Paul Beumer (1982) received his BFA from the Royal Academy of Art in The Hague and completed a two-year residency at the Rijksakademie van beeldende kunsten in Amsterdam. Recent solo exhibitions include The message of the flower is the flower at Dürst Britt & Mayhew, Paint Wide Mouth White at Qingyun International Art Centre in Beijing, In the shade of the elms and willows, my friends drink until they are inspired at Goethe Pavillon, Palais Schardt in Weimar, Dry Landscape at the Chinese European Art Centre (CEAC) in Xiamen, China and Tomorrow’s Harvest at Bosse & Baum in London. He participated in major group exhibitions at Museum Het Valkhof in Nijmegen, Museum Kranenburgh in Bergen, Museum De Paviljoens in Almere and the Gemeentemuseum in The Hague. In 2009 he was nominated for the Royal Award for Contemporary Painting. Work by Beumer is held in private and public collections, including the AKZO Nobel Art Foundation, Amsterdam; The Academic Medical Centre (AMC) Art Collection, Amsterdam; the Collection of the District Court of Law, Amsterdam; and the KRC Collection, Voorschoten, Netherlands.
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- Paul Beumer, The message of the flower is the flower. Exhibition view at Dürst Britt & Mayhew, 2017
- Paul Beumer, The message of the flower is the flower. Exhibition view at Dürst Britt & Mayhew, 2017
- Paul Beumer, The message of the flower is the flower. Exhibition view at Dürst Britt & Mayhew, 2017
- Paul Beumer, The message of the flower is the flower. Exhibition view at Dürst Britt & Mayhew, 2017
- Paul Beumer, The message of the flower is the flower. Exhibition view at Dürst Britt & Mayhew, 2017
Paul Beumer, The message of the flower is the flower. Exhibition view at Dürst Britt & Mayhew, 2017
- Paul Beumer, The message of the flower is the flower. Exhibition view at Dürst Britt & Mayhew, 2017
- Paul Beumer, The message of the flower is the flower. Exhibition view at Dürst Britt & Mayhew, 2017
Paul Beumer, The message of the flower is the flower. Exhibition view at Dürst Britt & Mayhew, 2017
- Paul Beumer, Untitled, 2016, ink on cotton, 161 x 155 cm.
Paul Beumer, Untitled, 2016, ink on cotton, 161 x 155 cm.
- Paul Beumer, Untitled, 2016, ink on cotton, 175 x 156 cm.
Paul Beumer, Untitled, 2016, ink on cotton, 175 x 156 cm.
- Installation view, 'In the shade of the elms and willows, my friends drink until they are inspired', Goethe Pavillon, Palais Schardt, Weimar, Germany.
Installation view, 'In the shade of the elms and willows, my friends drink until they are inspired', Goethe Pavillon, Palais Schardt, Weimar, Germany.
- Installation view, 'In the shade of the elms and willows, my friends drink until they are inspired', Goethe Pavillon, Palais Schardt, Weimar, Germany.
Installation view, 'In the shade of the elms and willows, my friends drink until they are inspired', Goethe Pavillon, Palais Schardt, Weimar, Germany.
- Installation view, 'I won't have the luxury of seeing scenes like this much longer', Dürst Britt & Mayhew, The Hague, 2015.
Installation view, 'I won't have the luxury of seeing scenes like this much longer', Dürst Britt & Mayhew, The Hague, 2015.
- Installation view, 'I won't have the luxury of seeing scenes like this much longer', Dürst Britt & Mayhew, The Hague, 2015.
Installation view, 'I won't have the luxury of seeing scenes like this much longer', Dürst Britt & Mayhew, The Hague, 2015.
- Paul Beumer, Untitled, 2015, ink and watercolour on paper, 70 x 50 cm.
Paul Beumer, Untitled, 2015, ink and watercolour on paper, 70 x 50 cm.
- Paul Beumer, Untitled, 2015, ink and watercolour on paper, 100 x 70 cm.
Paul Beumer, Untitled, 2015, ink and watercolour on paper, 100 x 70 cm.
- Paul Beumer, Untitled, 2015, ink and watercolour on paper, 70 x 50 cm.
Paul Beumer, Untitled, 2015, ink and watercolour on paper, 70 x 50 cm.
- Paul Beumer, Untitled, 2015, ink and watercolour on paper, 100 x 70 cm.
Paul Beumer, Untitled, 2015, ink and watercolour on paper, 100 x 70 cm.
- Paul Beumer, Untitled, 2014, mixed media on paper, 100 x 70 cm
Paul Beumer, Untitled, 2014, mixed media on paper, 100 x 70 cm
- Paul Beumer, Untitled, 2014, mixed media on paper, 100 x 70 cm
Paul Beumer, Untitled, 2014, mixed media on paper, 100 x 70 cm
- Installation view, RijksakademieOPEN 2014, Amsterdam
Installation view, RijksakademieOPEN 2014, Amsterdam
Through subtle exaggeration and performative interventions Alex Farrar likes to expose stereotypical human mechanisms. Whether a photograph, mural or a modified sofa hovering from a wall, they are outward looking, self-conscious additions that playfully interrupt their context and the viewer with a proposition. He manipulates ordinary objects for their performative potential. Acknowledging a lack of absolute control he creates the conditions for something to happen, the outcome of this happening isn’t fixed but depends completely on the engagement with viewers, location and duration.
