist and HE.RO, Amsterdam; photograph: Peter Tijhuis

Shezad Dawood, ‘Leviathan: Memories of the Future Pt. 2’
Until 22 December 2018

‘Leviathan: Memories of the Future Pt. 2’ is part of Shezad Dawood’s multi-part series Leviathan which was launched at Palazzo Canonica during last year’s Venice Biennale. The large-scale project consists of a ten-part film, a series of fictional texts as well as paintings and sculptures that will all unfold over the next few years until the final episode which will be presented in 2020. Leviathan interweaves mass migration with climate change and specifically investigates the migration route from North Africa to Italy. HE.RO co-commissioned and now presents the fourth episode of Leviathan titled Jamila (2018). In addition to the video, the gallery space is filled with seascape paintings, a resin sculpture of the sea monster Leviathan itself and wall texts. The exhibition appears like a storyboard to the videos, an invitation to dive deeper into Dawood’s pool of ideas.


Your Guide to Amsterdam Art Weekend 2018 - 2018阿姆斯特丹艺术周末指南

Iris Schomaker, Untitled, 2018, oil, crayon, charcoal and watercolour on paper. Courtesy: the artist and Reflex Amsterdam

Iris Schomaker. ‘Walking the Line’
Reflex Amsterdam
23 November 2018 – 12 January 2019

‘Drawing is like taking a line for a walk.’ The title of Iris Schomaker’s upcoming show ‘Walking the Line’ at Reflex Amsterdam seems to be a reference to Paul Klee’s famous quote. Looking at her works on paper, there is no doubt that Schomaker takes this approach seriously. The black and white figures she paints don’t appear to consist of flesh, but only of geometric formations and a contemplation of lines. But instead of taking the line for a walk and to draw and paint without any guidance, Schomaker always has a concrete setting in mind and walks the line in a particular direction. Her paintings are quiet and set in an atmosphere of solitude and absence. Hands are folded, crossed or hidden; bodies lean against walls, sit quietly on chairs or are asleep; faces are out of focus. Schomaker’s figures are out of place and detached from the environment they’re set in.  While figurative elements collide with painterly abstraction, it is the line that holds them both together.


Your Guide to Amsterdam Art Weekend 2018 - 2018阿姆斯特丹艺术周末指南

Jimmy Robert, Untitled (Brouwn), 2015, mixed media. Courtesy: the artist and Stigter Van Doesberg, Amsterdam

Jimmy Robert, ‘Many shades of Brouwn’
Stigter Van Doesberg
23 November – 22 December 2018

In the late 1970s the term ‘person of colour’ was used by anti-racist activists, particularly in the US, to counter the condescending terminology attributed to non-white folk.  Noticing that the name of Dutch conceptual artist stanley brouwn (1935–2017) carries a sort of linguistic twist, matching the artist’s Suriname heritage, three years ago, Jimmy Robert integrated several works by the artist into his collage Untitled (Brouwn) (2015). Robert’s upcoming show, ‘Many shades of Brouwn’ at Stigter Van Doesberg, carries on the thought. For this exhibition the artist produced new installations and collages that respond to works by brouwn and try to explore whether brouwn’s being brown (Afro-Caribbean Dutch) influenced his art of absence and his desire remain invisible.

Other events

• Once again, the famous Rijksakademie artist residency programme opens its doors for visitors to sneak into the studios of the current resident artists. This year you can, amongst others, knock on Nora Turato’s and Laura O’Neill’s doors at the academy.

• On 22–23 November, the contemporary arts centre De Appel, holds a series of talks, performances and lectures to explore the ‘give and take economy’ of the contemporary art system. Transpositions is curated by De Appel curatorial fellow Fadwa Naamna.

• As publishing becomes more and more important for artistic practices, a whole weekend dedicated to art would look pretty dull without the according book fair to accompany it. That’s why Looiersgracht 60 hosts Amsterdam’s first art book fair from 23 until 25 November. Printing Plant: Art Book Fair features independent publishers from all other world and a curated public programme.

• Pinkie Bowie is probably better known for its project space in Antwerp but on 24 November there’s a chance to see the artist collective perform at Joost Krijnen’s show ‘Picture the Paint’ at Gerhard Hofland. 

Amsterdam Art Weekend runs from 22 – 25 November 2018. 

Main image: Shezad Dawood, Island Pattern, 2017, neon. Courtesy: the artist and HE.RO, Amsterdam; photograph: Peter Tijhuis

Carina Bukuts

Carina Bukuts is a writer and curator based in Berlin, where she currently works as the frieze Publishing Trainee. She is the co-founder of the online magazine PASSE-AVANT.

