What you own is on its way to others

02 Jun 2019 - 21 Jul 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.

 

Essay

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

 

Reviews and features

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.

 

Essay

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.


 
Joe

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 shimindex.com and dollindex.com 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.

 

Essay

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

 

Reviews and features

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.

 

Image:

Wieske Wester, Fish #6, 2017.

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

 

Essay

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

 

Reviews and features

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.

 

Image:

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).


Essay

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.

 

Essay

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 


 
Gertrude #2: Imaginary Game Soundtrack

30 Apr 2016 - 30 Apr 2016

Imaginary Game Soundtrack is the second event within the framework of GERTRUDE, the gallery’s interdisciplinary side-programme. In between exhibitions, Dürst Britt & Mayhew will invite makers from other cultural fields to activate the gallery space through for example dance, theatre, literature, music or fashion. These makers may be upcoming or established artists, but what they all share is an experimental attitude. By offering them a space where they can develop and present new productions, we aim to create a platform where different cultural disciplines are able to meet. The name of this side programme is inspired by the famous Gertrude Stein (1874-1946), legendary writer and patron of the Arts, who became well known for organizing salons at her Paris apartment that were frequented by artists, composers, writers, musicians and choreographers.

In this edition, artists were asked to give their musical answer to the question: How would an imaginary game soundtrack sound?
With: Catherine Biocca (IT/DE), Sarah&Charles (BE), Marguerite van Sandick (NL), Lieven Segers (BE), Frank Koolen feat. UMGEBUNG (NL), Reinaart Vanhoe (BE), Robbert&Frank Frank&Robbert (BE), Sara van Woerden (NL) and Geo Wyeth (US).

After  Brussels, Ghent and Rotterdam, Dürst Britt & Mayhew will host the release of the Imaginary Game Soundtrack Album. An evening of live presentations of the soundtracks in the form of performances, video, an Art-Fitness session, interventions and installations. Grab a pair of socks at the merch stand. The Album is available in a limited edition (100 hand numbered copies).

A project initiated by Dutch artist Sara van Woerden and supported by the Mondriaan Fund. After The Hague the tour will continue in Berlin, Antwerp and Amsterdam. More info about the project at igsatour.weebly.com.

The programme runs from 8 to 10 pm on Saturday 30 April.


 
Gertrude #1: Don’t Laugh at the Sunlight Upon Me

10 Apr 2015 - 10 Apr 2015

Gertrude #1: Don’t Laugh at the Sunlight Upon Me
A play by Adrian Bridget, with Michael de Roos and Vincent van Ommen

Don’t Laugh at the Sunlight Upon Me is an experimental one-act play for two actors. The play is written and directed by Adrian Bridget. Referencing the myth of Icarus, it narrates the longing struggle of a mad servant, who has made his master a hostage to his private psychological delirium. Through an effervescent use of language, the play deals with the themes of individual truth and brotherly love in an attempt to reconcile theatrical tradition and contemporary audiences.

Adrian Bridget (1990), born Adrian Mazzarolo, is an Amsterdam-based artist and writer operating in the fields of poetry, film and theatre. Following his graduation from the Royal Academy of Art in The Hague, his works have been featured in TENT (Rotterdam), Impakt Festival (Utrecht) and Dürst Britt & Mayhew’s opening exhibition Urbi et Orbi.

Don’t Laugh at the Sunlight Upon Me is the first event within the framework of GERTRUDE, the gallery’s interdisciplinary side-programme. In between exhibitions, Dürst Britt & Mayhew will invite makers from other cultural cultural fields to activate the gallery space through for example dance, theatre, literature, music or fashion. These makers can be upcoming or established, but what they share is an experimental attitude. By offering them a space to develop and present new productions, we aim to create a platform where different cultural disciplines can meet. The name of this side programme is inspired by Gertrude Stein (1874-1946), legendary writer and patron of the Arts who became well known for organizing salons at her Paris apartment that were frequented by artists, composers, writers, musicians and choreographers.