Alex Farrar (UK, 1986) received BFA’s from the Gerrit Rietveld Academie in Amsterdam and Leeds Metropolitan University, after which he completed a two-year residency at the Rijksakademie van beeldende kunsten in Amsterdam. Recent solo exhibitions include ‘Secondary Emotions (i)’, de Appel arts centre, Amsterdam, ‘Secondary Emotions (ii)’ at Dürst Britt & Mayhew, ‘Code Duello’, Loods 6, Amsterdam, and ‘Self-Titled’ at Annet Gelink Gallery, Amsterdam. Recent group exhibitions include ‘Prospects and Concepts’, Art Rotterdam, ‘Summer Fete’, Ceri Hand Gallery, London, ‘Mostyn Open 18’, Oriel Mostyn Gallery, Llandudno, ‘Young British Art II’, DIENSTGEBÄUDE, Zurich. Both in 2014 and 2015 he won The Best Dutch Book Designs for two of his publications. In 2018 Alex Farrar will have a solo exhibition at Onomatopee, Eindhoven.
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Jacqueline de Jong (1939) is revered for founding, editing and publishing The Situationist Times in the 1960s. By now her publishing, painting and sculpture endeavours have spanned over five decades. Her longterm involvement and collaboration with Asger Jorn and the legacy of the Cobra movement shine through, but have never stifled the experimental nature of her artistic practice, which is as vital, provocative and contradictory as ever.
Recent solo exhibitions include ‘Imaginary Disobedience’ at Château Shatto in Los Angeles and ‘Potato Blues’ at onestar press in Paris. Recent group exhibitions include ‘Section Littéraire’ at Kunsthalle Bern, ‘Medusa: Jewellery and Taboos’ at Musée d’Art Moderne in Paris, ‘The Leftovers’ at Simon Lee Gallery in New York, ‘The Avant Garde won’t give up: Cobra and its legacy’ at Blum & Poe in Los Angeles and ‘Traces – 100 years Asger Jorn’ at Cobra Museum for Modern Art in Amstelveen. Her work is held in various museums and public collections including: Stedelijk Museum Amsterdam; Moderna Museet, Stockholm; Cobra Museum for Modern Art, Amstelveen; Museum Jorn, Silkeborg; Henie Onstad Kunstsenter, Oslo; Kunstmuseum Göteborg; Lenbachhaus, Munich; MCCA Toronto; Centre Pompidou, Paris.
In 2019, De Jong will have a solo exhibition at the Stedelijk Museum in Amsterdam.
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- La veritable Histoire de BF15, 2017
, digital print, oil stick and nepheline gel on canvas, 90 × 62 cm,
Dürst Britt & Mayhew
Jacqueline de Jong, La veritable Histoire de BF15, 2017 , digital print, oil stick and nepheline gel on canvas, 90 × 62 cm, Durst Britt & Mayhew
- L’Oeil de Perdrix Retrouvé, 2017,
digital print, oil stick and nepheline gel on canvas
, 90 × 62 cm, Durst Britt & Mayhew
Jacqueline de Jong, L’Oeil de Perdrix Retrouvé, 2017, digital print, oil stick and nepheline gel on canvas , 90 × 62 cm, Durst Britt & Mayhew
- Red Pontiac with Creepy Toes, 2017
, digital print, oil stick and nepheline gel on canvas, 90 × 62 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, Red Pontiac with Creepy Toes, 2017 , digital print, oil stick and nepheline gel on canvas, 90 × 62 cm, Durst Britt & Mayhew
- Happy Nights of Dolwen de Bretagne, 2017,
digital print, oil stick and nepheline gel on canvas , 90 × 62 cm, Dürst Britt & Mayhew.
Jacqueline de Jong , Happy Nights of Dolwen de Bretagne, 2017, digital print, oil stick and nepheline gel on canvas , 90 × 62 cm, Durst Britt & Mayhew, Durst Britt and Mayhew
- WAR 1914-1918, 2014, charcoal on paper
, 34,8 × 50 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, WAR 1914-1918, 2014, charcoal on paper , 34,8 × 50 cm, , Durst Britt & Mayhew
- WAR 1914-1918, 2013
, pastel and charcoal on paper, 50 × 70 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, WAR 1914-1918, 2013 , pastel and charcoal on paper, 50 × 70 cm, Durst Britt & Mayhew
- WAR 1914-1918, 2013
, pastel and charcoal on paper, 40 × 70 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, WAR 1914-1918, 2013 , pastel and charcoal on paper, 40 × 70 cm, Durst Britt & Mayhew
- WAR 1914-1918, 2014
, pastel and charcoal on paper, 50 × 70 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, WAR 1914-1918, 2014 , pastel and charcoal on paper, 50 × 70 cm, Durst Britt & Mayhew
- Separated integration, 1995, oil on panel
, 140 × 122 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, Separated integration, 1995, oil on panel , 140 × 122 cm, Durst Britt & Mayhew
- Afweer, 1995, oil on panel, 140 × 122 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, Afweer, 1995, oil on panel, 140 × 122 cm, Durst Britt & Mayhew
- Kobü, 1995
, oil on panel, 122,5 × 140 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, Kobü, 1995 , oil on panel, 122,5 × 140 cm, Durst Britt & Mayhew
- Quasy Modo and Queen Kong, 1981, silkscreen on Japanese paper, 121,9 × 81,3 cm
, Dürst Britt & Mayhew.
