Mexican artist Alejandra Venegas is always in search for intercultural motifs, patterns and symbols, which seem to have a universal meaning. Since her childhood, 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. 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.
Typical for Venegas’ artistic practice are her unusual woodcarvings. She hand carves landscape scenes and natural motives from various sorts of wood native to Mexico, after which she colours them with gouache or oil. 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. For Venegas, these works have therefore become a meeting place between painting, sculpture and drawing, but also between nature and culture, the exterior and the interior.
The theme of her pieces, including a great variety of works on paper, is linked to her vision of natural phenomena, the climate and the seasonality of the upper zone of Xochimilco (on the southern outskirts of Mexico City), where she lives and works. Throughout her outings around Xochimilco, Venegas carefully observes the language of the plants and animals that surround her, and as part of these observations, the motifs of her reliefs emerge: seeds that sprout from the earth, plants and flowers, grasshoppers and other animals that surround the area, rain, the sun and their influence on the transformation of the landscape. But she also uses certain ornamental figures such as the spiral that symbolizes expansion and growth. Venegas’ pieces present us with scenes that make us gaze longingly at an idea of nature that is disappearing from urban life, but which, if we look closely, is still there.
Alejandra Venegas (1986, Mexico City) studied Visual and Plastic Arts at La Esmeralda in Mexico City. Recent solo and duo exhibitions include ‘Nubada’ at Proyectos Monclova in Mexico City, ‘Downpour’ with Alex Farrar at Madragoa in Lisbon, ‘Al Cerro Irradiante’ at Kubikulo in Porto, ‘Frequently the woods are pink’ with Paul Beumer at Dürst Britt & Mayhew, ‘Cavar estanques y amontonar montañas’ at Casa Santa Maria de Fundación Casa Wabi.
Recent group exhibitions include ‘Bitácoras’ at Museo de Arte Contemporáneo Querétaro in Santiago de Querétaro, Mexico ‘What the moon can tell you has been said by the sun’ at Dürst Britt & Mayhew, ‘Bailando en la oscuridad’ at Karen Huber Gallery in Mexico City, ‘Luego, la forma’ at GAM Gallery in Mexico City, ‘Quality Time’ at Proxyco Gallery in New York, ‘Courage! Near infra red’ 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. In 2023 she received the Premio Tequila 1800 Colección.
Work by Venegas is held in private and public collections, including the Roche collection in Basel, the AKZO Nobel Art Foundation in Amsterdam and the Tequila 1800 Colección in Guadalajara.
Reviews and features
For Art Düsseldorf 2023 Dürst Britt & Mayhew is proud to present a solo exhibition with works from Marwan Bassiouni’s series ‘New Western Views’.
In this ongoing series the artist captures the Western landscape as framed by the windows of mosques and Islamic prayer rooms. Bassiouni spent time traveling across The Netherlands, the United Kingdom and his native Switzerland to investigate how its landscape and architecture can be observed anew from the perspective of the religious sites of its Islamic communities. Through this journey Bassiouni challenges the stereotypes and clichés associated with the representation of Arab culture and Islamic religion within Western countries.
Bassiouni invites us to reconsider our viewpoints and questions the phenomenon of ‘othering’. In his New Western Views one is confronted with an unexpected representation of Islamic communities in the West, one where similarities and common experience are in focus and beauty is found in the harmonious co-existence of different spaces and perspectives.
Although the photographs appear to be precisely composed, they are in fact documents of existing situations which have been carefully selected by the artist. Bassiouni uses multiple exposures in a single image, causing the foreground and background to appear equally focused and creating an evenly distributed light. In doing so he eliminates the hierarchy between interior and exterior spaces, and also between the specific interiors of his images, known only to those who frequent these places of worship, and the exterior landscape that is shared by all.
Marwan Bassiouni (1985) holds a BA in photography from The Royal Academy of Art (KABK) in The Hague and a photographer CFC from the Photography School of Vevey (CEPV). He is the recipient of the W. Eugene Smith Student Grant, the Harry Pennings Prize, the Prix Circulation(s)-Fujifilm and in 2022 was named as FOAM Talent. In 2021 one of his photographs was selected for the ‘Gallery of Honour of Dutch Photography’ at the Nederlands Fotomuseum in Rotterdam. His work has been reviewed in publications such as The New Yorker, Die Zeit, The Guardian, Frieze, Artforum, the British Journal of Photography, Lens culture, Aperture, and FOAM Magazine.
In 2019, Bassiouni had a solo exhibition at the Hague Museum of Photography and published the photo book New Dutch Views. His work has been exhibited at Nederlands Fotomuseum Rotterdam, Z33 Hasselt, Sharjah Art Foundation, Shanghai Center of Photography, Three Shadows Photography Center Beijing, FOAM Amsterdam, Cultuurhuis De Warande Turnhout, Museum IJsselstein, Workplace London, Rencontres de la Photographie Marrakech, Bienne Festival of Photography, Festival Circulation(s) Paris, Athens Photo Festival, Fotofestival Naarden, Si Fest Savignano.
Bassiouni’s work is held in private and public collections including Kunstmuseum Bern, International Center of Photography New York, Kunstmuseum Den Haag, Nederlands Fotomuseum Rotterdam, Amsterdam Museum, Museum De Domijnen Sittard, FENIX Rotterdam, Dutch Ministry of Foreign affairs, Dutch Ministry of Social Affairs, AEGON, Akzo Nobel Art Foundation, Amsterdam UMC, Dutch National Bank, Eneco, KPMG and Menzis.
Currently Marwan Bassiouni has a solo exhibition at Halle Nord in Genève and is participating in group exhibitions at Kunsthaus Zürich, Museum Schloss Moyland and Deutsche Börse Photography Foundation in Eschborn. Upcoming projects include group exhibitions at H3h Biennial in Oosterhout and Museum Catharijne Convent in Utrecht.
We thank the Mondriaan Fund for kindly supporting this presentation.
Reviews and features
For Art Rotterdam 2023 Dürst Britt & Mayhew is proud to present a solo exhibition with new works by Austrian artist David Roth (1985).
Is a painting a painting if it’s not made with a paintbrush? David Roth makes a convincing case that the answer is yes. In an ongoing series of large scale works titled “Flower Paintings,” the artist uses bundles of flowers (ranging from sunflowers bought at the local market to wildflowers scavenged on the side of the highway) as paintbrushes, creating bold and powerful, large-scale, abstract works which excite and mystify. In doing so, Roth asserts that perhaps the accepted parameters of what constitutes a “painting” – how a painting is made and categorized – need be explored, challenged, and expanded.
Many of his smaller paintings are dated with quite long time frames, 2010-2022 or 2015-2022 for example. Roth has no rules for when a painting is finished. As he mainly uses oil paint which needs time to dry, he usually works on several different canvases at the same time over a period of several months. Then he puts them away, to let them breathe and dry. After he left them alone for a while he looks at them again with a fresh eye, to decide what to do. Sometimes a work indeed turns out to be finished, more often it needs more work or a new start. For Roth it is like being in love: you work on a piece and you feel like you absolutely love it. But at some point you need to take a step back, let it rest for a while, to see if it was not just a crush, but whether you are actually in love.
David Roth (1985) graduated from the Academy of fine arts Vienna in the class of Daniel Richter. Recent solo and duo exhibitions include ‘Method Acting’ at Galeria Alegria in Barcelona, ‘Imagine’ at Bildraum 01 in Vienna, ’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.
From 19 March until 20 August 2023 David Roth’s work will be shown in the group exhibition ‘Landscapes’ at Museum Schloss Moyland in Germany.
Preview
For more information on the works on show please visit our dedicated Gallery Viewer page.
Interview
Click here to read an interview with David Roth by Alex Leav for émergent magazine
Reviews and features
Dürst Britt & Mayhew is proud to present works by Alejandra Venegas and Alex Farrar in the context of Madragoa HOTEL. Madragoa HOTEL is an initiative by Galeria Madragoa, inviting international galleries to use their space at Rua do Machadinho 45 in Lisbon, Portugal.
The duo exhibition ‘Downpour’ encompasses works that thematically touch on the various manifestations of water. Water flows in seas and rivers, evaporates in the air, transforms itself into clouds, and returns to earth in the form of rain. We do not relate to it only in a visual way, but also bodily. Everyone knows the sensation of water flowing over their hands or sweat trickling down their back. Of standing in the rain, under a waterfall, or anxiously waiting for an exam, a job interview or a date. This exhibition juxtaposes visualisations of water as found in our natural surroundings and as a bodily residue.
Mexican artist Alejandra Venegas uses an unusual surface to paint on, namely carved wood. She hand carves landscape scenes and natural motives from various sorts of wood native to Mexico, after which she colours them with gouache or oil. 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. For Venegas, these works have therefore become a meeting place between painting, sculpture and drawing.
Venegas’ interest lies in an intercultural search for motifs, patterns and symbols, which seem to have a universal meaning. Since her childhood, 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.
Through subtle exaggeration and performative interventions British artist Alex Farrar likes to expose stereotypical human mechanisms. With his so called ‘sweat’ paintings he directs us to the behaviour of the body- that which we can observe directly at least, and what we can take away from it. What do our bodies reveal about how we really feel right now. We are good at ignoring our biology, with alcohol, coffee, maybe given a push we might change our diets. And towards others we are sympathetic but learn that it’s not polite to address the expressions of the body.
