(、ン、)

03 Sep 2022 - 23 Oct 2022

Alexandre Lavet’s work constantly seems to hover on the verge of presence and disappearance. He plays with the apparent homogeneity of exhibition spaces to uncover the details that mark the uniqueness and specificity of each place. It is these particularities that Lavet wants to bring to light, thereby slowing down the viewers’ gaze and making them more aware of their surroundings.

For (、ン、), his second solo exhibition at Dürst Britt & Mayhew Lavet proposed to relocate all the packed artworks from the gallery’s storage to the main exhibition space. By this intervention he allows the audience to enter an environment full of ‘sleeping’ artworks, a moment of stasis, and of anticipation of what is hiding in the crates and bubblewrap. The exhibition space has been darkened and in some places resembles the artist’s own bedroom: the walls have a similar colour and mouldings and even the cling on the entrance door has been replicated. Piles of literature about sleeping and rest are strewn throughout the space and the artist’s custom made pajamas are lying about. Drawings of cartoon characters at rest are placed on top of some of the artworks. When one listens carefully one can hear the muffled sounds of the outside world as if in a state between sleeping and waking, between dreaming and reality. 

Alexandre Lavet (France,1988) received both his BFA and MFA from the École Supérieure d’Art in Clermont-Ferrand, France. Recent solo exhibitions include ‘Everyday, I don’t’ at CAC Passerelle in Brest, France, ’Learn from yesterday. Live for today. Look to tomorrow. Rest this afternoon’ at Deborah Bowmann in Brussels, ‘I would prefer not to’ at Galerie Paris-Beijing in Paris, and ‘La cigarette n’a pas le même goût au soleil’ at Dürst Britt & Mayhew. Recent group exhibitions include ‘When in Doubt, Go to a Museum’ at City Museum of Ljubljana, ‘Grand Salon’ at Centre d’Art Contemporain/Passages in Troyes, France, ‘Olaph the Oxman’ at Copperfield Gallery, London, ‘Vision’ at Palais de Tokyo in Paris, ‘Run Run Run’ at Villa Arson in Nice, and ‘The Context’ at Museum Flehite in Amersfoort, Netherlands. His work is held in private and public collections, including the moraes-barbosa collection in São Paulo, The EKARD collection and the Lisser Art Museum (LAM) in The Netherlands. Alexandre Lavet is living and working in Brussels.

 

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Frontspace: Worms

03 Sep 2022 - 23 Oct 2022

In his artistic practice Polish artist Piotr Łakomy explores the relationship between the human body, architecture, and the environment. For his first solo exhibition in The Netherlands he will present a new series of intimate works, some of which contain silkworm cocoons. 

Łakomy is known for using both organic and industrial materials in his work, often focusing on aluminum honeycomb – a material traditionally used in aerospace and construction industries – which he employs in a way that suggests natural formation. Apart from the formal properties of the honeycomb, Łakomy considers its cellular structure a pattern that symbolizes the potential for dwelling. 

With the use of ostrich eggs, that often appear in his work, the artist refers to the sphere as a fundamental architectural form and as a shelter for life. For his solo exhibition at Dürst Britt & Mayhew he for the first time deploys a much smaller type of ’animal container’: silkworm cocoons. These are made of extremely long threads (1,5 to 3 km from a single thread) and are known for their special physical properties and great strength. 

Piotr Łakomy (b.1983) lives and works in Poznań, Poland. Recent solo exhibitions were mounted at Le Creux de L’enfer, Thiers, France; Stereo, Warsaw; Simian, Copenhagen; Koenig 2, Vienna; SKALA, Poznań, Poland; Avant-Garde Institute, Warsaw; Centre for Contemporary Art FUTURA, Prague; The Sunday Painter, London. Selected group exhibitions include ‘The Living House’, Kunstverein Braunschweig, Germany; ‘Who Are We Are Who’, Braunsfelder Family Collection, Cologne; ‘Harvest the crust from your eyes’, Slash, San Francisco; ‘Metamorphosis. Art in Europe Now’, Foundation Cartier, Paris; ‘Orient’, Kim Contemporary Art Center, Riga, Latvia; ‘Half-Truth’, Xawery Dunikowski Museum of Sculpture, Warsaw; ‘Views Art Prize’, Deutsche Bank Foundation Award, Zachęta National Gallery of Art, Warsaw; ‘Private Settings’, Museum of Modern Art Warsaw. 