Jacqueline de Jong, Quasy Modo and Queen Kong, 1981, silkscreen on Japanese paper, 121,9 × 81,3 cm , Durst Britt & Mayhew
- 30 maart 1981 (Série Noire), 1981, oil on canvas
, 120 × 90 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, 30 maart 1981 (Série Noire), 1981, oil on canvas , 120 × 90 cm, Durst Britt & Mayhew
- Flottant devant les yeux (Série Noire), 1981, oil on canvas
, 140 × 160 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, Flottant devant les yeux (Série Noire), 1981, oil on canvas , 140 × 160 cm, Durst Britt & Mayhew
- Gardez-vous à gauche (Série Noire), 1981, oil on canvas, 140 × 160 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, Gardez-vous à gauche (Série Noire), 1981, oil on canvas, 140 × 160 cm, Durst Britt & Mayhew
- L’Âne du Liban (Série Noire), 1981, oil on canvas
, 140 × 160 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, L’Âne du Liban (Série Noire), 1981, oil on canvas , 140 × 160 cm , Durst Britt & Mayhew
- Autofresser (Accidental Paintings series), 1964, oil on canvas
, 163 × 133 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, Autofresser (Accidental Paintings series), 1964, oil on canvas , 163 × 133 cm , Durst Britt & Mayhew
- Qu’il a mauvais mine (Suicidal Paintings series), 1964, oil on canvas
, 146 × 114 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, Qu’il a mauvais mine (Suicidal Paintings series), 1964, oil on canvas , 146 × 114 cm, , Durst Britt & Mayhew
- Rencontre accidental (Accidental Paintings series), 1964,
oil on canvas, 126 × 193 cm, Dürst Britt & Mayhew.
Jacqueline de Jong, Rencontre accidental (Accidental Paintings series), 1964, oil on canvas, 126 × 193 cm, Durst Britt & Mayhew
Lennart Lahuis (1986) received his BFA from the Artez Institute of the Arts in Zwolle in 2011. From 2011 to 2013 he was a resident at de Ateliers in Amsterdam and he recently concluded residencies at the EKWC in Oisterwijk and the Glasgow Sculpture Studio’s. Recent duo and solo exhibitions by Lennart Lahuis include Dead Seconds with Willem Oorebeek at Shanaynay in Paris, Navigation at Dürst Britt & Mayhew and False Light at Apice for Artists in Amsterdam. Recent group exhibitions include A Minor State of Flux at Arti et Amicitiae, Amsterdam and Slow Works at Sydney Project Space, Sydney, Australia, Fortune Teller in Garage Rotterdam and Asleep Fingers in Kunstraum Düsseldorf. In 2015 Lahuis won the Royal Award for Contemporary Painting as well as the Piket Art Prize. His work is held in private and public collections, including the Fries Museum, Akzo Nobel Art Foundation, the collection of the Academic Medical Center (AMC) in Amsterdam and the ING collection. Lennart Lahuis will have his first museum solo-show in the fall of 2018 at The Fries Museum in Leeuwarden. He is living and working in Paris.
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- Lennart Lahuis, Mechanismus III & IV, 2016, inkjet on transparent film, 220x 160 & 130 x 130 cm. Shanaynay Paris
- Lennart Lahuis, Mechanismus III, 2016, inkjet on transparent film, 220 x 160 cm. Shanaynay Paris
- Pressing Issues, 2016, burnt silkscreen print, dimensions variable. Shanaynay Paris
- Lennart Lahuis, Dead Seconds [detail], 2016, burnt silkscreen print, dimensions variable. Shanaynay Paris
- Lennart Lahuis, Untitled, 2016, burnt silkscreen, 45 x 25 x 15 cm. Shanaynay Paris
- Disappearence & Diffusion, 2015, glass micro beads on wall, dimensions variable
- Hyper-Transparency, 2015, glass micro beads on wall, dimensions variable
- Surface Feature, 2016, burnt silkscreen print and polyester print in plexiglass case, 37 x 27 cm
- Technical Image, 2016. Burnt silkscreen print and polyester print in plexiglass case, 37 x 27 cm
- Lennart Lahuis, Hyper Complication [145 Parts], 2016, burnt silkscreen print and polyester print in plexiglass case, 37 x 27 cm
- Installation view Art Rotterdam 2016
- Lennart Lahuis, No...Chaos[Carini Daumier], 2016, burnt silkscreen print and polyester print in plexiglass case, 100 x 70 cm
- Lennart Lahuis, Some...Cleanliness, 2016, burnt silkscreen print on metal board, 120x220cm
- Wet Scene Study No. VII [Cloud], 2015, water on concrete, dimensions variable. Vincent van Goghhuis Zundert
- Installation view, 'Navigation', Dürst Britt & Mayhew, The Hague, 2015.