Using cotton, mostly the kind associated with under-layers, he dripped, poured and brushed a silicone-based mixture from the SFX industry into organic forms that improvise on the sweat-shapes that appear naturally on our clothes. Clothes soaked in sweat (outside the context of physical exercise) reveal a degree of stress between the interior and the exterior, ‘us’ and ‘the world’, suggesting an alienation that produces an abject response that we are not able to talk about very easily. Putting it in the context of a painting forces viewers to literally face these common feelings.
For Art Antwerp 2022 Dürst Britt & Mayhew is proud to present a solo exhibition by video artist Puck Verkade.
This year Puck Verkade has participated in ‘Manifesto of fragility’, 16e Biennale de Lyon in France and ‘Fun Feminism’ at Kunstmuseum Basel in Switzerland. She was also nominated for the IKOB Feminist Art Prize in Belgium. The year before saw a retrospective exhibition at Wroclaw Contemporary Museum in Poland and her being rewarded with the prestigious Charlotte Köhler Prize for the visual arts in The Netherlands.
In Antwerp Puck Verkade will show her most recent video installation ‘Unborn’, accompanied by a series of new collages.
‘Unborn’ addresses the sensitivity of reproductive freedom and choice in an absurd but openly vulnerable manner. The lead character of the film, embodied by Verkade dressed as a human-sized pigeon, grapples with contemporary reproductive rights issues informed by both societal expectations and biological determinism.
We follow the confused pigeon as she is in the process of building her nest. Collecting sticks and branches, she ponders prospective parenthood. Is she building a nest because she wants to, or just because that is what pigeons are supposed to do? Her doubts and confusions quickly drag her into an absurd parallel world in which she’s haunted by an evil crow and confronted with her peers’ expectations.
‘Unborn’ is especially poignant in this current climate where politicians worldwide have redoubled their efforts to control women’s bodies and futures and abortion rights are once again at the forefront of feminist activism. Verkade’s installation reminds us of the importance of bodily autonomy as a human right, while openly considering complex feelings of doubt, guilt, shame, and vulnerability in a way we rarely see in popular culture.
Playful, subversive and toying with the absurd, Puck Verkade’s video installations awaken a magical world that lures the viewer in and then confuses them, making the undertone of the work haunting and uncomfortable. Through a surrealist gaze she revises archetypal narratives that shape the social systems we have created for ourselves. In earlier video works Verkade sourced the visual elements and avatars from popular culture, internet and mainstream mythologies. Since 2019 she employs more analogue film techniques, including handmade props and costumes, stop motion animation and performance for the camera lens.
Verkade’s hybrid characters exist somewhere in-between animal and human, camouflage and drag, fact and fiction. A confused pigeon, an inner demon, a frustrated housefly, a curious ancestor; these protagonists reflect the various personas we carry inside us and how they always find a way to the surface despite our best attempts to suppress them. They have uneasy or unwanted questions to ask out loud, and Verkade’s topsy-turvy and cartoon-like worlds leave space to consider less binary answers.
The wider themes she engages with in her work conjure up the complex relations between the inner and outer worlds. The main threads weaving through both the presentation of her work and entire practice range from the questions of accountability and complicity, to reproductive rights, bodily agency and consent. All rather layered subjects that she approaches with sincere curiosity and humorist sensibility.
Puck Verkade (1987) holds an MFA in Fine Art from Goldsmiths University, London, and a BFA from the Royal Academy of Art, The Hague, the Netherlands. Verkade has exhibited amongst others at Zabludowicz Collection, London; Artissima, Turin; Schimmel Projects Art Centre, Dresden; Forde, Geneva; LISTE, Basel; ARCO Lisboa, Lisbon; SUNDAY, London; Berlin Feminist Film Festival, Berlin; LOOP, Barcelona and Gemeentemuseum Den Haag. In 2017-2018 she was resident artist at Sarabande The Lee Alexander McQueen Foundation in London. Verkade’s work is held in private and public collections, including the Fondazione Sandretto Re Rebaudengo in Turin, the Zabludowicz Collection in London, the Servais family collection in Brussels, the EKARD Collection in Wassenaar and the AKZO Nobel Art Foundation in Amsterdam. She lives and works in Berlin.
Reviews and features
Daremag by Nicole Büsing and Heiko Klaas
Kunstmarkt by Nicole Büsing and Heiko Klaas
Metropolis M by Lieneke Hulshof
Metropolis M by Charlotte Fijen
For the Collaborations section of Art Cologne 2022 Dürst Britt & Mayhew is proud to present a transhistorical dialogue between Dutch artists Paul Beumer (1982) and Willem Hussem (1900-1974).
What connects these two artists from different eras is their fascination for nature and landscape, which they both turn into an abstract and colourful visual language.
Their approach towards the medium may be different, but both Beumer and Hussem can considered to be painters. While Willem Hussem deployed the more traditional medium of oil on canvas, Paul Beumer uses a more experimental approach by applying kimono linings to the canvas.
For this presentation Beumer made a selection of quite dense works by Hussem to counterbalance the minimalist and evanescent feel of his own canvases. He also chose to partly paint the walls of the booth in a muddy brownish tone. The juxtaposition of both artists’ works reveals unexpected similarities in colours and forms and creates an intriguing harmony, which reaches out across the boundaries of time.
Paul Beumer is interested in researching the history and usage of fabrics and fibres within non-western cultures. To study these textile traditions he travels to far-flung places outside of Europe. For the past years Beumer has been living and working in China, Japan, Malaysia, Taiwan, Nigeria, and Sri Lanka. He currently resides in India.
For the series of works presented at Art Cologne he has made use of kimonos, the traditional dress of Japan. These garments are still worn in formal ceremonies such as weddings, graduations and funerals: life events where an important transformation is celebrated. However, Beumer does not focus his attention on the decorative, elaborate and symbolic designs on the outside, but instead looks inside at the humble linings, which sometimes happen to have a monochrome strip along the borders. He collects these to create assemblages that continue his interest in the composition of a landscape, but which at the same time show beautiful parts of a garment that are normally hidden from view and only known to the owner, who wears the soft textile close to the skin. The works therefore not only reference a natural landscape but also the sensual lines of a bodily landscape. As the secondhand kimonos have been (visibly) used and worn, the works also interweave many unknown personal histories, creating both a choir of colours and of voices.
Paul Beumer (1982) received his BFA from the Royal Academy of Art in The Hague after which he completed a two-year residency at the Rijksakademie van beeldende kunsten in Amsterdam. Recent solo and duo exhibitions include ‘As long as you know I am waiting, take your time flowers of the spring’ at GAM in Mexico City, ‘Frequently the woods are pink’ at Dürst Britt & Mayhew, ‘CONDO Mexico City’ at Proyecto Paralelo in Mexico City, ‘Paul Beumer & Willem Hussem’ at Museum Jan Cunen in Oss, ’New Seeds’ at 16by16 in Lagos, Nigeria, ‘Paint Wide Mouth White’ at Qingyun International Art Centre in Beijing, China. He participated in major group exhibitions at the Fries Museum in Leeuwarden, Museum Het Valkhof in Nijmegen, Museum Kranenburgh in Bergen, Museum De Paviljoens in Almere and the Gemeentemuseum in The Hague, The Netherlands. Work by Beumer is held in private and public collections, including the AKZO Nobel Art Foundation, Amsterdam; The Academic Medical Centre Art Collection, Amsterdam; the collection of the Dutch Ministry of Foreign Affairs, The Hague; the Collection of the District Court of Law, Amsterdam; the Rattan Chadha Collection, Voorschoten, Netherlands.
Willem Hussem (1900-1974) was a renowned Dutch artist and poet who 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, Rijksmuseum Twenthe in Enschede, Museum Dordrecht and at Museum Belvedere in Oranjewoud. His work has recently been shown at PS Project Space in Amsterdam, Artissima in Turin, Museum Jan Cunen in Oss and Proyecto Paralelo in Mexico City. In 2021 Dürst Britt & Mayhew mounted a retrospective at Pulchri Studio in The Hague with loans from museums, corporate and private collections.
Willem Hussem’s work is held in many private and public collections, including Centraal Museum, Utrecht, Gemeentemuseum, Den Haag, Museum Boijmans van Beuningen, Rotterdam, Stedelijk Museum, Amsterdam and the AKZO Nobel Art Foundation, Amsterdam.
This presentation is kindly supported by the Mondriaan Fund.
Reviews and features
For Unseen 2022 Dürst Britt & Mayhew is proud to present a duo exhibition by Marwan Bassiouni (CH, 1985) and Lennart Lahuis (NL, 1986).
Coinciding with his participation in the prestigious FOAM Talent 2022 exhibition, Marwan Bassiouni is premiering works from his series of ‘New Swiss Views’ and ‘New British Views’. This extension to his acclaimed ‘New Dutch Views’, marks the transformation of Bassiouni’s project into a ‘New Western Views’ series.
Since 2018 Marwan Bassiouni has been visiting various mosques in the Netherlands in order to photograph the Dutch landscape from the windows of these Muslim places of worship. In the photos you see interiors, combined with the actual view that can be seen from the mosque. The series New Dutch Views (2018-2019) has received international acclaim.
Last year Bassiouni traveled once more to villages, inner cities and suburbs in search of additional New Dutch Views. Together with photographs he made in 2021 in the UK and his native Switzerland, these images form the start of his series ‘New Western Views’. Works from this series will be included in upcoming group shows at Z33 in Hasselt, H3h Biënnal in Oosterhout and Kunsthaus Zürich.
