Frequently the woods are pink

11 Sep 2020 - 01 Nov 2020

‘Frequently the woods are pink’ brings together a body of new works by Dutch artist Paul Beumer and Mexican artist Alejandra Venegas. Both artists share a fascination for nature and landscape, which in this case results in works made from tree bark and wood. The title of the exhibition comes from a poem by Emily Dickinson (1830-1886), which relates how the landscape changes with the seasons.

During a recent residency in Sarawak, on the island of Borneo, Paul Beumer got acquainted with textiles made out of the inner bark of specific native trees. The use of bark is one of the oldest techniques for creating textiles and predates weaving. By soaking the bark in water and pounding it with wooden tools the fibres soften and expand. This laborious process produces a stunning ochre coloured material, called barkcloth, which is held in high spiritual regard, but is also used for more common means, such as loincloths. The technique is practiced in Africa, Asia and Micronesia and from 2008 has been inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.

For his new series of works Beumer managed to obtain various sorts of barkcloth from an Iban tribe member in Sarawak. In his studio in Kuching he started to experiment with the material to see if he could slightly change the colour. He thereto employed a mixture of lemon juice and hydrogen peroxide, which enabled him to make bleached strips on the material. Subsequently he stitched together various pieces of the cloth to form abstract compositions. To even further the contrast between organic material and abstract presentation he eventually decided to encase the cloth in rectangular single colour frames. The chosen colours are referencing the colours of the sky: from a grey day to a deep blue night to a pink sunrise. 

Alejandra Venegas is a contemporary painter who recently started to use an unusual surface to paint on, namely carved wood. She hand carves landscape scenes from various sorts of wood native to Mexico, after which she colours them with gouache and wax. Uniting the natural, warm tones of the wood with stridently bright shades is a contrast she actively seeks for. Incorporating the natural irregularities of the wood makes it much more than just a panel to paint on and gives the work a definite sculptural character. She very much enjoys the artisanal and durational processes involved in the wood carving. For Venegas these works have therefore become a meeting place between painting, sculpture and drawing.

In the same vein as Paul Beumer, Venegas’ interest lies in an intercultural search for motifs, patterns and symbols, which seem to have a universal meaning. Since her childhood, through her artist parents, she has focused her gaze on Asian art, Japanese woodblock prints, Tibetan Buddhist painting, traditional African woodcarving and Egyptian hieroglyphs among many other interests. Her imagery stems from her memories and from closely observing her immediate natural surroundings, being her garden and the mountain close to her house, as well as various other territories. Her works hover between the figurative and the abstract, the real and the surreal. They have firm roots in Mexico, but they speak of a shared human experience and language.

After having shown in the Frontspace of the gallery in 2019 and being newly represented by Dürst Britt & Mayhew, ‘Frequently the woods are pink’ is Alejandra Venegas’ first major exhibition outside of Mexico. For Paul Beumer this exhibition is his third in the gallery and shows an important step in his ongoing intercultural research on textile traditions and putting these traditions into dialogue with both his own and Venegas’ contemporary painterly background.



Click to read a specially commissioned text by Paul Beumer and Alejandra Venegas.

Frontspace: Prayer Rug Selfies

11 Sep 2020 - 01 Nov 2020

During his art academy studies, Marwan Bassiouni began to carry a thin prayer rug along with him wherever he would go. He wanted to perform his five daily prayers on time. Therefore, throughout the day, no matter where he would be he would search for a quiet and empty space to attend to his daily act of worship. One afternoon, after finishing his prayers, instead of eagerly rushing back to his daily routine, he stopped and looked back at his prayer rug laying on the floor within an empty class room. For a moment it felt like he had stepped outside of time, space and himself. This simple piece of material seemed to have become the trace of an encounter between his faith and his every day environment, which are inseparable yet often separated or divided even within his own mind. And so, he made a photograph, the first prayer rug selfie.

‘Prayer Rug Selfies’ is an ongoing longterm project that now counts over 130 photographs. It is Bassiouni’s diary of an awareness of being in a certain place at a certain moment in time. Every photograph is the result of a need to pray and not an intention to make a photograph. Every location is chosen according to its suitability for a prayer to be performed and its proximity within Bassiouni’s daily environment. The picture is taken after the prayer is finished.