- Lennart Lahuis, Wet Scene Study V [Seperated Lovers], 2015, water on concrete, 580 x 145 cm. Dürst Britt & Mayhew
- Still Life with Encyclopedia Americana, 2015, inkjet on wood, beeswax on paper and glass, 50 x 40 cm. Akzo Nobel Art Foundation collection.
- Installation view, 'Navigation', Dürst Britt & Mayhew, The Hague, 2015.
- Wet Scene Study V [Seperated Lovers], 2015, water on concrete, 580 x 145 cm. Dürst Britt & Mayhew
- Lennart Lahuis, Tradition (Group Portrait), 2015, inkjet on wood, beeswax on paper and glass, 75 x 125 cm. Collection of the Amsterdam Medical Centre.
- 70 x 100 cm, 2015, inkjet on wood, beeswax on paper and glass, 100 x 70 cm. Private collection.
- Wet Scene - study no. IV, 2015, water on stone, dimensions variable
- Lennart Lahuis, Installation view Offspring 2013, de Ateliers, Amsterdam.
- Untitled [Woman with Bag], 2012, folded poster in wooden frame, 100 x 25 x 35 cm. Offspring 2013 de Ateliers, Amsterdam.
- Lennart Lahuis, Speakercovers, 2013, custom made transport bag for one specific sculpture, dimensions variable. Offspring 2013 de Ateliers, Amsterdam.
The work of Alexandre Lavet plays with the idea of emptiness, disappearance and erasure. Under the apparent homogeneity of exhibition spaces lie the details that mark the uniqueness and specificity of each place. It is these elements that Alexandre Lavet wants to bring to light, thereby making the viewer more aware of the environment surrounding him.
Alexandre Lavet (1988) received both his BFA and MFA from the École Supérieure d’Art in Clermont-Ferrand (France) and is currently living and working in Brussels. Recent group exhibitions include ‘Vision’ at Palais de Tokyo in Paris, ‘Run Run Run’ at Villa Arson in Nice, ‘(In)territories/rituals’ at TARS Gallery in Bangkok and ‘The Context’ at Museum Flehite in Amersfoort.
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- Alexandre Lavet, Vides, 2011-2015, inkjet print on archival matte paper, 31 x 41 cm
- Vides, 2011-2015, inkjet print on archival matte paper, 31 x 41 cm
- Vides, 2011-2015, inkjet print on archival matte paper, 31 x 41 cm
- Vides, 2011-2015, inkjet print on archival matte paper, 31 x 41 cm
- Vides, 2011-2015, inkjet print on archival matte paper, 31 x 41 cm
- Vides, 2011-2015, inkjet print on archival matte paper, 31 x 41 cm
The work of Joseph Montgomery has the structure and syntax of sculpture, but it simultaneously has all the trappings of painting: wood, canvas, various types of coating and paint. The blurring and confounding of classification lends it a strange sense of hybridity. Joseph Montgomery ’s expansion of abstract painting results in two distinctive types of painting: collages and shims.
Joseph Montgomery (1979, Northampton, MA, US) lives and works in New York. Recent solo exhibitions include Via degli Eremiti at CAR DRDE in Bologna, Rules for Coyote at Dürst Britt & Mayhew, DOLLS (with Sherrie Levine) at Paula Cooper Gallery, Heads, Calves at Laurel Gitlen, Doll Index at Peter Blum Gallery and Five Sets Five Reps at the Massachusetts Museum of Contemporary Art (MASS MoCA). His work was also shown in the seminal group exhibition Painter Painter at The Walker Art Centre in Minneapolis. Work by Montgomery is held in private and public collections, including the Centraal Museum Utrecht.
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- Joseph Montgomery, Installation view, Independent Brussels 2017
Installation view Independent Brussels 2017
- Joseph Montgomery, Image Four Hundred Eight, 2017, acrylic and pigment transfer on canvas, 61 × 46 cm
- Joseph Montgomery, Image Four Hundred Ten, 2017, acrylic, oil, pastel, felt, and pigment transfer on canvas, 61 × 46 cm
- Image Four Hundred Twenty Four, 2017, acrylic, paper, oil, wax, lacquer, and pigment transfer on canvas, 61 × 46 cm
Image Four Hundred Twenty Four, 2016,
- Image Four Hundred Thirty Three, 2017, 41 × 31 × 5 cm, oil, acrylic, and vegetation on cedar and linen
- Joseph Montgomery, Image Three Hundred Twenty Two, 2015, oil on cedar, canvas and vegetation, 63,5 x 28 x 12 cm
- Joseph Montgomery, Image Three Hundred Eighteen, 2015, oil on cedar on MDO, 40,5 x 59 x 4,5 cm (private collection)
- Installation view, CODE Copenhagen, 2016
- Joseph Montgomery, Image Three Hundred Eighty Four, 2016, pigment transfer on canvas, 61 x 46 cm.
- Joseph Montgomery, Image Three Hundred Seventy Nine, 2016, pigment transfer on canvas, 61 x 46 cm.