Lennart Lahuis uses photographic reproductions, but makes the image misty by covering the glass plate of the frame with paper and wax. The shrouding of the image disconcerts the viewer; is the image painted or is it a photo? Lahuis plays with the materiality of visual information. Obscuring the composition causes it to almost dissolve into an immaterial blur. By veiling them he underscores the interchangeability of images in our present-day ‘information age’.
The triptych ‘Le Sentiment National’ takes a largely unknown text by artist Kurt Schwitters as its point of departure. The first part of the text seems to be an attempt to reflect on the concept of nationalism. Slowly the text starts to shift until at the end he unexpectedly confounds the very definition of it in a typically dadaist way by suggesting nothing less than a ‘shared sentiment of nationalism’, or a form of ‘global nationalism’. This process of blurring the notion of nationalism is mirrored by the technique that is applied by Lahuis to reproduce Schwitters’ text.
In 2021 Lahuis won the FPT Sustainable Art Award at Artissima in Turin. Next year he will have an extensive solo exhibition at Museum Schloss Moyland in Germany.
Reviews and features
For Art Rotterdam 2022 Dürst Britt & Mayhew is proud to present a duo exhibition by Marwan Bassiouni (CH, 1985) and Pieter Paul Pothoven (NL, 1981), which focuses on the exchange between the ‘East’ and the ‘West’.
Marwan Bassiouni visits mosques in The Netherlands in order to photograph the Dutch landscape from inside windows of Muslim places of worship. In his images you 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. The series New Dutch Views (2018-2019) received international acclaim and one of the photos is included in the ‘Gallery of Honour of Dutch Photography’ at the Nederlands Fotomuseum in Rotterdam.
In 2021 Bassiouni pursued his long-term photographic endeavor and traveled once more across polders, along industrial estates, to villages, inner cities and suburbs in search of additional New Dutch Views. Together with photographs he recently made in the UK and his native Switzerland, these images form the start of a Pan-European series New Western Views. A selection of these photos has been included in the this years Talent Issue of Foam Magazine and are also on show at Prospects & Concepts.
Pieter Paul Pothoven shows works from his series ‘Consignor Consignee’, made from lapis lazuli that he acquired in Kabul in 2009. The stones were shipped through Kamp Holland 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 hardboard and tape from the transport crate and the polypropylene sacks in which the stones were carried within Afghanistan, 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 colonial and capitalist contexts.
Reviews and features
Dürst Britt & Mayhew is delighted to announce our first participation in Art Düsseldorf with a presentation of works by:
Paul Beumer
Willem Hussem
Jacqueline de Jong
Joseph Montgomery
David Roth
For SPARK Art Fair 2022 Dürst Britt & Mayhew is proud to present a solo exhibition by Dutch painter Wieske Wester.
For her recent series of 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: ‘I didn’t paint ‘bad pigs’.There is a duality here. I painted them with the understanding that almost anyone can become a ‘bad pig’ if conditioned in a certain way and under a given set of circumstances.’ For Wester painting is a language which allows for ambiguity, different layers of interpretation, elements that need to be discovered slowly by ‘reading’ between the lines, by looking through the facade.
All Wester’s paintings and drawings can be characterized by a play with the boundaries between figuration and abstraction: ‘I’m not interested in having a portrait look like the portrayed, finding the right colour for Orwell’s cheeks, for example. It is all so distracting. It breaks the rhythm of painting. It makes no sense to me to paint skin on a surface that I consider to already be skin.’ Her works depict the human desire for identity, yet are often peppered with references to sexuality and aggression. For Wester the physical act of painting and drawing is the most direct way to capture both the fluidity and strength of the human spirit.
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. In 2017 she was nominated for the Royal Prize for Contemporary Painting in Amsterdam. Recent projects include group exhibitions at Frans Hals Museum in Haarlem and CODA Museum in Apeldoorn, Netherlands and a duo show with Jacqueline de Jong at Dürst Britt & Mayhew. Her work has been shown internationally at various venues such as White Crypt in London and the 6th Moscow Biennale for Art and presented by Dürst Britt & Mayhew at LISTE Art Fair Basel, NADA Miami and Independent Brussels. Wester’s work is held in private and public collections, including the LAM in Lisse, Netherlands, Ahold Collection, Rabobank Collection, and the Pedro Moraes Barbosa Collection in Brazil.
Essay
Click to read ‘The inner compass’, a specially commissioned essay by Oscar van den Boogaard.
Reviews and features
In the Expanded section of SPARK Art Fair in Vienna, Dürst Britt & Mayhew is proud to present a large scale installation by Austrian artist David Roth.
For this section, curator Christoph Doswald (Switzerland) has selected artworks that would not usually find a place in the art fair landscape – be it because they are too vast, bulky, ephemeral or experimental for widespread commercial use.
The work “A History of Painting” has its origin in the rags that David Roth used when painting between 2008 and 2012. The work does not only document the colours he used during these four years, but all the processes involved in painting, the painterly day-to-day, so to speak: wiping off/away, cleaning, or amending of anything which was not to appear in a painting.
David Roth (1985) graduated from the Academy of fine arts Vienna in the class of Daniel Richter. Recent solo and duo exhibitions include ‘Method Acting’ at Galeria Alegria in Barcelona, ‘Imagine’ at Bildraum 01 in Vienna, ’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 ‘The Other Side of History’, a specially commissioned text by Andreas Spiegl.
Reviews and features
For Zona Maco 2022 Dürst Britt & Mayhew is proud to present a duo exhibition by Paul Beumer (NL) and Alejandra Venegas (MX). Both artists share a fascination for nature and landscape, which for this occasion results in works made from kimono linings and wood.
Paul Beumer is particularly interested in researching the history and usage of fabrics and fibres. He thereto travels to far-flung places like China, Japan, Nigeria, Madeira and Malaysia. For a new series of works he researched and worked with kimonos, the traditional dress of Japan. These garments are still worn in formal ceremonies such as weddings, graduations and funerals: life events where an important transformation is celebrated. However, Beumer did not focus his attention on the decorative, elaborate and symbolic designs on the outside, but instead looked inside at the humble linings, which sometimes happen to have a monochrome strip along the borders. He collects these to create assemblages that continue his interest in the composition of a landscape, but which at the same time show beautiful parts of a garment that are normally hidden from view and only known to the owner, who wears the soft textile close to the skin. The works therefore not only reference a natural landscape but also the sensual lines of a bodily landscape. As the kimonos have been used and worn before, the works also interweave many unknown personal histories, creating both a choir of colours and of voices.
Alejandra Venegas is a contemporary painter who uses 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 or oil. 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. 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, 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.
Paul Beumer (1982, The Netherlands) received his BFA from the Royal Academy of Art in The Hague after which he completed a two-year residency at the Rijksakademie van beeldende kunsten in Amsterdam. Recent solo and duo exhibitions include ‘Frequently the woods are pink’ at Dürst Britt & Mayhew, ‘CONDO Mexico City’ at Proyecto Paralelo in Mexico City, ‘Paul Beumer & Willem Hussem’ at Museum Jan Cunen in Oss, ’New Seeds’ at 16by16 in Lagos, Nigeria, ’He wanted kisses, but all he got was analytical anecdotes and philosophic epigrams’ at Venue in Taipei, Taiwan, ‘Paint Wide Mouth White’ at Qingyun International Art Centre in Beijing, China. He participated in major group exhibitions at the Fries Museum in Leeuwarden, Museum Het Valkhof in Nijmegen, Museum Kranenburgh in Bergen, Museum De Paviljoens in Almere and the Gemeentemuseum in The Hague, The Netherlands. Work by Beumer is held in private and public collections, including the AKZO Nobel Art Foundation, Amsterdam; The Academic Medical Centre Art Collection, Amsterdam; the Collection of the District Court of Law, Amsterdam; the Rattan Chadha Collection, Voorschoten, Netherlands. For the past four years Beumer has been living and working in China, Japan, Taiwan and Malaysia.
Alejandra Venegas (1986, Mexico) studied Visual and Plastic Arts at La Esmeralda in Mexico City. Recent solo and duo exhibitions include ‘Frequently the woods are pink’ with Paul Beumer at Dürst Britt & Mayhew, ‘Timicho’ at Dürst Britt & Mayhew, ‘Cavar estanques y amontonar montañas’ at Casa Santa Maria de Fundación Casa Wabi, and ‘Hacer una Isla’ with Anabel Juárez at BWSMX Gallery, Ruberta Projects in Los Angeles. Recent group exhibitions include ‘Bailando en la Oscuridad’ at Galeria Karen Huber in Mexico City, ‘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, and ‘Courage! Near infra red’ curated by Abraham Cruzvillegas at Galeria Rinomina in Paris. 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. Work by Venegas is held in private and public collections, including the AKZO Nobel Art Foundation in Amsterdam and the Roche Art Collection in Basel. Venegas lives and works in Mexico City.
Essay
Click to read ‘Long-distance calls’, a specially commissioned essay by Ana Castella.
For the first edition of Art Antwerp Dürst Britt & Mayhew is proud to present a solo exhibition by Dutch artist Jacqueline de Jong (1939).
The presentation at Art Antwerp 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. The resulting piece, ‘The Backside of Existence’, has recently been on view in De Jong’s retrospective at WIELS in Brussels, which has just traveled on to Mostyn in Wales and next year to Kunstmuseum Ravensburg in Germany.