Critics’ Guides /

Critic's Guide
Annet Gelink Gallery
Althuis Hofland Fine Arts
galerie Fons Welters
Reflex Amsterdam
Stigter Van Doesberg
Amsterdam Art Weekend
Carina Bukuts

Claerbout-confetti-.-43.jpg Your Guide to Amsterdam Art Weekend 2018 - 2018阿姆斯特丹艺术周末指南 David Claerbout,“confetti”片,2018,胶片.。礼仪:阿姆斯特丹艺术家安妮特·盖林克画廊,大卫·克拉博特,安妮特·盖林克画廊,603003br,安妮特·盖林克画廊,603003br,2018年11月23日-2019年1月5日,这间屋子里充满了欢乐。穿着考究的夫妇互相拥抱,拍拍手,看着天花板,闪闪发光的五彩纸屑慢慢地落下来。David Claerbout的最新视频“五彩缤纷”片段(2018)捕捉到了美国选举之夜的派对。但是最初看起来快乐的事情很快就会变为邪恶——就像在克莱尔博特的许多作品中一样,魔鬼就在细节上:当所有其他客人都在庆祝时,一个小男孩默默地尖叫,试图保护自己免受掉下来的五彩纸屑的伤害,仿佛身处致命的危险之中。突然,这些五彩缤纷的颗粒失去了它们的亮度,一个引力似乎把五彩纸屑拉到了地上。使用数字修改技术,Claerbout的视频反映了时间和操纵。在这方面,标题中的引号已经暗示了艺术家对外表和现实之间的界限的兴趣——五彩纸屑实际上是计算机生成的。在艺术家制作他精心制作的视频之前,他通常先在纸上逐个场景地描绘故事。在安妮特·格林克的“面包房”项目空间里,人们可以通过观察这些图纸来理解艺术家是如何将模拟变成数字的。此外,眼科电影院还邀请克拉博特就“暗光学”发表演讲,他创造了这个短语,用来形容图像制作是一个逐渐在计算机上而不是通过照相机镜头进行的过程。百合v-d-stoker-i-am-an-art work-an d-i-am-am-3-old-2004-197x375x40-cm-acrylic-.-on-.-an d-mixed-media-.-inc-.-usa.jp礼仪:艺术家莉莉·范·德·斯托克、《友善》603003br Metahaven、《地球》603003br Stedelijk博物馆603003br直到2018年2月24日《友善》,莉莉·范·德·斯托克目前在斯托克举办的展览的标题可能是前两个。当她看着她的作品时,脑海里浮现出的RDS。粉色的云彩,淡淡的粉色花朵,还有诸如“我是一件艺术品,我3岁了”之类的短语,都贴在墙上。但是,最初作为少女卧室壁画出现的东西,隐藏着概念艺术史的秘密根源。范德斯托克结合了视觉语言,被认为是典型的女性与短语,如“有组织&安普;整洁”来质疑妇女的作用,在艺术世界和家庭。Meta Author的“地球”标志着对StdIdjk的另一次调查。博物馆的四个画廊都装满了荷兰艺术家集体的沉浸式录像装置,而另一个房间则专注于他们过去两年的纺织和印刷作品。像他们的许多作品一样,展览的中心部分欧亚大陆(幸福问题)(2018)结合了讲故事和数字上层建筑,并调查了亚洲和欧洲之间的技术交叉点。11月25日,博物馆又举办了两场展览:拉奎尔·凡·哈佛在她的展览《土壤的精神》和《行动自由》中展示了阿姆斯特丹比杰米尔工业区的一系列新的纪念性油画,这些油画把在荷兰工作的艺术家们团结在了时代芭蕾的舞台上。特别以凯特·库珀、耶尔·巴塔纳和罗里·清教徒为特色的媒体报道。面料面料-马利兹-弗朗肯-格斯雷德-格斯雷德-维尔夫-奥普-多克.jpg 1991-35x25cm-olieverf-op-doek.jpg报纸6023602img-Marliz Frencken、格斯雷德·弗Met Baby(带婴儿的丝绒妇女),1991,油画布上的油。礼貌:艺术家和阿尔提乌斯·霍普兰美术,阿姆斯特丹“面料脸,粉状词组”603003br Althuis Hofland美术,603003br 11月22日-2018年1月5日“我们还没有听到足够的,如果有的话,关于女性的凝视。阿尔修斯·霍普兰美术学院必须同意作家玛吉·纳尔逊的观点。为了即将举办的展览,画廊邀请了七位女性艺术家参加一个以建构和解构女性身份为重点的团体展览。拖拉和性别怪杰图标阴道戴维斯提出了一系列小的化妆画,她交换刷和油的颜色睫毛膏和护发素。当戴维斯使用美容产品和与女性气质紧密相关的长生不老药时,他同时克服了两种刻板印象,将一个典型的男性画家的形象与一个陈词滥调的女性形象结合起来。但是仔细观察这些作品的标题可以发现,戴维斯的化妆品不仅仅是抽象的色彩组合,它们还向艺术家所崇拜的色彩女性致敬,例如,电视明星路易斯·海狸和朱迪·佩斯。