Work by Łakomy is held in many private and public collections including the Museum of Modern Art in Warsaw, Art Collection Telekom, Filiep Libeert collection and the Collezione Agovino.

Łakomy is represented by Galeria Stereo, Warsaw and The Sunday Painter, Londen, who have mounted various solo presentations in their galleries and at art fairs like LISTE Art Fair Basel; Art Basel Statements; Frieze New York; Paris Internationale. 

We thank Galeria Stereo from Warsaw for their kind cooperation.

 

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With Sighs Too Deep for Words

27 May 2022 - 24 Jul 2022

Lennart Lahuis’ third solo exhibition at Dürst Britt & Mayhew brings together three distinct bodies of works, in which present, past, and future appear to be collapsing into each other and different technological eras converge.

Firstly there is ‘Astromelancholia’, an astronomical clock that connects various contemporary images with the course of the planets in our solar system. The photographic images that are shown in relation to this clock are cut in four concentric circles and contain marks that make it possible to use them as functional dials from which astronomical information can be read when mounted on the mechanism. When attached to the clock the image will only return to its original starting position in 18,6 years. The clock is accompanied by a comprehensive manual prepared by graphic design studio Our Polite Society.

Three of the dials represent details from the strongest digital imaging sensor for astronomical purposes that has ever been developed. This sensor will find its home in the yet to be built Vera C. Rubin telescope on the Cerro Pachón ridge in North-Central Chile. This ‘camera’ will capture the largest and most detailed images of deepspace ever recorded.

In the middle of the exhibition space the viewer encounters an installation consisting of a water boiler, a vessel, a trashbin and a barrel. These various ‘containers’ produce words from water vapour that form the sentence “when is it / that we / feel change / in the air”. The words are only legible for a short time and then evaporate, after which the words are produced again. It conveys a feeling of writing with clouds, as well as commenting on the sudden and opaque shifts that continue to occur within our societies.

Additionally Lahuis realised various new ‘wax-works’, made with found photographic material from frames, printing equipment and/or calendars. These generic images are printed on the backboard of the frame and are subsequently covered with a layer of wax and paper on glass that is placed in front of the image. This specific material gesture suspends the immediate intelligibility of the images on view. They are frozen in a moment between appearance and disappearance, between absence and presence.

Lennart Lahuis received his BFA from Artez Institute of the Arts in Zwolle, Netherlands. From 2011 to 2013 he was a resident at De Ateliers in Amsterdam. Recent solo exhibitions include Those Hours That Have Lost Their Clock at Galeria Jaqueline Martins in Brussels, BE (2022); Constant Escapement at the Fries Museum in Leeuwarden, NL (2019); Land Slides at the National Museum of Ceramics Princessehof in Leeuwarden, NL (2019) and Le Mal du Pays at Dürst Britt & Mayhew Gallery in The Hague, NL (2019). Recent group exhibitions include Voorlopers at Park Paleis Soestdijk, NL (2022); In the Age of Post-Drought at CID Grand-Hornu in Boussu, BE (2021); CODA Paper Art at CODA Museum in Apeldoorn, NL (2021); When stones Awake at Platform POST in Nijmegen, NL (2021); Nabeeld at PARK in Tilburg, NL (2020); Common Ground at AKZO Nobel Art Foundation in Amsterdam, NL (2019); and Recent Acquisitions at Stedelijk Museum Schiedam, NL (2018).

In 2021 Lahuis won the FPT Sustainable Art Award in Turin, Italy and in 2015 the Royal Award for Contemporary Painting as well as the Piket Art Prize, both in the Netherlands.

Lennart Lahuis would like to thank Toine Daelmans for developing the technical components of Astromelancholia; Our Polite Society for designing the manual of Astromelancholia; and Mondriaan Fund for their generous support of his projects.

 

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Frontspace: Shoeglazing

27 May 2022 - 24 Jul 2022

Shoeglazing brings together a ceramic body of work by ten artists in an exhibition that blends the vague borders between gallery space and high end storefront. On display are over 60 ceramic shoes, both individual and pairs. Shoeglazing features more and less recent work by Verena Blok, Dorota Jurczak, Michael Portnoy, Koen Taselaar, Ola Vasiljeva and new work by Kim David Bots, Caz Egelie, Afra Eisma, Arash Fakhim and guest curator Tim Hollander. 