The commission started a further series of works on sailcloth. The striking work ‘Hanging Woman’ will be included in the presentation at Art Antwerp. This piece of painted unstretched cloth serves as a staging for a series of other paintings on sailcloth and board, depicting various road accidents. Both the work ‘Hanging Woman’ 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 complete the presentation, 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.
Jacqueline de Jong (NL, 1939) is revered for her involvement in European avant-garde networks including the Gruppe SPUR and the politically engaged Situationist International movement and for founding, editing and publishing The Situationist Times in Paris in the 1960s. By now her publishing, painting and sculpture endeavours have spanned over five decades, in which motifs of eroticism, desire, violence and humour continue to recur. In her painterly practice she has effortlessly switched between different styles: from expressionist painting to new figuration and pop art.
Recently De Jong had a survey show at WIELS Contemporary Art Centre in Brussels, which has now traveled to MOSTYN Contemporary Art Gallery, Wales and in 2022 to Kunstmuseum Ravensburg, Germany. This exhibition is accompanied by a comprehensive monographic publication.
In March 2019 Jacqueline de Jong was awarded the Prix AWARE for Outstanding Merit at the Ministry for Culture in Paris, France.
Recent solo exhibitions include ‘Pinball Wizard’ at the Stedelijk Museum in Amsterdam, a retrospective at Musée Les Abattoirs in Toulouse, ‘Same Player Shoots Again!’ at Treize in Paris, ‘Plankenkoorts’ at Dürst Britt & Mayhew, ’Resilience(s)’ at Pippy Houldsworth Gallery in London and ‘Billiards 1976-78’ at Château Shatto in Los Angeles.
De Jong’s most recent work is currently on view at Ortuzar Pojects in New York and has received extensive coverage in The New York Times. Recent group exhibitions include ‘She-Bam Pow POP Wizz!’ at MAMAC in Nice, ‘Radio-Activity’ at Lenbachhaus in Munich, ‘The Most Dangerous Game’ at Haus der Kulturen der Welt in Berlin, ‘Die Welt Als Labyrinth’ at MAMCO in Genève, ‘From Calder to Koons, Jewels of Artists’ at Musée des Arts Décoratifs in Paris, ‘Section Littéraire’ at Kunsthalle Bern and ‘Strategic Vandalism: the Legacy of Asger Jorn’s Modification Paintings’ at Galerie Petzel, New York.
Work by De Jong is held in private and public collections including Centre Pompidou, Paris; Stedelijk Museum, Amsterdam; Musée d’art moderne de la Ville de Paris, Moderna Museet, Stockholm; Museum Jorn, Silkeborg; Lenbachhaus, Munich; Henie Onstad Kunstsenter, Oslo; Kunstmuseum Göteborg; MCCA Toronto; MONA, Tasmania; Rachofsky Collection, Dallas; Frans Hals Museum, Haarlem; Museum Arnhem; Cobra Museum for Modern Art, Amstelveen. In 2011 De Jong’s entire archive from the 1960s was acquired by the Beinecke Rare Book & Manuscript Library of the Yale University in New Haven.
For Art Cologne 2021 Dürst Britt & Mayhew is proud to present a solo exhibition by Austrian artist David Roth.
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.
For Art Cologne Roth developed a series of so called ‘Flower Paintings’, where flowers have taken on the role of paint brushes. His flower paintings do not depict flowers but come into being through their traces, by the impressions they leave behind. They are incorporated into the painterly process as both motif and instrument at the same time. By using flowers as paint brushes Roth defines his environment as a utensil and thus characterises a concept of reality which appears in painting and as painting. As “abstract” as the works appear, their means are representational – the wild flowers, the “Fleurs Sauvages”, which he picked in France or along the Danube.
David Roth (1985) graduated from the Academy of fine arts Vienna in the class of Daniel Richter. Recent solo and duo exhibitions include ‘Imagine’ at Bildraum 01 in Vienna, ’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
For the Dialogue/Monologue section of Artissima 2021 Dürst Britt & Mayhew is proud to present a duo exhibition by Lennart Lahuis and Willem Hussem.
Lennart Lahuis has a strong interest in the fleeting and disposable nature of images and texts. He deploys a wide variety of techniques and materials to transform his chosen subjects into meditations on time, temporality and transience. This results in objects and installations that search for the limits of intelligibility and balance on the brink of disappearance. An example is an ongoing series for which he covers photographic images with paper to which he applies wax, rendering the images unrecognisable; the viewer cannot just cast a glance but needs to slow down in order to gain access to the visual information on display.
Central in the booth is 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.
Next to Lahuis’ beeswax works the presentation contains paintings and works on paper by the late artist and poet Willem Hussem, whose oeuvre is built on a constant aspiration towards simplicity and clarity. It was in Zen Bhuddism that he discovered an intellectual basis for his universalistic outlook on the world that would determine his thought and work. In the 1960s Hussem formulated a particular verbal and visual language that tied in with his philosophical views. In poetry, he found this in short lyrics, while in art he found it in a style that steered a middle path between expressionism and lyrical constructivism.
The selected works by Hussem are all characterized by cloud-like forms and elements that seem to drift off of the canvas or the paper, which makes them resonate with Lahuis’ work. Moreover Lahuis has applied three of Hussem’s poems, which speak of clouds and fog, on the side-panels of the crates in which his vaporizers are presented.
Essay
For Liste Art Fair 2021 Dürst Britt & Mayhew is proud to present a duo exhibition by Paul Beumer (NL) and Alejandra Venegas (MX). Both artists share a fascination for nature and landscape, which for this occasion results in works made from tree bark, kapok pods and wood.
During a 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 this series of works Beumer managed to obtain various sorts of barkcloth from an Iban tribe member in Sarawak. In his studio 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. To this series Beumer recently added works made from kapok pods he encountered on the island of Madeira, which share a striking similarity with barkcloth, but take on a more sculptural form.
Alejandra Venegas is a contemporary painter who uses 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 or oil. 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. 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, 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.
Essay
Click to read ‘What else is a tree but freedom?’, a specially commissioned essay by Ana Castella.
Preview
For more information on the works on show please visit our dedicated Artsy page.
For the first edition of SPARK Art Fair Dürst Britt & Mayhew is proud to present a solo exhibition by Jacqueline de Jong, comprising of paintings from her series ‘Potato Blues’ and gold objects from the series ‘Pommes de Jong’.
Inspiration for both series is Jacqueline de Jong’s delight in the strange sprouted forms that a humble potato can take on. After their harvest they are left to dry for a long period of time, during which they produce sprouts, flowers, and bulges, before finally drying out completely. Only after this long natural process of transformation are they ready to be modified into precious objects or paintings.
The lives of De Jong’s potato works start in the soil of her 16th century house in the Bourbonnais in France, where in 1996 she planted a vegetable garden. It was only in 2003 that she discovered some old potatoes in the cellar of her house. Their sprouts made her think of crazy horses or long cat’s hair and she felt that these potatoes could prove an interesting material to work with. Collector of artists’ jewellery Clo Fleiss asked her to create a piece, which led to the ‘Pommes de Jong’ series in 2008. For this series selected dried out potatoes are dipped into a bath of gold or platinum, which fixates them and preserves them for ‘eternity’ as a sort of ‘sculpture trouvée’.
In August 2016, Jacqueline de Jong and onestar press in Paris published “La Psychogeographie des pommes de terre”: Potato Blues. This artist’s book compiles reproductions of black and white photographs of De Jong’s garden and potatoes in various stages of sprouting. For the publication the photographs were retouched by the artist with a black felt pen. Additionally De Jong enlarged and transferred selected photographs onto canvas and augmented these with oil sticks and nepheline gel. Suddenly animals, landscapes and monsters – part of the artist’s vocabulary since the early 1960s – seem to emerge upon the surface of the paintings. The titles of the works are funny, zany reinterpretations of the names of the different varieties of potatoes.
We would like to thank onestar press in Paris and Eenwerk in Amsterdam for their kind cooperation and the Dutch Embassy in Austria for supporting this presentation.
Essay
For the Dialogue section of Artissima 2020 Dürst Britt & Mayhew proposes a duo exhibition by Lennart Lahuis and Willem Hussem. Click here to enter the presentation.
Lennart Lahuis (1986) has a strong interest in the fleeting and disposable nature of images and representation. In order to slow down the viewer’s gaze his works constantly seem to hover on the verge of ephemerality. Within his artistic practice he aims to delay the process of direct access to visual information. He wants to appeal to the imagination of imagery instead of displaying images as such. Thereto he deploys unusual materials such as water on concrete and beeswax on photography, which lend his works a transformative appearance. He even stretches his imagery so far as to burn it and then painstakingly restore it again. He thus confronts the viewer with the apparent interchangeability of images within our society and the active role she has in sustaining or changing this.
Artist and poet Willem Hussem (1900-1974) 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. 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.
For Vienna Contemporary 2020 Dürst Britt & Mayhew is proud to present a solo exhibition by Austrian artist David Roth.
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.
Centerpiece of the presentation is Roth’s new monumental piece ‘Come as you are’, which seems to behave like a sculpture, but nevertheless has all the trappings of a painting: bearers (be it canvasses or pieces of cloth), colour, and even a wooden framework. This piece will have its premiere at Vienna Contemporary 2020 and consists of a layering of countless painted surfaces on a wooden stretcher, which has the appearance of an ordinary drying rack. Roth thus cleverly plays with notions of what a painting can be and whether the process is actually ever finished.
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 and the Luciano Benetton collection. David Roth lives and works in Vienna, Austria.