For his solo exhibition ‘Prayer Rug Selfies’ at Dürst Britt & Mayhew Bassiouni made a selection of images from the months of March, May and June 2020. A time characterized by the severe implications of the Corona virus, Bassiouni found himself praying outdoors more than indoors. It makes for a series of intimate and tranquil images, which are connected by an act of remembrance, humility and gratitude.

Marwan Bassiouni (1985) is a Swiss, Egyptian, American photographer. He holds a BA in photography from The Royal Academy of Art in The Hague and a photographer CFC from the Photography School of Vevey (CEPV). In 2019, he had a solo exhibition at The Hague Museum of Photography and published the photo book ‘New Dutch Views’, which was nominated for the Swiss Design Awards. His work has recently been exhibited at Aperture (USA), Fotomuseum Winterthur (CH), Athens Photo Festival (GR), The Humanity House (NL), Festival Circulation(s) (FR), Kunsthal Helmond (NL), Cultuurhuis De Warande (BE), and Paris Photo (FR). Marwan is the recipient of the W. Eugene Smith Student Grant, the Harry Pennings Prize, the Prix Circulation(s)-Fujifilm, and several other awards and nominations.

Work by Bassiouni is held in private and public collections, including Kunstmuseum Den Haag, The Hague, NL, International Center of Photography, New York, US, Menzis Art Collection, NL, Dutch Ministry of Foreign Affairs, NL and Dutch Ministry of Social Affairs and Integration, NL.



Click to read ‘Elegant rebellion’, a specially commissioned essay by Kim Knoppers


Reviews and features

Villa La Repubblica by Albertus Pieters

De Kunstmeisjes by Renee Schuiten- Kniepstra

Pf Fotografie magazine

Initiatives of Change by Tracie Mooneyham

Frieze by Kadish Morris

The Guardian by Beth Dean

Metropolis M by Domeniek Ruyters

Mister Motley by Lieneke Hulshof

De Volkskrant by Karolien Knols

Het Parool by Edo Dijksterhuis

Vèf Jaah!

14 Feb 2020 - 16 Aug 2020

On 14 February 2015 Jaring Dürst Britt and Alexander Mayhew opened the doors of their gallery in The Hague with the group exhibition ‘Urbi et Orbi’, showing fourteen promising young artists who all graduated from the Royal Academy of Art in The Hague.

14 February 2020 marked Dürst Britt & Mayhew’s fifth anniversary. The group exhibition ‘Vèf Jaah!’ shows works by all of our thirteen represented artists, as well as a selection of handouts that have been created by graphic designer Chantal Hendriksen since the beginning of the gallery in 2015.

From each of our artists we show one work that has never been shown in the gallery before accompanied by a work that was sold in the past few years and has an interesting story to the sale.

These stories have been recorded by art critic Bertus Pieters and printed on the by now well-known handout, thus giving a concise history of the gallery up to now.



Click to read ‘The Art of the Gallery’, a specially commissioned essay by Bertus Pieters.


Reviews and features

Art Viewer by Federico Acal

chmkoome’s blog by Kees Koomen

Tableau magazine by Marjolein Sponselee

Jegens en Tevens by Vincent ‘t Sas

Villa Next Door 2 by Bertus Pieters

Verweile doch! Du bist so schön!

16 Nov 2019 - 26 Jan 2020

Dürst Britt & Mayhew is proud to present “Verweile doch! Du bist so schön!”, Sybren Renema’s second solo exhibition at the gallery. Renema is interested in all forms of human knowledge-production, with a particular liking for art, history, geographical exploration and the natural sciences. His work is often concerned with narratives of exploration, the sublime landscape and the validity of Romantic clichés in the 21st century. His practice manifests itself in the form of videos, collages, neon-installations, digital prints and sculptures.

“Verweile doch! Du bist so schön!” starts from a fascination for the figure of Johann Wolfgang von Goethe (1749-1832), the Weimar-based writer, statesman and scientist. In his time Goethe reached the status of a cultural superstar with the novel “The Sorrows of Young Werther” and the drama “Faust”. Key-pieces in Renema’s exhibition are a neon-installation based on Goethe’s (pseudo-scientific) Theory of Colours and a fountain that Renema composed of ceramic casts from Goethe’s life mask. Various of the works in the exhibition are the result of recent residencies at the European Ceramic Workcentre (ekwc) in Oisterwijk and BANFF Centre for Arts in Canada.