Joseph Montgomery, Image Three Hundred Seventy Nine, 2016, pigment transfer on canvas, 60,9 x 45,7 cm.
- Joseph Montgomery, Image Three Hundred Seventy Four, 2016, pigment transfer on canvas, 61 × 46
- Image Three Hundred Twelve, 2015, oil on cedar and canvas, 40,5 x 23,5 x 4,5 cm
- Image Three Hundred Nineteen, 2015, oil on cedar and canvas, 40,5 x 23,5 x 4,5 cm (private collection)
- Image Three Hundred Eight, 2015, oil on cedar on MDO, 81,5 x 42,5 x 4,5 cm (private collection)
- Installation view, 'Rules for Coyote', Dürst Britt & Mayhew, The Hague, NL.
- Image Three Hundred Seven, 2015, pastel, paper, clay, plastic and pigment transfer on canvas, 40,6 x 30,5 x 3,8 cm
- Image Three Hundred Twenty One, 2015, pastel, oil, paper, clay and pigment transfer on canvas, 40,6 x 30,5 x 5,7 cm
- Image Three Hundred Ten, 2015, paper, pastel, plastic, clay and pigment transfer on canvas, 40,6 x 30,5 x 3,8 cm
- Image Three Hundred Twenty Five, 2015, pastel, paper, clay and pigment transfer on canvas, 40,6 x 30,5 x 3,2 cm
- Joseph Montgomery, Image Three Hundred Nine, 2015, oil on cedar and canvas, 40,6 x 25,1 x 4,4 cm
- Image Three Hundred Fourteen, 2015, oil on cedar and canvas, 40,6 x 23,8 x 4,4 cm
- Image Three Hundred Seventeen, 2015, oil on cedar on MDO, 81,3 x 41,9 x 4,4 cm
- Image Three Hundred Fifteen, 2015, oil on cedar on MDO, 40,5 x 59 x 4,5 cm (private collection)
- Installation view, 'DOLLS', Paula Cooper Gallery, New York, NY.
- Image Two Hundred Ninety, 2015, pencil and coloured pencil on paper, 14,6 x 9,5 cm
- Image Three Hundred Thirty Four, 2015, pencil and coloured pencil on paper, 14,6 x 9,5 cm
- Installation view, Art Rotterdam, Dürst Britt & Mayhew, Rotterdam, NL.
- Image Two Hundred Sixty Two, 2014, wax and cedar on panel
, 122 × 79 × 6 cm
Image Two Hundred Sixty Two
- Image Two Hundred Eighty One, 2015, oil, cedar, linen on panel41,5 x 25,5 x 5.5 cm (Collection Centraal Museum, Utrecht)
- Image Two Hundred Fifty Six, 2014-2015, oil, ink, paper, canvas, cardboard, cedar, lacquer, fiberglass on panel, 44,5 x 28 x 15,5 cm (Collection Centraal Museum, Utrecht)
Image Two Hundred Fifty Six
- Joseph Montgomery, Image Two Hundred Sixteen, 2010-2013oil, gouache, paper, canvas, rope, ink, pastel, cedar, stain on panel, 42 x 30.5 x 8 cm (private collection)
- 'Doll Index', Peter Blum Gallery, New York, NY.
- Installation view, 'Heads, Calves', Laurel Gitlen, New York, NY.
- Installation view, 'Five Sets Five Reps', MASS MoCA, North Adams, MA.
- Installation view, 'Painter Painter', Walker Art Center, Minneapolis, MN.
Raúl Ortega Ayala (1973) studied Painting at ‘La Esmeralda’ in Mexico City after which he traveled to the Glasgow School of Art for a Master in Fine Arts. During his master’s degree, he moved away from painting and veered his practice towards Anthropology and began working with the ethnographic method of ‘participant observation.’ Since then, Ortega Ayala has purposefully immersed himself for periods of one or two years in various different contexts such as the office world, food and gardening. This resulted in three different series, titled: ‘Bureaucratic Sonata, An Ethnography on Gardening, and Food for Thought’. He is currently exploring other methodologies used in History and Archaeology for an ongoing series ‘From the Pit of Etc.’ devoted to the concept of absence, trace, and iconoclasm. Raúl Ortega Ayala is currently living and working in Wellington, New Zealand.
Recent group exhibitions include ‘Stirring the Pot of Story’ at the Delfina Foundation in London, ‘Silent Light’ at Dürst Britt & Mayhew, ‘True Story’ at Proyectos Monclova in Mexico City and ‘Yes Naturally’ at the Gemeentemuseum Den Haag in The Hague. Solo exhibitions include ‘Living Remains’ at Stroom Den Haag and ‘Melting Pots’ at Rokeby Gallery in London. Work by Raúl Ortega Ayala is held in private and public collections, including the David Roberts Art Foundation, the AkzoNobel Art Foundation and the VandenBroek Foundation.