Starting as first a mental collection and later a slowly growing folder of snapshots of encountered shoes over the years, the exhibition zooms in on this medium within a medium and the shoe as a vessel for ideas, dreams and values. Some of the works allude to a feeling of home, others explore gender roles, capitalist fetishes and futures, or simply act as containers for larger sculptures. Whilst the shoestore-like scenography might suggest otherwise: these shoes are not just objects, and certainly weren’t made for walking. 

Artist bio’s:

Verena Blok (1990, Netherlands) is a visual storyteller with a major fascination for people. She is interested in how people relate to each other and the influence that cultural developments have on an individual’s life. She is currently finishing her residency at the Rijksakademie van Beeldende Kunsten in Amsterdam, and her work was recently included in exhibitions at Het Rembrandthuis (2022), Noorderlicht Photo Festival (2020) and Stedelijk Museum Amsterdam (2018). 

Kim David Bots (1998, Netherlands) uses a large variety of materials to create installations that feature multiple narratives, characters and perspectives. His works have recently been shown at Unfair Amsterdam (2020), A-Dash Athens (2019) Marres in Maastricht (2017) and he was nominated for the Royal Prize of Painting multiple times.

Caz Egelie (1994, Netherlands) creates installations, performances, two-dimensional works and videos. In their multi-disciplinary body of work the visual vocabulary of the works is combined with Caz’ conceptual approach, and their appetite for theatre and performativity. They studied Fine Arts at the HKU in Utrecht and has recently exhibited and performed at CENTRALE Brussels (2021), Open Space London (2020) Centraal Museum Utrecht (2019) and Palais de Tokyo (2019).

Afra Eisma (1993, Netherlands) uses tufted carpets, ceramics, paper cache and textiles to create tactile and attractively colourful installations that focus on connection and generosity. Recent solo exhibitions include ‘Your Silence Will Not Protect You’ at the Fries Museum in Leeuwarden (2021), Kunstinstituut Melly in Rotterdam (2021) and 1646 in The Hague (2020). She was nominated for the Scheffer Prize in 2022 and the Royal Prize of Painting (NL) in 2018. 

Arash Fakhim (1987, Iran) graduated from ArtEZ in 2016 and has an atypical approach to classic mediums like painting. His recent solo exhibition at Unfair’s Temporary Museum (2021) featured objects that were in between paintings, shelves and highly personal shrines. He recently exhibited at Patty Morgan (2020), No Man’s Art Gallery (2019), Collectie De Groen (2019) and Museum van Bommel van Dam (2017).

Tim Hollander (1987, Netherlands) works as an artist, curator and designer. Their work often focus on the production, presentation and handling of art. Recent artistic and curatorial projects have been shown at Museum IJsselstein (2021), Page Not Found (2021), Marres in Maastricht (2020) and Hotel Maria Kapel in Hoorn (2017). In 2016 they attended the Jan van Eyck academy in Maastricht. 

Dorota Jurczak’s (1978, Poland) practice features macabre and fantastical works combine influences from folklore and mythology, along with inventions of her own imagination. The figures in her work are predominantly indebted to Eastern European iconography and exist in darkly whimsical dream-worlds. Recent solo exhibitions include the Bergen Kunsthall (2018), Künsterhaus Stuttgart (2017) and Culturgest Lisbon (2016)

Michael Portnoy (1971, USA) is a New York-based artist. Coming from a background in dance and stand-up comedy, his performance-based work employs a variety of media: from participatory installations to sculpture, painting, writing, theater, video and curation. He has presented internationally in museums, art galleries, theatres and music halls, including recently Vleeshal, Middelburg (NL) 2020; IFFR Rotterdam (NL), 2020; steirischer herbst, Graz (AT) 2018 and 2019; Witte de With, Rotterdam (NL) 2016; the Centre Pompidou, Paris (FR) 2015; Stedelijk Museum, Amsterdam (NL) 2014

Koen Taselaar (1986, Netherlands) has a unique visual language and works in drawings, ceramics, textile and printmaking. Taselaar was nominated for the Volkskrant Beeldende Kunst Prijs in 2015, has attended numerous residencies and has recently exhibited at Museum Boijmans van Beuningen (2016), Centraal Museum Utrecht (2018), Page Not Found (2020) and Bienalsur Montevideo (2021). 