Sybren Renema (1988) is active as a writer, musician and artist. 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. Recent solo exhibitions include “The Burden of the Incommunicable” at FIU | Miami Beach Urban Studios, “Lift off, land Ahoy” at LETO gallery in Warsaw and “Relics” at the Glasgow Project Room. Recent group exhibitions include “Nightfall” at Musée Rath in Geneva, “Palinsestri” at Sharevolution in Genoa, “Im Taumel der Nacht” at Deli Projects in Basel and “Out of Khentii” at the Union of Mongolian Artists in Chingis City. Work by Renema is held in private and public collections, including the Fries Museum in Leeuwarden, the AMC Collection in Amsterdam, the Fundación Proyecto Bachué in Bogota and the art collection of the Dutch Ministry of Foreign Affairs. In 2017 his work was shown in the Antarctic Pavilion as part of the Venice Biennial.



Click to read ’27 Minutes with Sybren Renema’, a specially commissioned essay by Ranti Tjan


Reviews and features

Art Viewer by Federico Acal

Villa La Repubblica by Bertus Pieters

Jegens & Tevens by Vincent ‘t Sas

chmkoome’s blog by Kees Koomen

De Kunstmeisjes by Mirjam Kooiman

Frontspace: Timicho

16 Nov 2019 - 26 Jan 2020

In the Frontspace Dürst Britt & Mayhew is proud to present Timicho, an exhibition by Mexican artist Alejandra Venegas.

Venegas’ work bears witness to an intense relationship with landscape, a contemporary dissolution of the barriers between culture and nature, figurative and abstract representation. Based in the mountains on the outskirts of Mexico City, Venegas establishes a dialogue with the traditional Chinese painting style Shan sui, that literally means ‘mountain’ and ‘water’, through an intuitive and spontaneous practice, imbued with the dynamism and bright palette of Mexican modern art. Intense colour and simple geometry: rivers and mountains, waterfalls and creeks, clouds and planets create serene and vivacious landscapes. Working with gouache and wax on carved native woods like ahuehuete, ciricote, huanacaxtle Venegas’ works in this exhibition delicately hover on the boundaries between drawing, painting and sculpture.

Alejandra Venegas Geffroy (1986, Mexico City) studied Visual and Plastic Arts at La Esmeralda in Mexico City. Recent solo exhibitions include “Cavar estanques y amontonar montañas” at Casa Santa Maria de Fundación Casa Wabi. Recent group exhibitions include “Luego, la forma” at Galeria GAM in Mexico City, “Quality Time” at Proxyco Gallery in New York, “Fuera de los muros entre los cuerpo” at Casa de la Cultura San Rafael in Mexico City, ”Courage! Near infra red” curated by Abraham Cruzvillegas at Galeria Rinomina in Paris and “Hacer una isla” with BWSMX at Ruberta in Los Angeles. In 2018 Venegas was a resident artist at Casa Wabi in Oaxaca. In 2014 she was selected for the XVI Biennial Rufino Tamayo and in 2016 for the Biennial UNAM of Visual Arts. In 2013 and 2015 she received the FONCA Jóvenes Creadores scholarship.



Click to read a specially commissioned interview by Madelon van Schie


Reviews and features

Villa Next Door by Bertus Pieters

Art Viewer by Federico Acal

  |  Artist's Website
An introduction to painting

07 Sep 2019 - 20 Oct 2019

Dürst Britt & Mayhew is proud to present Austrian artist David Roth‘s first solo exhibition at the gallery, which opens on Saturday 7 September between 5 and 8pm.

David Roth’s artistic practice forms a long-term research into the origins, processes and manifestations of painting. For Roth the process of making and the element of chance involved are as important to notice as the final visual outcome. Therefore a so called end product as for example a painted canvas and side products as for example a palette or a piece of cloth for cleaning brushes, have the same value for him. Every surface with marks and history of the process may turn up in his works.

Time and duration are important elements and the layering of materials from different periods within one work can either spark dissonance or renewal. Roth’s works continually play with concepts of construction and deconstruction as well as with the performative and sculptural potential painting can possess. This becomes very clear in a series of works called ‘Brain’, which seem to behave like sculptures, but nevertheless have all the trappings of a painting: a bearer (be it a canvas or pieces of cloth), colour, and even a wooden framework. The trestles which are supporting the loose painted textiles are in fact made of modificated stretcher bars.