Liste Showtime is a new online platform for 72 international galleries, where they present an artist from their programme in detail and offer works for sale. At the same time it is a collaborative artist project in which artists selected by the galleries will address the theme “Rewriting Our Imaginations” in the form of a poster. The posters will be shown and sold online as well as on view in public space in Basel from 2–15 September 2020.
Liste Showtime: Puck Verkade
Rewriting our Imaginations: Sybren Renema
Click here to enter Liste Showtime
Art-O-Rama’s Immaterial Salon invites 40 exhibitors, galleries, publishers, as well as mountaincutters, as guest artist, to offer intangible works, either sound or textual, accessible online from August 28 to September 13, 2020.
Click here to visit Fondamenta with our presentation of works by Lennart Lahuis.
Fondamenta is a project based on the work of a fair in progress, to experiment with new ways of meeting and communicating, reacting to the transformations of the present.
Fondamenta is not a viewing room, not a virtual tour, not an exhibition. It is a collective project coordinated by the curators of Artissima 2020 and produced with galleries for galleries, which are the fundamental “fondamenta” (foundations) of the fair, the heart and fulcrum of the art market.
Fondamenta will be online until 5 July 2020. About 200 works, one per gallery, are on sale, shown on virtual walls. Each wall corresponds to one section, and can be accessed by clicking on the buttons below. In each section, filtering by price or artist, or freely browsing, you can look through the works and directly contact the galleries for any further information.
The New Art Dealers Alliance (NADA) is pleased to present FAIR, a new art fair initiative taking place May 20–June 21, 2020; designed to be entirely online, function cooperatively, and act as a benefit for NADA’s community of galleries and artists. The proceeds from FAIR will directly support 118 NADA Gallery Members and 82 other galleries that have been financially impacted by the COVID-19 crisis, totaling 200 galleries around the world.
FAIR offers an alternative profit-sharing model, structured to facilitate mutual support within the art community and provide revenue to each of its participants during a time in which galleries have temporarily closed their physical locations. A percentage from each sale made from FAIR will directly benefit participating galleries and artists. In addition, a percentage of each sale will go towards supporting NADA for their efforts in producing FAIR, their continued work as an organization for art galleries, through this time of crisis and beyond.
Cooperative Sales Model:
50% of each sale goes directly to gallery (which is split evenly between artist/gallery)
20% of each sale goes into cooperative gallery sales pool; to be shared evenly among all participating galleries
20% of each sale goes into cooperative artist sales pool; to be shared evenly among all participating artists
10% of each sale goes to support the New Art Dealers Alliance (NADA)
Each participating gallery will present a series of artworks over four-weeks with the opportunity to share new artworks each week. The initiative will also feature a series of online programming and talks with participating galleries and artists. FAIR is produced in collaboration with Artlogic. With their generous support, Artlogic has created a platform to host FAIR, utilizing their Online Viewing Rooms services.
not cancelled is launching in the Netherlands gathering 21 Dutch galleries for the first online-only art week starting on Sunday 17 May and ending on Sunday 24 May.
The concept, developed by treat.agency in Vienna, is simple. Following the lockdown, the art world has been put in isolation and forced to shift activities online. By bringing together galleries via a digital event, not cancelled offers an imaginative solution to recreate the excitement and enthousiasm generated by real life art events. not cancelled Netherlands follows in the footsteps of not cancelled Vienna, Berlin, Warsaw, Paris and Chicago.
not cancelled Netherlands involves emerging to established galleries, all showing recent works by one or several artist(s). In order to showcase a broad range of galleries in a somewhat small country, galleries are from Amsterdam, The Hague, Rotterdam and Den Bosch.
not cancelled Netherlands is coordinated by Liv Vaisberg_Office for Art & Design and Dürst Britt & Mayhew.
For NADA Miami 2019 Dürst Britt & Mayhew is proud to present a solo exhibition by Dutch female painter Wieske Wester.
The strength that lies in simple and everyday objects is often the starting point for Wieske Wester’s work. These are images without masks that appeal by their lack of visual violence and spectacle, but are nevertheless characterized by a certain degree of ambiguity. Wester’s paintings and drawings depict the human desire for identity, yet are peppered with references to aggression and sexuality. Fruit, vegetables, oysters and figures that hover between beast and man regularly pass in review. For Wester the physical act of painting and drawing is the most direct way to capture the fluidity and forcefulness of the human spirit.
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. In 2017 she was nominated for the Royal Prize for Contemporary Painting in Amsterdam. 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 and CODA Museum in Apeldoorn, Netherlands and a duo show with Jacqueline de Jong at Dürst Britt & Mayhew. In 2018 her work was shown at Independent Brussels and LISTE-Art Fair Basel. Wester’s work is held in private and public collections, including the Lisser Art Museum, Ahold Collection, Rabobank Collection, and the Pedro Moraes Barbosa Collection in Brazil.
This presentation is kindly supported by the Mondriaan Fund.
Essay
Click to read ‘A Thousand Yesses’, a specially commissioned essay by Kie Ellens.
Preview
For more information on the works on show please visit our dedicated Artsy page.
For the Present Future section of Artissima 2019 Dürst Britt & Mayhew is proud to present a solo exhibition by young female artist Puck Verkade, comprising of a video installation, a large wall drawing and a series of watercolours.
Verkade’s new video installation ‘Plague’ imagines eerie parallels between ecological and mental breakdown. Narrated by a fly that fantasises about human extermination, surreal analogies between the tormented psyche and the exploited Earth unfold, climaxing in a Kafkaesque metamorphosis between a housewife and a housefly.
Verkade’s moving image work reconsiders the archetypes and narratives that shape human experience and social structures. Delivered with humour and a distinct taste for the absurd, her videos tell stories from alternative perspectives, making space for the unheard and under-represented. Shifting between the different visual modes of stop motion animation, green screen and direct to camera performance, her fast paced montages have the sensation of a moving collage; a dense juxtaposition of layered images and sounds in a cartoon reality.
Puck Verkade (b. 1987, The Netherlands, lives and works in London) received her BFA from the Royal Academy of Art in The Hague and completed an MFA in Fine Art at Goldsmiths, London in 2017. Her work has been shown internationally at amongst others: Zabludowicz Collection, London, 2019; Schimmel Projects Dresden Art Centre, Dresden, 2019; Forde, Geneva, 2019; LISTE, Basel, 2018; ARCO Lisboa, Lisbon, 2018; SUNDAY, London, 2017; Berlin Feminist Film Festival, Berlin, 2016; LOOP, Barcelona, 2015 and Gemeentemuseum Den Haag, 2013. She was 2017-2018 resident artist at Sarabande The Lee Alexander McQueen Foundation. Verkade’s work is held in private and public collections, including the Zabludowicz Collection in London and the AKZO Nobel Art Foundation in Amsterdam.
Essay
For CONDO Mexico City Dürst Britt & Mayhew is proud to be hosted by Proyecto Paralelo with a presentation of works by Paul Beumer and Willem Hussem.
For Art-O-Rama 2019 Dürst Britt & Mayhew is proud to present a duo exhibition by Jacqueline de Jong and Alexandre Lavet. Both artists share a strong interest in reading and suspense and their presentation is a play on crime scenes and the search for clues in order to ‘complete the picture’.
Inspiration for Jacqueline de Jong’s ‘Série Noire’ from 1981 came from the French series of crime novels by the same name that have been published since 1945 by Gallimard. During her Paris years in the 1960s De Jong had always enjoyed reading these novels. Because the covers of these books offered nothing but imageless black, De Jong decided to take the titles themselves and set about finding pictures to fit the stories. Alexandre Lavet’s installation consists of various trompe l’oeuil objects relating to his own personal library and notions of sleeping and relaxation.
Reviews and features
Le Monde by Emmanuelle Jardonnet
Il Sole 24 Ore by Nicola Zanella
Lennart Lahuis and Alexandre Lavet share a strong interest in the fleeting and disposable nature of images and representation. In order to slow down the viewer’s gaze their works constantly seem to hover on the verge of ephemerality, and even disappearance or absence. Their joint presentation at LISTE – Art Fair Basel aims to engage the viewer to make an effort to question both the status of the exhibition space, the work of art and the fragility of the information we consume.
Within his artistic practice Lennart Lahuis aims to delay the process of direct access to visual information. He wants to appeal to the imagination of imagery instead of displaying images as such. Thereto he deploys unusual materials such as water on concrete, beeswax on photography and frottage on denim, which lend his works a transformative appearance. He thus confronts the viewer with the apparent interchangeability of images within our society and the active role she has in sustaining or changing this.
Alexandre Lavet’s practice plays with the idea of emptiness, disappearance and erasure. Under the apparent homogeneity of exhibition spaces lie the details that mark the uniqueness and specificity of each place. It is these elements that Lavet wants to bring to light, thereby making the viewer more aware of the environment surrounding him. Thereto he deploys subtle interventions in what appear to be empty spaces; forgotten nails meticulously cut from graphite, drops of paint made out of enamel or captions on a wall that in the end only refer to themselves.