Ola Vasiljeva (1981, Latvia) lives and works in The Hague. Ola Vasiljeva’s interdisciplinary practice includes sculptures, drawings, found and modified objects often referred to as ‘props’, as well as videos, slide shows, printed matter and poetry. She was nominated for the Prix de Rome in 2013 and has recently had solo shows at 427 Gallery in Riga (2021), Pori Art Museum in Finland (2020) and Kaiser Wilhelm Museum in Krefeld (2019).

Shoeglazing has been kindly supported by Gemeente Den Haag and Stroom Den Haag.

 

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Mingle

19 Mar 2022 - 08 May 2022

Rachel de Joode is well-known for mixing mediums, particularly those of photography, sculpture and most recently, painting. Her work bounces between the physical and the virtual, exploring the relationship between the three-dimensional object and its two dimensional-representation. De Joode’s work is a constant play between surface, representation and materiality.

For a series that premieres in her first solo exhibition at Dürst Britt & Mayhew, De Joode mounted prints on wooden panels – not only on the front, but also on he sides, mimicking the effect of a very flat canvas. Subsequently she made thick marks on the works by means of paint strokes that are applied in a frivolous way. This playfulness has been accentuated by using bright, cheerful bubble-gum-like colours. Several of these work are presented in a salon hanging, as if performing in a cheerful choir.

De Joode (1979, The Netherlands) earned her diploma in time-based art from the Gerrit Rietveld Academie in Amsterdam. She was awarded the Deutsche Börse Residency Program at the Frankfurter Kunstverein in Frankfurt (2013) and the Sculpture Space funded residency (2012), as well as a residency at LMCC swingspace program at Governors Island (2013 – 2014) in New York.

Her work has been included and reviewed in Vitamin C: Clay and Ceramics (Phaidon), ArtforumArtnetThe New York TimesThe New YorkerDIS magazine and Charlotte Cotton’s book Photography is Magic.

De Joode’s work has been exhibited at Centre Photographique, Marseille (2021); Annka Kultys Gallery, London (2020); The Pitcairn Museum of Contemporary Art, Groningen (2020); Göteborg International Biennial for Contemporary Art (2019); Galerie Christophe Gaillard, Paris (2018); ZKM, Karlsruhe (2017); ICA, Philadelphia (2017); Kunstfort Vijfhuizen (2017); Kunstverein Nürnberg (2016); Dürst Britt & Mayhew, The Hague (2016); MACRO Contemporary Art Museum of Rome, Rome, (2015); Bergen Kunsthall (2012).

Work by de Joode is held in various private and public collections, including the Collection of Keramiek Museum Princessehof, Leeuwarden and the collection of the Amsterdam UMC.

Rachel de Joode would like to thank the Mondriaan Fund for their kind support and the Amsterdam UMC for kindly loaning a work from their collection.

 

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Frontspace: Orca

19 Mar 2022 - 08 May 2022

For her exhibition ‘Orca’ Maja Klaassens brings together a body of work consisting of painting, sculpture and installation. All works testify of the ephemeral nature of memory and the human desire to collect, record and store our memories.

Klaassens explores the way we isolate, edit, re-arrange, and save images and objects. These fragments (more easily than the whole) become props in semi-fictional or metafictional texts we ‘write’ in our own mind, as a response to experience and reality.

Her interest in writing as a kind of automatic internal mechanism reveals itself within the works in the show. Klaassens’ ‘grass’ paintings have been executed as if writing, concentrated at a desk, rose thorns on branches can be read like words on a line, and strips cut from a photograph of an orca fin are readable as both individual lines encased in glass, and a whole image.

Thorns and an orca fin can act as both a fragment and a pars pro toto, as what is missing continues to exist as a kind of ghost. To Klaassens, this is the same as how experiences remain as ghosts behind the fragments we extract from them and form into memories. 

A black fin on a black reflective dinner table turns the surface of the table into the surface of the ocean, and resembling a large screen (the ultimate memory-storage), the table becomes the bottomless pit of the interface. The impression is uncanny, and encourages the viewer to fixate on the details of real and fabricated elements within one work.

The similar shape of the thorn and the fin emphasises the way threats and protection can occur together. Klaassens tries to find ways to show how recording memory can be both pleasant and anxious: leaving us questioning the missing parts of what happened in the grass, or at the dinner table.

Maja Klaassens (1989, New Zealand) obtained her BFA from the Royal Academy of Art in The Hague in 2014, and her MA in Contemporary Art History from the Vrije Universiteit Amsterdam in 2021. Recent group exhibitions include ‘After Daan van Golden’ at Parts Project and ‘RSVP’ at Billytown. In 2019 her work was shown at Poppositions in Brussels and she co-curated the group exhibition ‘Hinkypunk’ at Billytown. In 2020 she was awarded the Stroom PRO Research Grant. 