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- Raúl Ortega Ayala, Field note 09-05–16-2 (Bookshop Pripyat, Chernobyl), from the series From the Pit of Et Cetera, 2013-2016, C-print, 120 × 160 cm. In collaboration with Roberto Rubalcava
Raúl Ortega Ayala, Field note 09-05–16-2 (Bookshop Pripyat, Chernobyl), from the series From the Pit of Et Cetera, 2013-2016, C-print, 120 × 160 cm. In collaboration with Roberto Rubalcava
- Raúl Ortega Ayala, View in Pickersgill Harbour, Dusky Bay, New Zealand (after William Hodges), 2016, from the series ‘From the Pit of Et Cetera’
Mixed media on wood
67.1 × 74.9 × 2.6 cm
RAÚL ORTEGA AYALA View in Pickersgill Harbour, Dusky Bay, New Zealand (a er William Hodges), 2016, from the series ‘From the Pit of Et Cetera’ Mixed media on wood 67.1 × 74.9 × 2.6 cm
- Raúl Ortega Ayala, Four Figures at a Table (after The Le Nain Brothers), 2016 from the series ‘From the Pit of Et Cetera’
mixed media on wood, 71 × 60.5 × 6.5 cm.
Raúl Ortega Ayala, Four Figures at a Table (a er The Le Nain Brothers), 2016 from the series ‘From the Pit of Et Cetera’ mixed media on wood, 71 × 60.5 × 6.5 cm.
- from the Food for Thought Series, Babel Fat Tower, fat, bones, table and lamps, photo: Raul Ortega Ayala
Raul Ortega Ayala, from the Food for Thought Series, Babel Fat Tower, fat, bones, table and lamps, photo: Raul Ortega Ayala
- from the Food for Thought series, Last Supper, video documentation of a happening, photo: Thierry Bal
- from the Food for Thought series, Last Supper, video documentation of a happening, photo: Thierry Bal
- from the Food for Thought series, Last Supper, video documentation of a happening, photo: Thierry Bal
- Raúl Ortega Ayala, from the Food for Thought series, Tomatina-Tim, 2010, two screen video installation
- Raúl Ortega Ayala, from the Food for Thought series, Tomatina-Tim, 2010, two screen video installation
Raúl Ortega Ayala, from the Food for Thought series, Tomatina-Tim, 2010, two screen video installation
- from the Food for Thought series, Melting Pots (a fiction based on facts), documented happening
- from the An Ethnography on Gardening series, 55 dispersed plant images from a found botanical book, framed pages of book and collage
- Raul Ortega Ayala, from the An Ethnography on Gardening series, The scent of an imaginary flower, designed scent on printed paper
- from the Bureaucratic Sonata series, I’m useless but god loves me (After Mike Kelley), desk nameplates
Pieter Paul Pothoven (1981) is a multimedia artist who engages with historical sites, artifacts and resources in order to mediate new relationships with the past, often based on the potential use value of these locations and objects in the present. He received his BFA at the Gerrit Rietveld Academie in Amsterdam and his MFA at Parsons The New School for Design, New York. He was a fellow at the Fine Arts Work Center, Provincetown (US) and a resident at the Instituto Sacatar in Salvador, Brazil. In 2014 and 2015 he was a participant at the Jan van Eyck Academie in Maastricht.
Recent exhibitions with Pieter Paul Pothoven include Territorial Drift at Garage Rotterdam, Listen to the stones, think like a mountain at Tatjana Pieters, Ghent, Lapis Lazuli from Serr-I-Sang at PuntWG, Amsterdam, 11:59 at Hudson D. Walker Gallery, Provincetown and The Intelligence of Things at The Kitchen, New York. His writings have been published by De Internet Gids, Volume and by the International Center of Photography in collaboration with CCS Bard. Work by Pothoven is held in private and public collections, including the Fries Museum, Leeuwarden, Akzo Nobel Art Foundation, Amsterdam and the Van Lanschot Art Collection, The Hague.