David Roth (1985) graduated from the Academy of fine arts Vienna in the class of Daniel Richter. Recent solo and duo exhibitions include ‘remember’ at New Jörg in Vienna, ‘Vogl/Roth’ at Skulpturinstitut in Vienna, ‘ça grésille, ça clignotte’ at le commissariat in Paris and ‘Orgy Now’ at Ve.sch in Vienna. Recent group exhibitions include ‘Stretch Release’ at Dürst Britt & Mayhew, ‘Vielfalt’ at Landesmuseum Burgenland, ‘Imago Mundi’ at Belvedere Winterpalais in Vienna and ‘Plus jamais seul’ at Standards in Rennes. Work by Roth is held in private and public collections including the Landesmuseum Burgenland and the Luciano Benetton collection.


Reviews & Features

Art Viewer by Federico Acal

Villa La Repubblica by Bertus Pieters

Jegens en Tevens

What you own is on its way to others

02 Jun 2019 - 25 Aug 2019

Dürst Britt & Mayhew is proud to present ‘What you own is on its way to others’, a solo exhibition by renowned Dutch artist and poet Willem Hussem (1900-1974). 

This exhibition brings together a group of works spanning a period of thirty years; from Hussem’s foundational calligraphic ink drawings of the 1940s, through to his hard-edge paintings of the early 1970s. Mostly known for his works from the 1960s, this exhibition aims to show the breadth and line within Hussem’s oeuvre. Drawings, paintings and sculptures from different eras will be juxtaposed in a non-chronological order. The exhibition will also include several of Hussem’s poems. Gallery artist Paul Beumer has been commissioned to create a colour scheme for the exhibition walls. 

Willem Hussem continually experimented and produced highly diverse works of art. A constant aspiration towards simplicity and purity underlies his entire oeuvre. It was in Hegel’s philosophy and Zen Bhuddism that he found the intellectual basis for the universalistic outlook on the world that would determine his thought and work.

Throughout his life Hussem was in search of a manner of working that tied in with his philosophical views. In poetry, he found this in short lyrics, while in art he initially found it in a style that steered a middle path between expressionism and constructivism, and finally in geometrical abstraction. 
From 1936 until 1974 Willem Hussem lived and worked in The Hague, where he was considered a frontman of the cultural avant-garde. During his lifetime he had solo exhibitions at Gemeentemuseum in Den Haag, Museum Het Princessehof in Leeuwarden and Stedelijk Museum in Schiedam and participated in major group exhibitions in Museum Boijmans van Beuningen in Rotterdam, Van Abbemuseum in Eindhoven and Stedelijk Museum in Amsterdam. Hussem also exhibited twice at the Carnegie International in Pittsburgh, US and in 1960 he represented The Netherlands at the Venice Biennial. 

After his death the ‘Hussem Committee’, which consisted of influential artists, art historians and museum directors, kept his legacy alive. Retrospectives were mounted at Museum Boijmans van Beuningen in Rotterdam, Centraal Museum in Utrecht and most recently at Museum Belvedere in Oranjewoud. 

Hussem’s work is held in many private and public collections, including Centraal Museum, Utrecht, Gemeentemuseum, Den Haag, Museum Boijmans van Beuningen, Rotterdam and Stedelijk Museum, Amsterdam. Recently the AkzoNobel Art Foundation acquired three works for their collection.



Click to read ‘Capricious like growth’, a specially commissioned essay by Mischa Andriessen.


Reviews and features

Kunst blijft een raadsel by Paul Voors

Artdaily by Jose Villarreal

Palet magazine by Anke Roder

kM magazine by Edith Rijnja

Le Mal du Pays

13 Apr 2019 - 26 May 2019

After his recent successful solo exhibitions at the Fries Museum and Museum Het Princessehof in Leeuwarden Lennart Lahuis returns to Dürst Britt & Mayhew for his second solo exhibition at the gallery: ‘Le Mal du Pays’.

Lahuis deploys a wide variety of print-related tools, techniques and materials to transform his subjects into meditations on time, temporality and transience. His recent works deal with reflections on the European continent and can be seen as a continuation of these interests. Each work involves histories of erosion and transformation to emphasise a tension between integration and disintegration and captures a moment between appearance and disappearance, between materiality and legibility.