 

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Orienting Around

04 Dec 2021 - 06 Mar 2022

’Orienting Around’ brings together the work of Yeşim Akdeniz and Marwan Bassiouni. Both artists have their roots in Islamic and Arab cultures; Akdeniz was born in Turkey and Bassiouni’s father had the Egyptian nationality. Both countries belong to the so called “Orient,” a designation for countries in the near and far east about which Europeans have long held very stereotypical ideas. Even though Akdeniz and Bassiouni have a contrasting focus in their practice and their work has different visual manifestations, the works in this exhibition nevertheless intersect in various surprising ways.

Yeşim Akdeniz‘ work is concerned with Orientalism, gender and queer studies as well as cultural appropriation. Her work is infused with symbolic narratives that can be read as signs of cultural production, negotiation and appropriation. While she was primarily focused on painting, her most recent work consists of textile assemblages titled ‘selfportrait as an orientalist carpet’. These works combine autobiographical elements with (art)-historical narratives that position questions on identity formation along with ascriptions and self-attributions of objects as representations of political structures.

Yeşim Akdeniz (Turkey, 1978) studied at the Kunstakademie in Düsseldorf (1998-2002) and at de Ateliers in Amsterdam (2002-2004). In 2005 she won the Peter Mertes Stipendium of the Bonner Kunstverein. Her work has been exhibited in institutions such as Stedelijk Museum Amsterdam, Kunstverein Frankfurt, MAK Museum Vienna and Sammlung Philara in Düsseldorf. Her work is held in private and public collections, including Deutsche Bank Collection, Sammlung Philara, Nederlandsche Bank Collection, Fries Museum and Achmea Collection. In 2017 Yeşim Akdeniz was appointed as professor at the Kunstakademie Düsseldorf. She lives and works in Brussels and Düsseldorf.

Marwan Bassiouni’s detailed photographs question how Islam is represented in the West, and show a society in which several cultures exist alongside and with each other. For his series ‘New Dutch Views’ he travelled through polders, along industrial estates, to villages, inner cities and suburbs to photograph the Dutch landscape from the windows of mosques. In the photos we see interiors, combined with the actual view that can be seen from the mosque. The works show the diversity of Islam in apparent contrast to the equally diverse and at the same time unmistakably Dutch landscape.

Marwan Bassiouni (Switzerland, 1985) 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 book ‘New Dutch Views’. His work has been exhibited at Bienne Festival of Photography (CH), Photobastei /VFG prize, Zürich (CH), Sharjah Art Foundation (UAE), Circulation(s), Paris (FR), Fotomuseum Winterthur (CH), Aperture (USA), Paris Photo (FR), Athens Photo Festival (GR). A work from his ‘New Dutch Views’ series is currently  included in the ‘Gallery of Honour of Dutch Photography’ at the Nederlands Fotomuseum in Rotterdam.

Work by Bassiouni is held in private and public collections, including the International Centre for Photography in New York, Kunstmuseum Bern, Nederlands Fotomuseum Rotterdam, Kunstmuseum Den Haag, Fenix Museum of Migration, Rotterdam, AEGON Art Collection, Dutch Ministry of Foreign Affairs and the Amsterdam UMC. Bassiouni is the recipient of amongst others the W. Eugene Smith Student Grant, the Harry Pennings Prize, and the Prix Circulation(s)-Fujifilm. Bassiouni lives and works in Amsterdam.

 

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NRC by Lucette ter Borg

Den Haag Centraal by Eline van der Haak

Villa Next Door 2 by Albertus Pieters

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Frontspace: TK 15223

04 Dec 2021 - 06 Mar 2022

Ultramarine blue is recognized as one of the most eminent colors in the history of painting. Although it has been widely available since 1826 due to the discovery of synthetic ultramarine, its specific color experience has long been inextricably linked to the rare and precious lapis lazuli stone from Sar-e-Sang. These mines in what is now called Afghanistan have been supplying the highest quality stone to an extensive trading network for over 6,000 years.