Lennart Lahuis (1986, NL) received his BFA from the Artez Institute of the Arts in Zwolle in 2011. From 2011 to 2013 he was a resident at de Ateliers in Amsterdam. Recent solo exhibitions include ‘Constant Escapement’ at Fries Museum in Leeuwarden, Netherlands, ‘Land Slides’ at the Princessehof Museum in Leeuwarden, Netherlands, ‘Le Mal du Pays’ at Dürst Britt & Mayhew and ‘Dead Seconds’ with Willem Oorebeek at Shanaynay in Paris. Recent group exhibitions include ‘Burn It’ at Krefelder Kunstverein/Kunstverein Mönchengladbach/Weltkunstzimmer Düsseldorf, and ‘Slow Works’ at Sydney Project Space, Sydney. In 2015 Lahuis won the Royal Prize for Contemporary Painting as well as the Piket Art Prize. His work is held in private and public collections, including the Fries Museum in Leeuwarden, Netherlands, Stedelijk Museum Schiedam in Schiedam, Netherlands, Akzo Nobel Art Foundation, the collection of the Academic Medical Center (AMC) in Amsterdam and the ING collection. Lennart Lahuis is living and working in Brussels.
Alexandre Lavet (1988, FR) 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 ‘Le cigarette n’a pas le même goût au soleil’ at Dürst Britt & Mayhew. Recent group exhibitions include ‘Vision’ at Palais de Tokyo in Paris, ‘Run Run Run’ at Villa Arson in Nice, ‘(In)territories/rituals’ at TARS Gallery in Bangkok and ‘The Context’ at Museum Flehite in Amersfoort, Netherlands. His work is held in private and public collections, including the Lisser Art Museum in Lisse, Netherlands. Alexandre Lavet is living and working in Brussels.
This presentation is kindly supported by the Mondriaan Fund.
Essay
Preview
For more information on the works on show please visit our dedicated Artsy page.
Reviews and features
For ARCO Madrid 2019 Dürst Britt & Mayhew is proud to present a new body of textile works by Dutch artist Paul Beumer. These works originate from the artist’s recent residency in Lagos, Nigeria.
Paul Beumer’s painterly practice oscillates freely between figuration and abstraction. Steering away from the conventions of the brush and canvas his works are made on a variation of loose cloths. He engages manual resist-dyeing techniques to produce abstract patterns that feel like faint memories of Western High Modernism. For the past few years he has focused on the relationship between Western and Asian approaches to landscape painting and nature and the use of natural dyes. This led to an interest in African dyeing techniques. During his stay in Nigeria he went to the north of the country to visit the ancient indigo pits of Kofar Mata in Kano.
This visit inspired him to create a series of patchwork wall hangings made from hand-dyed indigo fabrics. During his stay in Nigeria he was also triggered by second hand Western clothes turning up on market stalls. It made him realise that cultural interest works both ways: his fascination with traditional African blue cloth is mirrored by the African interest in Western clothing. For ARCO Madrid he therefore decided to not only show his interpretation of traditional African techniques, but to also assemble a ‘Western’ cloth, in this case second hand denim, in the same kind of manner, thereby subtly releasing both kind of blue textiles of their innate cult status.
Paul Beumer (1982) received his BFA from the Royal Academy of Art in The Hague after which he completed a two-year residency at the Rijksakademie van beeldende kunsten in Amsterdam. For the past four years he has been working and living in China, Japan and Taiwan. Recent solo exhibitions include ‘New Seeds’ at 16by16 in Lagos, Nigeria, ’He wanted kisses, but all he got was analytical anecdotes and philosophic epigrams’ at Venue in Taipei, Taiwan, ‘The message of the flower is the flower’ at Dürst Britt & Mayhew, The Hague, Netherlands, ‘Paint Wide Mouth White’ at Qingyun International Art Centre in Beijing, China, ‘In the shade of the elms and willows, my friends drink until they are inspired’ at Goethe Pavillon, Palais Schardt in Weimar, Germany. He participated in major group exhibitions at Museum Het Valkhof in Nijmegen, Museum Kranenburgh in Bergen, Museum De Paviljoens in Almere and the Gemeentemuseum in The Hague, The Netherlands.
Work by Beumer is held in private and public collections, including the AKZO Nobel Art Foundation, Amsterdam; The Academic Medical Centre Art Collection, Amsterdam; the Collection of the District Court of Law, Amsterdam; the Rattan Chadha Collection, Voorschoten, Netherlands.
In 2019 Paul Beumer was a resident at 16/16 in Lagos, Nigeria. He will return to Nigeria in October 2019 to participate in the Lagos Photo Festival.
This presentation is kindly supported by the Mondriaan Fund.
Essay
Click to read a specially commissioned conversation between Paul Beumer and Adelheid Smit.
Preview
For more information on the works on show please visit our dedicated Artsy page.
Reviews and features
For our fifth participation in Art Rotterdam Dürst Britt & Mayhew is proud to present a solo booth by British artist Alex Farrar.
With a systemic approach to art making 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. At Art Rotterdam three distinct series of new works– night sweat paintings, semblable forest 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 booth in the midst of an unseen act of destruction.
Taken together these examples reflect the shifting perspective that runs throughout the presentation’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 continuum 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, Eindhoven (2018), ARCO Madrid with Dürst Britt & Mayhew (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).
Essay
Click to read ‘So Close and So Far’, a specially commissioned essay by Josh Plough.
Preview
For more information on the works on show please visit our dedicated Gallery Viewer page.
Reviews and features
Metropolis M by Domeniek Ruyters
FAD magazine by Paul Carey-Kent
Il Sole 24 Ore by Nicola Zanella
For our first participation in NADA Miami Dürst Britt & Mayhew is proud to collaborate with LETO from Warsaw.
In our co-curated booth we present works by four of our artists: Paul Beumer (NL), Jacqueline de Jong (NL), Joseph Montgomery (US) and Sybren Renema (NL). Combined with the works by Angelika Markul (PL), Radek Szlaga (PL), and Aleksandra Waliszewska (PL) from LETO, the presentation will be characterized by references to the transformational potential of vegetation and the global environment.
Paul Beumer (NL), Kristan Kennedy (US) and David Roth (AT), the three artists presented at Parallel Vienna, can all be qualified as painters. However they do not limit their painterly practice to the well trodden path of oil on a stretched rectangular canvas. They regularly prefer to take the canvas off of the stretcher and let painted fabrics behave of their own accord. Some produce their own fabrics and dye or paint on them, others expose their painted textiles to the natural elements.
Dürst Britt & Mayhew first brought these artists together in last year’s international group show ‘Stretch Release‘, which focused on ‘paintings’ that do not necessarily ask to be hung rectangularly from a wall, but can just as well be placed as markers within the architecture of a given space. Works that subtly influence the viewers’ gaze and movements, without immediately turning into obvious sculptural interventions.
The presentation at Parallel Vienna can be seen as a sequence to ‘Stretch Release’ in a compressed form.
Reviews and features
For our first participation in LISTE – Art Fair Basel Dürst Britt & Mayhew is proud to present a duo exhibition by Puck Verkade and Wieske Wester. Their presentation forms a dialogue on power structures, gender issues, and stereotypes concerning the body and sexuality.
Puck Verkade is premiering her new video work ‘BAIT’, dealing with the topic of sexual consent, within the confines of a sculptural bed. The walls of the booth are covered in Wieske Wester’s sensual paintings and drawings of bananas and oysters – motives often associated with fertility and procreation.
Themes of dominance and aggression recur in both artists’ practices. While Wester is looking for inner forces and energies, Verkade is more interested in social constructions and externalised behaviours that have come to define our culture. Nevertheless, according to Wester even a painted image of an orange can portray a war and for Verkade humour is an entry into the sticky political subjects that her work touches upon.
Puck Verkade (1987, NL) received her BFA from the Royal Academy of Art in The Hague and recently completed her MFA Fine Art with distinction at Goldsmiths University, London. Her work has been shown internationally at various venues, such as Gemeentemuseum Den Haag, Berlin Feminist Film Festival, If So What?/Palace of Fine Arts in San Francisco, Gasworks in London, and LOOP in Barcelona. Forthcoming projects in 2018 include a solo show at Art Night London and an artist commission for Daata Editions. Verkade’s work is held in private and public collections, including the AKZO Nobel Art Foundation in Amsterdam. She lives and works in London, where she has been selected as a resident artist at Sarabande The Lee Alexander McQueen Foundation for 2017–2018.
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. In 2017 she was nominated for the Royal Prize for Contemporary Painting in Amsterdam. Her work has been shown internationally at various venues such as White Crypt in London and the 6th Moscow Biennale for Art. Forthcoming projects in 2018 include a group exhibition at CODA Museum in Apeldoorn, Netherlands and a duo show with Jacqueline de Jong at Dürst Britt & Mayhew. Wester’s work is held in private and public collections, including the Lisser Art Museum in Lisse, Netherlands and the Ahold collection in Amsterdam. She lives and works in The Hague, Netherlands.
Essay
Preview
For more information on the works on show please visit our dedicated ARTSY page.
Reviews and features
Art Diary by Anita Zabludowicz
Il Sole 24 Ore by Nicola Zanella
In the Discovery section of Art Brussels 2018 Dürst Britt & Mayhew will present a solo booth by Dutch artist Lennart Lahuis (*1986). In Europe’s capital Lahuis will show a body of new works, which can be seen as a visual exploration into the concept and understanding of ‘Europe’.
For a series of works on paper, Lahuis’ deployed a paper restoration technique that was developed by the Anna Amalia Library in Weimar, Germany after a devastating fire in 2004. Large parts of their collection, with many unique books and handwritten sheet music from the Age of Enlightenment, were destroyed. A substantial part however, was found in good enough condition to be restored. This was achieved by integrating the burnt and brittle ancient paper into a new, handmade sheet of paper. Lahuis appropriated this technique, which physically embodies the integration of the old into the new, to reproduce burnt contemporary images and texts that deal with the tension between integration and disintegration.