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- Pieter Paul Pothoven, Sample 2/1, Sorghpar Adit #1, 2010-2015, from the series Laguard, framed C-print, 100 x 80 cm, edition of 5 + 2 AP
- Pieter Paul Pothoven, Sample 2/1, Sorghpar Adit #1, 2010-2015, from the series Laguard, framed C-print, 100 x 80 cm, edition of 5 + 2 AP
- Pieter Paul Pothoven, Sample 1/4, Regi-e-Siah, Adit #4, 2010-2015, from the series Laguard, framed C-print, 100 x 80 cm, edition of 5 + 2 AP
- Pieter Paul Pothoven, Sample 4/1, Ablak, Adit #1, 2010-2015, from the series Laguard, framed C-print, 100 x 80 cm, edition of 5 + 2 AP
- Sample 13/2, Sampaloo, Adit #2, 2010-2015, from the series Laguard, framed C-print, 100 x 80 cm, edition of 5 + 2 AP
- Pieter Paul Pothoven, In Absentia, Main Mine Adit #4, 2010-2015, framed C-print, 60.5 × 92 cm, edition of 5 + 2AP
- Pieter Paul Pothoven, In Absentia, Main Mine Adit #2, 2010-2015, framed C-print, 60.5 × 92 cm, edition of 5 + 2AP
- In Absentia, Main Mine Adit #3, 2010-2015, framed C-print, 60.5 × 92 cm, edition of 5 + 2AP
- Lapis Lazuli from Serr-i-Sang, 2012 – 2015 (installation view at PuntWG, Amsterdam)
- Pieter Paul Pothoven, Lapis Lazuli from Serr-i-Sang, 2012 – 2015, series no. 4/7, 4 slices of lapis lazuli mounted on glass, Leica slide projector, pedestal (installation view at PuntWG, Amsterdam)
- Lapis Lazuli from Serr-i-Sang, 2012 – 2015, series no. 1/7, 36 slices of lapis lazuli mounted on glass, Leica slide projector, pedestal (installation view at PuntWG, Amsterdam)
- Pieter Paul Pothoven, Lapis Lazuli from Serr-i-Sang, 2012 – 2015 (installation view at PuntWG, Amsterdam)
- Pieter Paul Pothoven, Limen, installation with Egyptian bronze mirror (New Kingdom 1570 – 1070 BC, handle broken and repaired in antiquity, polished May 7, 2013 – May 25, 2015, total labor: 48 hours), bronze cast wall mounting
- Pieter Paul Pothoven, Limen, installation with Egyptian bronze mirror (New Kingdom 1570 – 1070 BC, handle broken and repaired in antiquity, polished May 7, 2013 – May 25, 2015, total labor: 48 hours), bronze cast wall mounting
- Limen (production process)
- Pieter Paul Pothoven, Limen (production process)
Sybren Renema (1988) is active as an artist, writer and musician. After receiving his BFA from the Royal Academy of Art in The Hague, he became the youngest MFA student to ever enroll at the Glasgow School of Art. Sybren Renema is interested in the obscure corners of all forms of human discourse, with a particular liking for art, history, geographical exploration and the natural sciences. These different interests are often combined in the same work, highlighting an interest in unconventional forms of knowledge-production as well as a sense of the absurd and the grotesque. Recent solo exhibitions include The Harvest of Leisure at Cydonia, Dallas, The Milk of Paradise at Dürst Britt & Mayhew, Pleasures of a Grave Desire at CCA Glasgow and Objective Onomatopoeia at the Glasgow Project Room. Work by Renema is held in private and public collections, including the AMC Collection, Amsterdam and the Fries Museum in Leeuwarden. In 2017 his work was on show in the Antarctic Pavilion as part of the Venice Biennial.
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- Sybren Renema, I would that I could wrap the view from my home in a pill of opium and send it to you, 2015, neon, 200 x 170 x 50 cm
- Sybren Renema, Tod und das Mädchen, 2014, neon
- Sybren Renema and Timmy van Zoelen, Untitled (Museum/Mausoleum), 2010, neon
- Abstractor of the Quintessence, 2015, digital print, 100 x 70 cm
- Wanderer-Fantasie No. 1, 2015, digital print, 80 x 63,5 cm
- Wanderer-Fantasie No. 2, 2015, digital print, 80 x 63,5 cm
- Sybren Renema, Super hanc petram edificabo ecclesiam meam 1, 2013, photoprint on paper, 43.5 x 31 cm, edition of 5 + 1 AP
- Super hanc petram edificabo ecclesiam meam 4, 2013, photoprint on paper, 43.5 x 31 cm, edition of 5 + 1 AP
- Sybren Renema, Study for the death mask of an average Romantic, 2012-2014, plaster cast of 3D print, ca 12 x 18 x 28 cm
Sybren Renema, Study for the death mask of an average Romantic, 2012-2014, plaster cast of 3D print, ca 12 x 18 x 28 cm
- Suspira de profundis, 2015, digital print, 70 x 100 cm
- Sybren Renema, Mountain #137, 2015, collage on paper, 59,5 x 42 cm
- Sybren Renema, Mountain #13, 2015, collage on paper, 59,5 x 42 cm
- Mountain #97, 2015, collage on paper, 59,5 x 42 cm
- Mountain #24, 2015, collage on paper, 59,5 x 42 cm
- Mountain #81, 2015, collage on paper, 59,5 x 42 cm
- Sybren Renema, Mountain #10, 2015, collage on paper, 59,5 x 42 cm
‘Frame or be framed’ is a deep-rooted motif that runs through Puck Verkade‘s (1987) video-based practice as an inquiry into the complexities of representation. How do these complexities inform gendered and racialized biases in everyday interpersonal encounters? How are they mediated and visualised in order to perpetuate social inequalities? Digging through generational layers of visual culture tropes has led Verkade to use humor and irony as an entry into the stickiness of subjectivity. A continuous feed of embodied explorations results in speculative constructions composed of re-appropriated found footage, sampled pop music, low res animations and personal recordings. Formerly predominantly screen based, Verkade’s recent body of work is unfolding into a diverse materiality of sorts and has made way for sculptural elements to support and situate her video works as part of space-intrusive installations.
After receiving her BFA from the Royal Academy of Art in The Hague, Puck Verkade has shown her work at various institutions, such as the Gemeentemuseum Den Haag and Showroom MAMA, Rotterdam. She recently completed an MFA in Fine Art at Goldsmiths, London. Verkade lives and works in London, where she has been selected as a resident artist at Sarabande The Lee Alexander McQueen Foundation for 2017-2018.