Pieter Paul Pothoven realized the work Consignor Consignee (2021) from lapis lazuli that he acquired in Kabul in 2009. The stones were shipped by the Dutch Embassy through Kamp Holland (ISAF) in Tarin Kowt, Uruzgan, to the naval base in Amsterdam. By grinding and separating the lapis lazuli based on the density and specific mass of lazurite, the mineral that gives the rock its sought after colour, the resulting pigments represent varying intensities of the very same material—from the precious ultramarine the Old Masters have worked with, to the grey-blue dust left behind in the mine shafts.

Like the stones, also the crate, in which they were transported, were reworked into supports for the different pigments. By processing, repackaging and shipping lapis lazuli anew as a series of artworks, Pothoven underlines the post-aesthetic condition of the pigments. More than just an immaterial colour experience with a range of meanings – the color of peace, virtue, the sacred, the infinite and the void – the variegated ultramarine blue of Consignor Consignee is also a carrier of pressing contexts. The dust which miners have been breathing in for thousands of years; foreign intervention in the country where the stone is mined; the Amsterdam shipyard, now a naval base, where VOC ships were once built: all these frameworks testify to an asymmetric distribution of labour, power and wealth, from which the arts too cannot escape.

Pieter Paul Pothoven’s practice consists of installation, photography and different forms of writing. Historiography in relation to material culture pervades all projects and connects them in both theoretical and visceral ways. He received his BFA at the Gerrit Rietveld Academie in Amsterdam and his MFA at Parsons The New School for Design, New York (US). He was a resident at, amongst others, Instituto Sacatar, Itaparica (BR), Fine Arts Work Center, Provincetown, MA (US) and the Jan van Eyck, Maastricht (NL). Recent exhibitions include: In the Presence of Absence, Stedelijk Museum Amsterdam (NL); No you won’t be naming no buildings after me, TENT, Rotterdam, (NL); History is His Story, Nest, The Hague (NL); facade suspended, Dürst Britt & Mayhew, The Hague (NL); You Talkin’ to me?, Barbara Seiler, Zürich (CH); Listen to the Stones, think like a mountain, Tatjana Pieters, Ghent (BE); Lapis Lazuli from Serr-i-Sang, PuntWG, Amsterdam (NL); 11:59, Hudson D. Walker gallery, Provincetown (US); The Intelligence of Things, The Kitchen, New York (US). 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. Pieter Paul Pothoven lives and works in Amsterdam.

This work has been made possible with the generous support of the Mondriaan Fund and the Faculty of Science, Geology and Geochemistry (VU University, Amsterdam), with a special thanks to Roel van Elsas.

 
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Envision this is part XXXVII of an ensemble that is no longer necessarily ceremonial

04 Oct 2021 - 14 Nov 2021
For a period of five weeks Dürst Britt & Mayhew is proud to host Networked Collective.

Networked Collective is a non-permanent group of about twenty five artists, actors, theoreticians and performers that collectively produce works, films and plays.

The main protagonist of this show is a printing press on which all the works will be produced. Every work will have multiple ‘authors’. These works have a pluriform potential; they can function autonomously, but they may also be transformed into garments, and from time to time they will be activated by performers.

The collective has been initiated by Bas van den Hurk and Jochem van Laarhoven and has been active in various places. This is the first time however that they work within the context of a ‘commercial gallery’. During this project the space of the gallery can be seen as a studio to work and experiment in, as an assembly line, as a stage for performance, a ‘zone of sentience’, a sewing workshop, an educational space, a white cube, or a hang-out.

Visitors can see the collective ‘at work’ during opening hours in the main space of the gallery. In the Frontspace there will be a continuously changing presentation of the works produced. The selection of these works will not only be made by the gallerists, but also by guest curators.

Stemming from self-organized structures Networked Collective creates a rhizomatic rampant growth in which potentialities and impotentialities – notions that come from Giorgio Agamben – both play a role.

Participants
Matea Bakula, Rob van Kranenburg, Reinout Scholten van Aschat, Matthijs van de Sande Bakhuyzen, Sofie Hollander, Felix Kindermann, Samieh Shahcheraghi, Marijn van Kreij, Piet Dirkx, Xuan Hu, Sanne Jansen, Marisa Goedhart, Liza Wolters, Arash Fakhim, Mike Suijkerbuijk, Benjamin Schoones, Alexander Mayhew, Jaring Dürst Britt, Chrys Amaya Michailidis, Isabel Cordeiro, Jamie Kane, Bo Stokkermans, Loran van de Wier, Mathilde Nobel, Lotte Driessen, Gijsje Heemskerk, Daniele Formica, Urs Moore, Fatemeh Heidari, Fatima Beker, Berendine Venemans, Andela Vidic, Katerina Sidorova and others.