The series on view consists of seven so-called ‘pressure maps’. These maps show the changing pressure levels over the EU. The lines that run through these images are constantly shifting as if the continent is not divided by borders, but by ever changing weather patterns. The maps seem to be slammed into the paper and the image of the continent disintegrates differently with every forecast, each work corresponding to one day of the week.
An accompanying sculptural installation consists of a cascade, with water silently running over a slab of wet clay. On this piece of clay one can read the introduction page of a recent scientific article from renowned magazine Nature. During Brexit, a team of scientists inadvertently concluded extensive research into a ‘geological Brexit’ that happened 450.000 years ago. The article describes the erosion of a chalk ridge that once connected the United Kingdom to continental Europe. Lahuis reproduced the first page of this article in Weald Clay, which is the exact clay the article mentions as having played an important role in the erosion of the land that was once the Dover Strait.
In his presentation Lahuis uses different forms of erosion to emphasise a multi-layered tension between integration and disintegration. The story of the formation and geological history of Europe, as well as the ephemeral pressure patterns constantly allude to and resonate with the political and climatic upheavals of our time.
Essay
Click to read a specially commissioned essay by Eelco van der Lingen.
Preview
For more information on the works on show please visit our dedicated ARTSY page.
Reviews and features
Preview
For more information on the works on show please visit our dedicated ARTSY page.
Reviews and features
Friend of a Friend 2018 Warsaw
Leto Gallery hosts Dürst Britt & Mayhew
Lift Off Land Ahoy! – Sybren Renema
www.foaf.pl
Leto Gallery
Dzielna 5
00-162 Warsaw
Poland
www.leto.pl
Sybren Renema’s interest lies 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 and the sublime landscape, in which he focuses on the validity of Romantic clichés in the 21st century. He is active as an artist, writer and musician and his practice manifests itself in the form of videos, collages, neon-installations, digital prints and sculptures.
His latest videowork ‘Discovery’ follows a piece of wood from the deck of British polar explorer Robert Falcon Scott’s (1868-1912) first polar vessel, the Discovery, as it floats through the stratosphere. For this video Renema collaborated with SendIntoSpace, a company that specialises in commercial flights with stratospheric weather balloons. Point of launch was Dundee, where the restored Discovery can be visited. After having reached a height of 32 kilometers, the wooden relic and camera landed back in the North of England and were recovered using GPS. The continuity between polar travel and space flight, which Renema highlights with this work, is a phenomenon that has often been commented upon. Besides this, the work reflects on the general human tendency to escapism.
The neon sculpture accompanying the video quotes Robert Falcon Scott. ‘Great God! This is an awful place’ are the words he wrote in his diary as he reached the South Pole and found it to have already been visited by a Norwegian expedition under Roald Amundsen. In 2017 both video and neon were shown at the Antarctic Pavilion as part of the Venice Biennial. At LETO a series of collages showing images of snowy mountains now form an extra layer in this Antarctic storyline. Taken from old editions of National Geographic magazine, inhospitable areas turn into hallucinatory beauty.
After receiving his BFA from the Royal Academy of Art in The Hague Sybren Renema (1988) became the youngest MFA student to ever enroll at the Glasgow School of Art. He recently concluded residencies at Land Art Mongolia and the EKWC in Oisterwijk. Recent solo exhibitions include The Harvest of Leisure at Cydonia, Dallas, The Milk of Paradise at Dürst Britt & Mayhew and Pleasures of a Grave Desire at CCA Glasgow. Recent group exhibitions include Nightfall at Musée Rath in Geneva, Switzerland and Palinsestri at Palazzo Andrea Dori in Genoa, Italy. Renema’s work has been discussed in Artforum and various other international publications. His work is held in private and public collections, including the Fries Museum in Leeuwarden, the AMC Collection and the In4Art collection.
Reviews and features
For ARCO Madrid 2018 Dürst Britt & Mayhew is proud to present a new body of work by Alex Farrar.
Through subtle exaggeration and performative interventions Farrar likes to expose stereotypical human mechanisms. Whether a painting, sculpture or a modified plastic chair moving across the floor, they are outward looking, self-conscious additions that playfully interrupt their context and the viewer with a proposition. He manipulates ordinary objects for their performative potential. Acknowledging a lack of absolute control he creates the conditions for something to happen, the outcome of this happening isn’t fixed but depends completely on the engagement with viewers, location and duration.
Alex Farrar (UK, 1986) received BFA’s from the Gerrit Rietveld Academie in Amsterdam and Leeds Metropolitan University, after which he completed a two-year residency at the Rijksakademie van beeldende kunsten in Amsterdam. He lives and works in Amsterdam and London. Recent solo exhibitions include ‘Secondary Emotions (i)’ at de Appel arts centre, Amsterdam, ‘Secondary Emotions (ii)’ at Dürst Britt & Mayhew, ‘Code Duello’, Loods 6, Amsterdam, and ‘Self-Titled’ at Annet Gelink Gallery, Amsterdam. Recent group exhibitions include ‘Prospects and Concepts’, Art Rotterdam, ‘Summer Fete’, Ceri Hand Gallery, London, ‘Mostyn Open 18’, Oriel Mostyn Gallery, Llandudno, ‘Young British Art II’, DIENSTGEBÄUDE, Zurich. Both in 2014 and 2015 he won The Best Dutch Book Designs for two of his publications.
Essay
Click to read a specially commissioned letter from Alex Farrar to his gallerists
Preview
For more information on the works on show please visit our dedicated ARTSY page.
Reviews and features on Alex Farrar’s work at Arco Madrid
Art Rotterdam 2018
Commonities section | curated by Lorenzo Benedetti
booth C13
Lennart Lahuis & Sybren Renema
Lennart Lahuis’ main artistic concern is the suspension of visual information. His deployment of very diverse materials and techniques results in works that seem to be in a constant state of transformation and try to slow down the immediate access to imagery and texts. For his latest works Lahuis appropriates a paper restoration technique, developed by the Anna Amalia Library in Weimar to repair centuries old, burnt books. The images Lahuis reproduces in this technique are a visual exploration into different forms of erosion. They constantly evoke a tension between integration versus disintegration and reflect on the preservation of cultural history. The works on view during Art Rotterdam show a series of nameless streets in Glasgow; the street name signs have been eroded by time and weather. At times the streets have been renamed and the signs visibly replaced before disappearing again, which seems to allude to the notion that erasing names from history is not merely reserved to humans, but is a natural state of affairs.
Lennart Lahuis (1986) received his BFA from Artez in Zwolle, after which he was a resident at de Ateliers in Amsterdam. He recently concluded residencies at the EKWC in Oisterwijk, the Glasgow Sculpture Studios and Banff Centre in Canada. Recent duo and solo exhibitions include Dead Seconds with Willem Oorebeek at Shanaynay in Paris and Navigation at Dürst Britt & Mayhew. Recent group exhibitions include A Minor State of Flux at Arti et Amicitiae, Amsterdam, Slow Works at Sydney Project Space in Australia and The Fortune Teller at Garage Rotterdam. In 2015 Lahuis won the Royal Award for Contemporary Painting as well as the Piket Art Prize. His work is held in private and public collections, including the Fries Museum in Leeuwarden, the ING Collection, the Akzo Nobel Art Foundation, the AMC collection and the In4Art collection. Lahuis will have his first museum solo show in the fall of 2018 at The Fries Museum in Leeuwarden.
Sybren Renema’s interest lies 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 and the sublime landscape, in which he focuses on the validity of Romantic clichés in the 21st century. He is active as an artist, writer and musician and his practice manifests itself in the form of videos, collages, neon-installations, digital prints and sculptures. The neon sculpture shown at Art Rotterdam quotes the famous British polar explorer Robert Falcon Scott (1868-1912). ‘Great God! This is an awful place’ are the words Scott wrote in his diary as he reached the South Pole and found it to have already been visited by a Norwegian expedition under Roald Amundsen. In 2017 this work was shown at the Antarctic Pavilion as part of the Venice Biennial. Accompanying the neon is a series of collages showing images of snowy mountains. Taken from old editions of National Geographic magazine, inhospitable areas turn into hallucinatory beauty.
After receiving his BFA from the Royal Academy of Art in The Hague Sybren Renema (1988) became the youngest MFA student to ever enroll at the Glasgow School of Art. He recently concluded residencies at Land Art Mongolia and the EKWC in Oisterwijk. Recent solo exhibitions include The Harvest of Leisure at Cydonia, Dallas, The Milk of Paradise at Dürst Britt & Mayhew and Pleasures of a Grave Desire at CCA Glasgow. Recent group exhibitions include Nightfall at Musée Rath in Geneva, Switzerland and Palinsestri at Palazzo Andrea Dori in Genoa, Italy. Renema’s work has been discussed in Artforum and various other international publications. His work is held in private and public collections, including the Fries Museum in Leeuwarden, the AMC Collection and the In4Art collection. In 2018 he will have a solo exhibition at Leto Gallery in Warsaw, Poland.
Reviews and features on our booth at Art Rotterdam 2018:
NRC Handelsblad by Thomas van Huut
MetropolisM by Domeniek Ruyters
Museumtijdschrift by Kees Keijer
For our first participation in PAN Amsterdam we presented a group exhibition with works by Paul Beumer, Joseph Montgomery, Raúl Ortega Ayala and Pieter Paul Pothoven.