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- Breeder, installation view, Goldsmiths, London, 2017.
Puck Verkade, Breeder, installation view, Goldsmiths, London, 2017.
- Breeder, installation view, Goldsmiths, London, 2017.
Puck Verkade, Breeder, installation view, Goldsmiths, London, 2017.
- Breeder, installation view, Goldsmiths, London, 2017.
Puck Verkade, Breeder, installation view, Goldsmiths, London, 2017.
- Breeder, installation view, Goldsmiths, London, 2017.
Puck Verkade, Breeder, installation view, Goldsmiths, London, 2017.
- Breeder, installation view, Goldsmiths, London, 2017.
Puck Verkade, Breeder, installation view, Goldsmiths, London, 2017.
- Modes of Capture, Installation view at Dye House 451, 2016.
Puck Verkade. Modes of Capture, Installation view, 2016.
- Modes of Capture, Installation view at Dye House 451, 2016.
Puck Verkade. Modes of Capture, Installation view, 2016.
- Modes of Capture, Installation view at Dye House 451, 2016.
Puck Verkade. Modes of Capture, Installation view, 2016.
- Modes of Capture, Installation view at Dye House 451, 2016.
Puck Verkade. Modes of Capture, Installation view, 2016.
- Thick Skin, looped video and PVC covered cushion, 4'25'', 2016.
Puck Verkade. Thick Skin, looped video and PVC covered cushion, 4'25'', 2016.
- Soft Capture, vertical video essay, 6'40'', 2016.
Puck Verkade. Soft Caption, vertical video essay, 6'40'', 2016.
- Self Surveillance. Video installation and a Total Body Pillow covered in PVC, 3'33'', 2016.
Puck Verkade. Self Surveillance. Video installation and a Total Body Pillow covered in PVC, 3'33'', 2016.
- Solitary Company, Installation view at Dürst Britt & Mayhew., 2016.
Installation view at Dürst Britt & Mayhew.
- Solitary Company, Installation view at Dürst Britt & Mayhew, 2016.
Installation view at Dürst Britt & Mayhew.
The strength that lies in simple and everyday objects is often the starting point for Wieske Wester’s (1985) work. These are images without masks that appeal by their lack of visual violence and spectacle, but are nevertheless characterized by a certain degree of ambiguity. Wester’s paintings and drawings depict the human desire for identity, yet are peppered with references to aggression and sexuality. Wrestlers, genitals and figures that hover between beast and man regularly pass in review. For Wester the physical act of painting and drawing is the most direct way to capture the fluidity and forcefulness of the human spirit.
Immediately after obtaining her Bachelor’s degree from the Royal Academy of Art in The Hague, Wieske Wester was selected for a two-year working period at De Ateliers in Amsterdam. In 2008 she was nominated for the Buning Brongers Prizes in Amsterdam and for the Focus Abengoa Painting Prize in Seville, Spain. In 2014 she enrolled at the HISK in Ghent to place herself into a new critical context and to further develop her chosen themes and imagery. In 2017 she was nominated for the Dutch Royal Award for Contemporary Painting.
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- Claw, oil on linen, 50 × 70 cm, 2016.
Wieske Wester. Claw, oil on linen, 50 × 70 cm, 2016.
- Octopussy, charcoal, crayon and graphite on paper, 210 × 160 cm, 2016.
Wieske Wester. Octopussy, charcoal, crayon and graphite on paper, 210 × 160 cm, 2016.
- Bananas #1, oil on linen 100 × 130 cm, 2016.
Wieske Wester. Bananas #1, oil on linen 100 × 130 cm, 2016.
- Casino, watercolour and indian ink on paper, 20 × 30 cm, 2016.
Wieske Wester. Casino, watercolour and indian ink on paper, 20 × 30 cm, 2016.
- Whisky glass #2, oil on linen,50 × 40 cm, 2015.
Wieske Wester. Whisky glass #2, oil on linen, 50 × 40 cm, 2015.
- Fighter kids, litho crayon on paper, 20 × 30 cm, 2015.
Wieske Wester. Fighter kids, litho crayon on paper, 20 × 30 cm, 2015.
- Wrestler woman, litho crayon on paper 30 × 20 cm, 2015.
Wieske Wester. Wrestler woman, litho crayon on paper 30 × 20 cm, 2015.
- Nancy, woodcut print and ink on paper, 76 × 53 cm, 2016.
Wieske Wester. Nancy, woodcut print and ink on paper, 76 × 53 cm, 2016.
- Exhibition view Un Certain Regard, Dürst Britt & Mayhew, The Hague, Netherlands, 2016.
Wieske Wester Exhibition view Un Certain Regard, Dürst Britt & Mayhew, The Hague, Netherlands, 2016.
- Exhibition view Double you double you, Dürst Britt & Mayhew, The Hague, Netherlands, 2016.
Wieske Wester Exhibition view Double you double you, Dürst Britt & Mayhew, The Hague, Netherlands (2016)
- Exhibition view Double you double you, Dürst Britt & Mayhew, The Hague, Netherlands, 2016.
Wieske Wester Exhibition view Double you double you, Dürst Britt & Mayhew, The Hague, Netherlands (2016)