苏菲·李还把她的作品献给了一个她仰慕的女人:她的录影带,我发现了吗哪,我吃了它(2018年),松散地集中在德国本笃会修道院,作曲家和哲学家希尔德加德·冯·宾根(1098-1179年行政长官)。这篇文章探讨了宾根对当代女性社会观念的看法。Gabriel-lester-sam-samiee-.-copernicus-courtesy-the-artist-and-galerie-fons-welters-amster..jpg Your Guide to Amsterdam Art Weekend 2018 - 2018阿姆斯特丹艺术周末指南-Sam Samiee,Copernicus(.),纸上丙烯酸树脂。礼仪:艺术家加布里埃尔·莱斯特、《摇脸》603003br山姆·萨米伊、《哥白尼赌场》603003brGalerie Fons WeltersWpapr603003br2018年11月23日至2019年1月12日,20年来,Galerie Fons Welters一直遵循以下策略支持年轻艺术家双重呈现:当美术馆利用主空间来展示其常规节目中艺术家的作品时,前空间总是致力于一个年轻的职位。在阿姆斯特丹艺术周末期间,画廊展出了萨姆·萨米和加布里埃尔·莱斯特的两个展览。参加今年柏林双年展的萨米旨在将西方视觉文化与东方文学文化结合起来。他的装置通常由绘画和物件组成,打破了欧洲传统绘画的象形文字,取而代之的是基于波斯伦理和美学相结合的概念。在他的个人秀《哥白尼赌场》中,他把“无意识”的精神分析概念和绘画作为赌博的观念结合起来。在主要空间中,加布里埃尔·莱斯特的《摇个脸》概述了艺术家在过去几年里创作的几系列作品,这些作品都集中于与当代社会相关的蜕变的概念。WebHyLoviaNoV-2018YPT9Y9A443.JPG WPA6025602IMG SHIZAD DAWORD,普利茅斯声音(冷战档案)II,2018,丝网,丙烯酸,喷漆在纺织品上。礼貌:艺术家和阿姆斯特丹的HE.RO;照片:彼得·蒂胡伊斯·谢扎德·达伍德,“利维坦:未来的记忆”。2'
直到2018年12月22日'Leviathan:未来Pt.2’是Shezad Dawood的多部剧集《利维坦》的一部分,该剧在去年的威尼斯双年展期间在Canonica宫上映。这个大型项目包括一部十部电影、一系列小说文本以及绘画和雕塑,这些将在未来几年展开,直到2020年上映的最后一集。列维坦将大规模移民与气候变化交织在一起,并专门研究从北非到意大利的移民路线。HE.RO联合委托,现在呈现了利维坦的第四集《贾米拉》(2018)。除了视频,画廊空间还充满了海景画、海怪利维坦的树脂雕塑和壁画。在视频中,这个展览就像一个故事板,邀请我们去深入了解达伍德的思想库。Irs-schomaker-is-4308-40.jpg Your Guide to Amsterdam Art Weekend 2018 - 2018阿姆斯特丹艺术周末指南 Iris Schomaker,Untitled,2018,纸上涂油、蜡笔、木炭和水彩。礼貌:艺术家和反射阿姆斯特丹虹膜SuMaCK。“走直线”
Reflex Amster.
2018年11月23日–2019年1月12日“绘画就像走直线一样。”Iris Schomaker即将上映的“走直线”节目《在反射阿姆斯特丹》的标题似乎是参考了Paul Klee的名言。从她的论文来看,毫无疑问,Schomaker认真对待这种方法。她画的黑白人物似乎不是由肉体构成的,而是由几何形态和线条构成的。但是,Schomaker并没有在没有任何指导的情况下走直线、画图和画画,他总是在脑海里有一个具体的设定,并且沿着特定的方向走直线。她的画是安静的,在孤独和缺席的气氛中。双手折叠、交叉或隐藏;身体靠墙,静静地坐在椅子上或睡着;脸部失去焦点。Schomaker的数字与它们设定的环境格格不入。当比喻元素与绘画抽象相冲突时,正是这条线将它们结合在一起。Jimmy-robert6.jpg Your Guide to Amsterdam Art Weekend 2018 - 2018阿姆斯特丹艺术周末指南 Jimmy Robert,Untitled(Brouwn),2015,混合媒体。礼貌:艺术家和斯蒂格·凡·多斯伯格,阿姆斯特丹·吉米·罗伯特,“布朗的许多阴影”603003br斯蒂格·凡·多斯伯格603003br 11月23日-2018年12月22日在70年代后期,“有色人”一词被反种族主义活动家使用,特别是在t.他说,我们反对非白人的高雅用语。注意到荷兰概念艺术家斯坦利·布朗(Stanley Brown,1935-2017)的名字带有一种语言上的扭曲,


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