Guest curators
Zeynep Kubat, Xuan Hu, Alicia Kremser and others.

Guest writer
Jeroen van der Hulst

Special Programme on Sundays
Sunday 17 October: Jam session with Mathilde Nobel, Benjamin Schoones, Samieh Shahcheraghi, Lotte Driessen, Bo Stokkermans, Jochem van Laarhoven, Bas van den Hurk and others.

Sunday 31 October: Dinner performed by Loran van de Wier and others.

Sunday 14 November: text reading with Alexander Mayhew, Reinout Scholten van Aschat, Matthijs van de Sande Bakhuyzen, Lotte Driessen, Chrys Amaya Michailidis and others.

NB: these activities will take place during the whole day. Keep an eye on our social media accounts for more information. During normal opening hours you are also welcome to visit the gallery.

 
What the moon can tell you has been said by the sun

17 Jul 2021 - 05 Sep 2021

‘What the moon can tell you has been said by the sun’ presents the work of Willem Hussem (1900-1974) alongside that of three female artists: the Dutch Esther Tielemans (1976), the Mexican Alejandra Venegas (1986) and the South Korean Jongsuk Yoon (1965).

Willem Hussem was active as a painter, sculptor and poet and is considered one of the most important abstract working Dutch artists after the Second World War. Since Dürst Britt & Mayhew took over the representation of Hussem’s estate two years ago, we have increasingly been placing his work in a contemporary context and in an international perspective. Hussem was always fascinated by Asian cultures and Pre-Columbian art and the influence of this is clearly perceptible in his work.

At the same time, Hussem is an artist who will today be referred to by some as the prototype of the “old white male artist”. With this exhibition, we want to show that such (dis)qualifications are irrelevant on a purely visual level; the similarities between the works of Hussem and the other artists – regardless of age, gender and cultural origin – can be called remarkable. All four painters attempt, in their own way, to capture nature and the landscape by means of abstract forms. It is furthermore interesting that each of the three female artists not only comes from a different continent, but is also in a different phase of her life.

 

Essay

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Plankenkoorts

16 Apr 2021 - 11 Jul 2021

Dürst Britt & Mayhew is proud to present ‘Plankenkoorts’, Jacqueline de Jong‘s third exhibition at the gallery.

The exhibition focuses on works from the 1990s and specifically on works made on sailcloth and panel. Working on sailcloth started with a commission for a branch of the Nederlandse Bank in Drachten in Friesland in 1992. De Jong was fascinated by the many shipyards in the area, where skûtsjes were built and thus she came across various discarded pieces of sailcloth. For the bank she made a partition in the middle of the office between the cashiers and the main lobby in the form of a sailcloth painted on both sides. This work ‘The Backside of Existence’ will be on view in De Jong’s upcoming retrospective at WIELS in Brussels, opening on the 1st of May.

The commission started a further series of works on sailcloth. The monumental installation ‘Hanging Women’ is included in the exhibition at Dürst Britt & Mayhew. This piece of painted unstretched cloth serves as a theatrical staging for a series of other paintings on sailcloth and board, depicting various road accidents. Both the work ‘Hanging Women’ and the car crash paintings are reminiscent of de Jong’s ‘Accidental’ and ‘Suicidal’ paintings from the 1960s. Despair and chaos are never far away and the works are a stark reminder of our current feverish times, in which we have to fight our monsters and try to find our feet again.

A series of small Indian ink drawings mounted on panel from 1973 and two large drawings from 1996 complete the exhibition, with their restless and hallucinatory imagery. They show De Jong’s continuous agility to stage her haunting protagonists, be they humans or monsters, in diverse formats and materials.

 

Essay

Click to read ‘The back(side) of painting’, a specially commissioned conversation by Anna Gritz, curator and writer at KW Institute for Contemporary Art in Berlin

 

Reviews and features

Den Haag Centraal by Eline van der Haak

Art Viewer by Federico Acal

Villa Next Door 2 by Albertus Pieters

chmkoome’s blog by Kees Koomen


 
Gläserner Mensch

28 Nov 2020 - 28 Mar 2021

‘Gläserner Mensch’ brings together a body of new works by Dutch artist Wieske Wester and Russian artist Katerina Sidorova. Both artists share a fascination for the manipulative powers of government and the value of resistance and protest. The title of the exhibition refers to the German term for a fully screened, monitored person, and is used as a metaphor for the unbridled collection of personal data from private persons. 