Central in the exhibition are three eroded clay tablets that evoke the ‘geological Brexit’ that happened 450.000 years ago by erosion of a chalk ridge that connected the United Kingdom to continental Europe. Theresa May, who is widely considered to be the personification of the current ‘political Brexit’ is present in two works for which Lahuis integrated burnt and brittle newspaper images into gigantic handmade sheets of paper.

Other elements that play an important role in the show are a refugee in the Italian village of Ventimiglia, a recently restored 9th century Moorish castle in Andalusia, the iconic stars from the logo of the EU and a painting by René Magritte after which the show is titled.

In ‘Le Mal du Pays’ Lahuis will premiere various works for which he developed new techniques; a text work on denim and a series of performative text sculptures that visitors can wear and which result in leaving the exhibition with a temporary imprint on the skin.

Lennart Lahuis (NL, 1986) received his BFA from the Artez Institute of the Arts in Zwolle in 2011 and from 2011 to 2013 he was a resident at de Ateliers in Amsterdam. He recently concluded residencies at BANFF Centre for Arts and Creativity (CAN) and Morgan Conservatory, Cleveland, Ohio (US). Recent solo and duo exhibitions include ‘Constant Escapement’ at the Fries Museum in Leeuwarden, Netherlands; ‘Land Slides’ at the National Museum of Ceramics ‘Princessehof’ in Leeuwarden, Netherlands; a solo presentation at Art Brussels with Dürst Britt & Mayhew and ‘Dead Seconds’ with Willem Oorebeek at Shanaynay in Paris. Recent group exhibitions include ‘Burn It!’ at the Krefelder Kunstverein / Kunstverein Mönchengladbach / Weltkunstzimmer Düsseldorf, Germany; ‘Common Ground’ at the AKZO Nobel Art Foundation in Amsterdam and ‘On Paper’ at the Stedelijk Museum Schiedam.

Lahuis’ work is held in private and public collections, including the Fries Museum in Leeuwarden, Stedelijk Museum Schiedam, Akzo Nobel Art Foundation, and the collections of ING Bank and the Academic Medical Center (AMC) in Amsterdam. In 2015 Lahuis won the Royal Award for Contemporary Painting as well as the Piket Art Prize.

In June Dürst Britt & Mayhew will show new works by Lahuis as part of a duo presentation with Alexandre Lavet at LISTE – Art Fair in Basel.



Click to read ‘The Pain of the Country’, a specially commissioned essay by Luuk Hoogewerf.


Reviews and features

Villa La Repubblica by Albertus Pieters

chmkoome’s blog by Kees Koomen

Trendbeheer by Jeroen Bosch

Art Viewer

Ecstatic, darkling with lofty, fumble/Reverie, angst, bumble and grumble/Lucid, limned with Rubin’s cornice and fifteen-odd semblable stumps

16 Feb 2019 - 31 Mar 2019

In the front space of the gallery: Ralph de Jongh

Dürst Britt & Mayhew is proud to present Ecstatic, darkling with lofty, fumble/Reverie, angst, bumble and grumble/Lucid, limned with Rubin’s cornice and fifteen-odd semblable stumps, British artist Alex Farrar’s second solo exhibition at the gallery.

With a systemic approach to art making Alex Farrar produces exhibitions that blur the line between artwork and context. He makes groupings of works that explore the bodily as a liminal space between our psychological world and our social lives. Farrar uses a range of sculptural, painting and print making techniques in complex relationships with their forms: often referencing the body and its residues directly, and content: emotional states ranging from longing to optimism, irritation to nervousness. Four distinct series of new works – night sweat paintings, semblable forest, a gestalt cornice and ‘umble prints – coalesce in a scene that combines traces of the lived body with paranoiac visions and pataphysical logic.

Suggesting metopes in a classical frieze, the night sweat paintings form a procession of headless writhing bodies captured on downy bed linens. Following the series of sweat paintings made in 2017 and 2018 (that were debuted at ARCO Madrid), Farrar has found in the more intimate subject of night sweat the body in repose, stressed not by any external presence but an imagined one. For these new works the artist applies a silicone based paint on various textiles commonly used as bed linen. The organic forms depicted are drawn from various acquaintances of the artist who volunteered their silhouetted sleeping positions. With a nod towards the Anthropometry paintings of Yves Klein, they share with Farrar’s previous sweat works a disconcerting materiality that is poised between the abject and the divine.