For her new series of large scale paintings Wieske Wester found inspiration in George Orwell’s dystopian books and essays. Instead of directly referencing for example the role of certain animals in Orwell’s ‘Animal Farm’, in which, once in power, they suppress and exploit other animals, she searched for their vulnerability. In that sense her works can be considered portraits that do not necessarily look like the portrayed, but offer an ambiguity, layers of interpretation, characteristics that have to be discovered slowly by ‘reading’ between the lines. 

Katerina Sidorova was struck by a video ad published on Youtube by the Kalashnikov military factory promoting ‘The Wall’, a truck-based device designed to stop massive demonstrations. Produced and presented with extreme levels of masculinity, aggression and obscene pride, the ad is meant to showcase the newest technological progress in Russia and deter potential protesters. For this exhibition Sidorova has recreated elements of riot control arms and oppressive architecture, but made out of a fragile material like glass, thus underlining notions of false transparency.

Wieske Wester (1985, NL) obtained her BFA from the Royal Academy of Art in The Hague, after which she was selected for a two-year residency at De Ateliers in Amsterdam. In 2015 she graduated from the HISK in Ghent. Her work has been shown internationally at various venues such as White Crypt in London and the 6th Moscow Biennale for Art. Recent projects include group exhibitions at Frans Hals Museum in Haarlem, the Gorcums Museum in Gorinchem, and CODA Museum in Apeldoorn. Wester’s work is held in private and public collections, including LAM in Lisse, Rabobank Collection, Ahold collection, and the Moraes Barbosa collection in Brazil. In 2020 she was awarded the Mondriaan Fund’s Stipendium for Established Artists.

Katerina Sidorova (1991, RU) obtained a BFA from both the Royal Academy of Art in The Hague, and Yaroslavl State Pedagogical University, Russia after which she traveled to the Glasgow School of Art for a Master in Fine Arts. Recent group exhibitions include ‘Escape Room’ at Stroom, The Hague, ‘MeetingGrounds’ at Onomatopee, Eindhoven, ’Migrating Textile, Save the Loom’ at Nieuw Dakota, Amsterdam and ‘In Poland, David Bowie was a woman’ at Van Abbemuseum, Eindhoven. Sidorova published various artist’s books of which the most recent is ‘Potato Planters’. In 2020 she was awarded the Mondriaan Fund’s Stipendium for Emerging Artists. She is currently a PhD student at the Philosophy department of Yaroslavl State Pedagogical University.

 

Essay

Click to read ‘A fictional conversation on surveilled bodies made out of fragments from recorded conversations’, a specially commissioned text by Adrian Bridget.

 

Reviews and features

NRC by Thomas van Huut

Villa Next Door by Albertus Pieters

Art Viewer by Federico Acal


 
Frontspace: Augensex

28 Nov 2020 - 28 Mar 2021

After David Roth‘s recent successful solo presentation at Vienna Contemporary Dürst Britt & Mayhew is proud to present ‘Augensex’, an intimate presentation in the Frontspace.

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.

‘Augensex’ displays a concise variety of works: a selection of recently finished small-sized paintings that have been created over a period of six to ten years; two watercolours on paper from the series ‘Action Paintings’; and a so called ‘Combine Painting’, which consist of one stretched and one unstretched canvas hung together.

David Roth (1985) graduated from the Academy of fine arts Vienna in the class of Daniel Richter. Recent solo and duo exhibitions include ‘An introduction to painting’ at Dürst Britt & Mayhew,  ‘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, the AkzoNobel Art Foundation, the Aksenov Family Foundation and the Luciano Benetton collection. David Roth lives and works in Vienna, Austria.

 

Essay

Click to read ‘A conversation about painting’, a specially commissioned interview by Jip Hinten.


 
Frequently the woods are pink

11 Sep 2020 - 15 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.

 

Essay

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

 

Reviews and features

Art Viewer by Federico Acal

Villa Next Door by Albertus Pieters

Lost Painters by Niek Hendrix


 
Frontspace: Prayer Rug Selfies

11 Sep 2020 - 15 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.

 

Essay

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

 

Reviews and features

Financieel Dagblad by Jeroen Bos

Villa La Repubblica by Albertus Pieters

Villa Next Door 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