Semblable forest is a disturbing assembly of young trees felled upon reaching maturity. Made using a variation of the lost wax technique, with found tree stumps surrounded by plaster before they are incinerated, their voids replaced with bronze which is then broken out of the mold. Occupying the floorspace of the booth these modest monuments with trunks the span of your wrist and roots that reach out pointlessly, situate the exhibition space in the midst of an unseen act of destruction.

Taken together these examples reflect the shifting perspective that runs throughout the exhibition’s exploration of lived experience. Across the grouping our perception is mirrored in an exchange between the interior (psychic) life of a body and its exterior (somatic) experience. This is a continuum, a splitting of the flesh that is literally illustrated by the gestalt cornice’s evocation of the faces–vase demonstration of figure–ground perception. Here the (speaking) profile of a face is extruded to ring the perimeter of the presentation with the suggestion that the negative ‘ground’ of the exhibition space is as material as they are.

Much of the contents of the new works can be found in an embryonic state in the ‘umble prints, where a scattershot collection of heads, contorted faces, fingernails, crab shells, snakeskins amass on a backdrop of open textbooks. Printed in bright, bold colours with a risograph duplicator, their individual titles, ‘Jumble’, ‘Fumble’, ‘Stumble’ etc. belie the fragility of their making and the thread of vulnerability, weakness and precarity that runs throughout the presentation.

Alex Farrar (*1986, lives and works in Amsterdam and London) studied at Leeds Metropolitan University (Leeds, UK), Gerrit Rietveld Academie (Amsterdam) and Rijksakademie van Beeldende Kunsten (Amsterdam, NL). Recent and forthcoming solo/duo exhibitions include Bloc Projects, Sheffield (2019), SE8, London (2019), Onomatopee with Philippine Hoegen, Eindhoven (2018), ARCO Madrid with Dürst Britt & Mayhew, Madrid (2018), and de Appel Arts Centre, Amsterdam (2016). He has recently participated in group exhibitions at Copperfield Gallery, London (2018) and The Great Medical Disaster, Manchester (2017). In 2019 he will participate in a group exhibition at ChaSaMa in New York.

In the front space of the gallery Dürst Britt & Mayhew has invited Ralph de Jongh to make a solo presentation, the title of which is ‘The egg has settled’.

Ralph de Jongh’s work immediately touches the viewer’s senses. His objects possess both sculptural and pictorial characteristics and are not easy to categorise. They are very tactile and evoke associations with candy or icing on a cake. The viewer can hardly contain himself from touching the work and some people even confess to wanting to lick it. These reflexes spring from De Jongh’s use of pastel-colour and tactile materials like polystyrene and burlap. His works are characterized by craft, the beauty of small imperfections and the realisation that the material an artist works with also has a will of its own. It is this interplay between controlling the making process and the influence of the unpredictable that typifies De Jongh’s practice.

At first sight De Jongh’s works may come across as abstract. They are nevertheless well connected to the world surrounding us. His most recent works on show at Dürst Britt & Mayhew take their inspiration from images from a canonical French cookbook that was published for the first time in the 1950s.

Attracted mostly by dishes with egg-preparations and banana-desserts, De Jongh has transformed the beautifully arranged plates into abstract colour patterns that evoke associations with galaxies and bird’s eye views. By using oil stick and pastel he manages to give his drawings his typical tactile feeling. The granularity of the oilstick is mirrored in the polystyrene balls in the artist made frames. This way De Jongh cleverly manages to merge the seemingly different media of drawing and sculpture.

Ralph de Jongh (1978, living and working in Haarlem) received his BFA from Artez/AKI in Enschede. He is co-founder of nomadic artist’s initiative Sugarpop Institute and recently had solo presentations at Prospects and Concepts at Art Rotterdam, The Supermarket in Stockholm and Zoete Broodjes in Amsterdam. He participated in group exhibitions at 37PK and Nieuwe Vide in Haarlem, Performance Bar Worm in Rotterdam, Quartair in The Hague and De Oude Kerk in Amsterdam. He was nominated for both DeAanzet! Prize and de Scheffer Prize. Work by De Jongh is held in private and public collections including the Voorlinden Museum, Wassenaar and the Rijnstate Collection, Arnhem.


03 Nov 2018 - 20 Jan 2019


In the front space of the gallery: Willem Hussem (1900-1974)

Joseph Montgomery’s second solo exhibition at the gallery is comprised of shim paintings. Whereas in previous exhibitions his work has combined both soft collage and the hard edges of the shim painting, this exhibition is only built upon the base structure of wedge combinations. This includes an animation in which the protagonist is also constructed from wedges.

Shims are thin pieces of construction material typically used to fill in a gap or as a leveling device and are often made of cedar, a rot resistant type of lumber. They are used in two places in Montgomery’s work, the “shim painting” and the “shim doll”, both of which are composed of articulations of the modular unit. Thus the shim forms the basis of an expressive visual language through repetition and difference. They are present in the application suites and as two tools that allow the artist to compose a doll or painting by displaying all possible iterations given a set of limitations.

The title “Joe” comes from the fact that the artist is called by two names. He is Joe informally and Joseph formally. Similarly, a painting can be named twice or three or four times. Montgomery’s use of multiple aesthetics to construct paintings names painting both as a friendly practice and a strange practice. The play between informal and formal occurs in this new body of work’s use of mirror as a painting material. Collaged within the shims by occupying the interstitial space between the wedges, the reflective surface renders the figure ground relationships ambiguous while giving the decorative nature of the material a more psychological purpose. In the fragmentation of the architecture around the object and the reflection of the viewer’s body in portions, the shim + mirror combination announces a protagonist who is mutable relative to perspective. Similarly, a set of three monochromes appear solid from afar. At an intimate distance, bundled wedges and rectangles undulate under the skin of paint.

In the animation, the shim doll bathes. Based on the Bonnard painting Nude in the Bath (1936), the doll continuously labours to rest amidst two other characters, reflection in the fluid and shadow in the depths.


front space: Willem Hussem (1900 – 1974)

As a prelude to his solo exhibition at Dürst Britt & Mayhew in the spring of 2019 we will show a small selection of works by renowned Dutch artist Willem Hussem (1900-1974) in the front space of the gallery.

As an artist Willem Hussem continually experimented and produced highly diverse works of art, including painting, drawing and sculpture. A constant aspiration towards simplicity and purity underlies his entire oeuvre. This aspiration is closely connected with his need for clear systems of thought. It was in Hegel’s philosophy and Zen Bhuddism that he found the intellectual basis for the universalistic outlook on the world that would determine his thought and work.

Throughout his life Hussem was in search of a manner of working that tied in with his philosophical views. In poetry, he found this in short lyrics, while in art he initially found it in a style that steered a middle path between expressionism and constructivism, and finally in geometrical abstraction.

In 1960 Willem Hussem represented The Netherlands at the Venice Biennial. During his lifetime he had solo exhibitions at Gemeentemuseum in Den Haag, Museum Het Princessehof in Leeuwarden and Stedelijk Museum in Schiedam and participated in major group exhibitions in Museum Boijmans van Beuningen in Rotterdam, Van Abbemuseum in Eindhoven and Stedelijk Museum in Amsterdam. He also exhibited twice at the Carnegie International in Pittsburgh, US.

After Hussem’s death in 1974, the ‘Hussem Committee’, which consisted of influential artists, art historians and museum directors, kept his legacy alive. Retrospectives were mounted at Museum Boijmans van Beuningen in Rotterdam, Centraal Museum in Utrecht and most recently at Museum Belvedere in Oranjewoud.

Hussem’s work is held in many private and public collections, including Centraal Museum, Utrecht, Gemeentemuseum, Den Haag, Museum Boijmans van Beuningen, Rotterdam and Stedelijk Museum, Amsterdam.



Click to read a specially commissioned interview by Edwin Jacobs, director of Dortmunder U.


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Art Viewer

Den Haag Centraal by Eline van der Haak

Villa Next Door by Albertus Pieters

Jegens en Tevens by Frits Dijcks

Kunst  blijft een raadsel by Paul Voors

Fish and chips

08 Sep 2018 - 28 Oct 2018

To start off the new season Dürst Britt & Mayhew is proud to present a duo exhibition with new paintings and drawings by Jacqueline de Jong and Wieske Wester. Both from a different generation, they give their own specific twist to classical genres such as the food-still life and landscape painting. Besides new work, De Jong will also show works from the 1980s and 1960s. What connects these two painters is the energy of their brushstrokes and draughtsmanship as well as a seemingly fearless approach to their chosen medium and themes. The combination of Wester’s penchant for seafood and De Jong’s liking for potatoes makes for an intriguing juxtaposition.



Wieske Wester, Fish #6, 2017.

Charcoal and Indian ink on paper,
 50 × 70 cm.



Click to read ‘I do not paint nature. I am nature’, a specially commissioned essay by Robert-Jan Muller


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Art Viewer

Villa Next Door by Albertus Pieters

The odd uneven time

06 Jul 2018 - 25 Aug 2018

“Friday, 9:45pm…Three years ago, the hot sticky August rain fell big and wet as I sat listlessly on my porch at home, crying over the way summer would not come again– never the same. The first story in print came from that ‘never again’ refrain beat out by the rain. August rain: the best of the summer gone, and the new fall not yet born. The odd uneven time.”

Sylvia Plath, JOURNALS [August 8, 1952]


For the summer season of 2018 Dürst Britt & Mayhew is proud to present a group exhibition with a selection of works by our eleven represented artists.



Jacqueline de Jong, Untitled (diary drawing), 1974.

Acrylic and indian ink on paper, 58 x 79 cm.


Reviews and features

Trendbeheer by Jeroen Bosch


facade suspended

05 May 2018 - 23 Jun 2018

facade suspended, the first solo exhibition by Pieter Paul Pothoven at Dürst Britt & Mayhew, sheds light on RARA, the Revolutionary Anti-Racist Action. During the 1980s and 1990s, this resistance collective fought against racism, oppression and exploitation, the ongoing legacy of Dutch imperialist history.

The works on show are the first in a series in which Pothoven, in close consultation with RARA, both documents and elaborates on this unprecedented case of post-war resistance. Point of departure for this exhibition is Overtoom 274, a house in Amsterdam that played a pivotal role in the exposure of RARA. facade suspended focuses on a police raid on the premises that took place in 1988, as well as on the facade itself, which is not only linked to RARA, but also has its own distinctive connection to the Dutch colonial past.

On the occasion of facade suspended, a conversation between Yvette Mutumba (co-curator Berlin Biennial 2018 and editor-in-chief of the art magazine C&) and Pothoven will be published, as well as a text by historian and journalist Roeland Muskens (author of: On the right side, a biography of the Dutch anti-apartheidsmovement 1960-1990).


Click to read ‘Balancing Acts: a conversation between Pieter Paul Pothoven and Yvette Mutumba’.

Reviews and features

Metropolis M by Yvette Mutumba

Villa La Repubblica by Albertus Pieters

Villa Next Door by Albertus Pieters

Body Building

17 Feb 2018 - 14 Apr 2018

The group exhibition ‘Body Building’ plays with the boundaries between physical, psychological and architectural space. Organic and anthropomorphic forms choose to either contrast or mix with more modular constructions. The exhibition space shows similarities with a construction site or a mental map, a place of transition and transformation.

Participating artists:

Alex Farrar (1986, UK)
Alexandre Lavet (1988, FR)
Joseph Montgomery (1979, US)
Maarten Overdijk (1977, NL)
Jonas Wijtenburg (1989, NL)

We would like to thank Galerie Lily Robert and Galerie Paris-Beijing for their kind cooperation.


Essay on Body Building

Click to read ‘The Elastic Psychology of Seymour Fisher’, a specially commissioned essay by Maarten Overdijk.


Reviews and features on Body Building

de Volkskrant by Sacha Bronwasser

Art Viewer

Villa Next Door by Albertus Pieters


Silent Light

13 Apr 2016 - 14 May 2016

The group exhibition Silent Light at Dürst Britt & Mayhew shows a selection of lens-based works from five of the gallery’s represented artists: Alexandre Lavet (FR), Raúl Ortega Ayala (MX), Pieter Paul Pothoven (NL), Sybren Renema (NL) and Puck Verkade (NL). The four video works and one slide projection are characterized by their tacit, contemplative nature. Ironically, the only work that is accompanied by sound specifically deals with the theme of silence. All the works in the exhibition force the viewer to slow down and forego any immediate expectations. These works were not created to deliver any instant gratification, but they rather play with the idea of delay and how nature has a different way of ordering things. The cosmos seems to have a bigger plan than what man is able to play out on this world’s stage, however hard he tries.



Click to read ‘Land of the Enlightened’, a specially commissioned essay by Alix de Massiac.


Reviews and features

Art Viewer

De Correspondent by Marian Cousijn