Reviews and features
For Artissima’s Back to the Future section, Dürst Britt & Mayhew is proud to present works by Jacqueline de Jong from her ‘Série Noire’ (1981). Inspiration for this body of work came from the French series of crime novels by the same name that have been published since 1945 by Gallimard. During her Paris years in the 1960s, Jacqueline De Jong enjoyed reading these novels. Because the covers of these books offered nothing but imageless black, De Jong decided to take the titles themselves and set about finding pictures to fit the stories. Initially the works served as a personal visual interpretation that emanated the atmosphere of the stories. Later on, Jacqueline de Jong searched for subjects outside of these novels, while still adhering to the inextricable themes of sex and violence.
‘As in a movie poster, using quick, hectic brushstrokes, Jacqueline de Jong sought to create a dramatic sketch of a situation, to capture the literally sensational of the criminal moment, with image and typography in shreds, concentrated into the classic mythical constellation of man and woman or trench coat and hat, coloured with the signs of fear – wide open eyes, the hand clutching the forbidden, blood on the knife blade, flame spewing from the barrel of the revolver, a last kiss between monster and victim.’ – Roberto Ohrt, Undercover in Art, 2003.
Jacqueline de Jong (1939) is revered for founding, editing and publishing The Situationist Times in Paris in the 1960s. By now her publishing, painting and sculpture endeavours have spanned over five decades, in which motifs of eroticism, desire, violence and humour continue to recur. Her longterm involvement and collaboration with Asger Jorn and the legacy of the Cobra movement shine through, but have never stifled the experimental nature of her artistic practice, which is as vital, provocative and contradictory as ever.
Recent solo exhibitions by Jacqueline de Jong include ‘Imagination à Rebours’ at Dürst Britt & Mayhew, ‘Imaginary Disobedience’ at Château Shatto in Los Angeles and ‘Potato Blues’ at onestar press in Paris. Recent group exhibitions include ‘On Plane Air’ at Air de Paris in Paris, ‘Section Littéraire’ at Kunsthalle Bern, ‘Medusa: Jewellery and Taboos’ at Musée d’Art Moderne in Paris, ‘The Leftovers’ at Simon Lee Gallery in New York, ‘The Avant Garde won’t give up: Cobra and its legacy’ at Blum & Poe in Los Angeles and ‘Traces – 100 years Asger Jorn’ at Cobra Museum for Modern Art in Amstelveen. Her work is held in various museums and public collections including: Stedelijk Museum Amsterdam; Moderna Museet, Stockholm; Cobra Museum for Modern Art, Amstelveen; Museum Jorn, Silkeborg; Henie Onstad Kunstsenter, Oslo; Kunstmuseum Göteborg; Lenbachhaus, Munich; MCCA Toronto; Centre Pompidou, Paris. In 2019 Jacqueline de Jong will have a solo exhibition at the Stedelijk Museum in Amsterdam.
Essay
Click to read a specially commissioned interview between Jacqueline de Jong and Juliette Desorgues.
Reviews and features
At SUNDAY Art Fair in London, Dürst Britt & Mayhew presented Puck Verkade’s ‘Frame or be framed’, which is a deep-rooted motif that runs through Verkade’s (1987, The Netherlands) video based practice as an inquiry into the complexities of representation. How do these complexities inform gendered and racialised biases in everyday interpersonal encounters? How are they mediated and visualised in order to perpetuate social inequalities?
Verkade’s installation ‘Breeder’, consisting of three video episodes and various privacy screen-like sculptures, speculates on how processes of reproduction become a sticky mess through lense based power structures. It explores how sexual, social and visual reproduction are entangled in a web of (mis)representation.
Puck Verkade received her BFA from the Royal Academy of Art in The Hague and recently completed an MFA in Fine Art at Goldsmiths, London. Her work has been shown at various venues, such as the Gemeentemuseum in Den Haag, Showroom MAMA in Rotterdam, Gasworks in London and LOOP in Barcelona. Puck Verkade lives and works in London.
Essay
Click to read a specially commissioned interview between Puck Verkade and Tamar Clarke-Brown
At CODE Art Fair 2017 in Copenhagen, Dürst Britt & Mayhew presented work by Paul Beumer, Jacqueline de Jong and Wieske Wester.
Art ARCO Lisboa 2017, Dürst Britt & Mayhew exhibited works by Alex Farrar, Lennart Lahuis and Alexandre Lavet focus on and play with various notions of emptiness, suspension and dislocation.
Alex Farrar’s (1986, UK) artistic practice concerns itself with biological remnants and dislocation. The biological remnants in question can be as commonplace as pieces of nails and eyelashes found in his studio. These human traces dislocated themselves from their original source and found an apparent end point in a certain space. This specific space however did not allow for natural perishment, as Farrar takes notice of the smallest particles surrounding him.
Lennart Lahuis’ (1986, NL) main artistic concern is the suspension of visual information. His deployment of very diverse materials and techniques results in works that seem to be in a constant state of transformation and try to slow down the immediate access to imagery and texts. At ARCO Lisboa he will show a work composed of words on stone tiles. These words appear when water is applied to the stones and slowly disappear as the water evaporates.
Alexandre Lavet’s (1988, FR) work plays with the idea of emptiness, disappearance and erasure. Under the apparent homogeneity of exhibition spaces lie the details that mark the uniqueness and specificity of each place. It is these elements that Lavet wants to bring to light, thereby making the viewer more aware of the environment surrounding him. His subtle interventions unobtrusively steer the viewer’s gaze away from obvious directions.
Reviews and features
For Independent Brussels 2017 Dürst Britt & Mayhew is proud to present a solo exhibition with new works by American artist Joseph Montgomery.
The mainstay of Montgomery’s oeuvre consists of two different types of work. There are the minimalist, monochromatic shims on the one hand and the collages on the other. Both kind of works have the structure and syntax of sculpture, but they simultaneously have all the trappings of painting. This blurring and confounding of classification lends them a strange sense of hybridity.
For his collages Montgomery is basically attracted to the classical portrait format with which he creates layered abstract images, which are reminiscent of faces or muzzles. Since last year they mostly begin as self-portrait pencil sketches on paper, emphasizing a large nose and long hair and perhaps a gender fluidity. These are vectorized and assigned colours in the computer. Then they are printed on plastic with an emulsion that interacts with alcohol in order to be transferred onto canvas. Subsequently Montgomery chooses either to keep this ‘pigment transfer’ as is or add various other layers of paint, pastel or found materials.
Montgomery’s shim works are composed of a generative, readymade material, the 16 inches long, tapered wedges you can find in the lumber section of any DIY store. Rearranging them, assembling them, is another way of representing painting. Recently he started adding vegetation that the finds in the vicinity of his studio. The wedges also pop up in other series and media in the form of life-size sculptures and video-animations, hence becoming a returning motif.
Joseph Montgomery (1979, Northampton, MA, US) lives and works in New York. Recent solo exhibitions include ‘Rules for Coyote’ at Dürst Britt & Mayhew, ‘DOLLS’ (with Sherrie Levine) at Paula Cooper Gallery, ‘Heads, Calves’ at Laurel Gitlen, ‘Doll Index’ at Peter Blum Gallery and ‘Five Sets Five Reps’ at the Massachusetts Museum of Contemporary Art (MASS MoCA). His work was also shown in the seminal group exhibition ‘Painter Painter’ at The Walker Art Centre in Minneapolis. Work by Montgomery is held in private and public collections, including the Centraal Museum Utrecht, Netherlands.
At Art Rotterdam 2017, Dürst Britt & Mayhew presented several pieces by Wieske Wester, Raúl Ortega Ayala and Alexandre Lavet.
Main section: Wieske Wester
Projections: Raúl Ortega Ayala
We Like Art: Alexandre Lavet
Reviews and features
Jegens en Tevens by Nathalie van der Lely
chmkoome’s blog by Kees Koomen
De Groene Amsterdammer by Roos van der Lint (Raúl Ortega Ayala)
For our first participation in Artissima in 2016, Dürst Britt & Mayhew is proud to present a solo exhibition by Sybren Renema.
Reviews and features
For our first participation in SUNDAY Art Fair, Dürst Britt & Mayhew is proud to present a group exhibition by Paul Beumer, Lennart Lahuis and Raúl Ortega Ayala.
Reviews and features
For our second participation in the UNSEEN Amsterdam Photo Fair, Dürst Britt & Mayhew is delighted to present a group exhibition by Lennart Lahuis, Raúl Ortega Ayala and Sybren Renema.
Reviews and features
At LOOP Barcelona 2016, Dürst Britt & Mayhew presented a solo exhibition by Raúl Ortega Ayala. His video work ‘Field-note 25-01-16 (unintended anthropometric and behavioural study material)’ consists of footage from VHS tapes that were abandoned in a dusty corner in the storage of a film set in Mexico City. The tapes contained many different things but Ortega Ayala selected only casting shots for commercials from the 1990s, because they depict subjects that did not make it into the realm of history. In this case the footage shows all those people that were not selected for one reason or another, while also portraying rather unintentionally an anthropometric exercise, a portrait of contemporary behaviour and a depiction of people’s aspirations. The quick succession of various human types tragicomically characterises an age, which was still unaware of the impact that mobile communications, social networks, and reality shows would soon have.
For the first edition of CODE Art Fair in 2016, Dürst Britt & Mayhew is proud to present a solo exhibition by American artist Joseph Montgomery.
The mainstay of Joseph Montgomery’s oeuvre consists of two different types of work. There are the minimalist, monochromatic shims on the one hand and the collages on the other. Both kind of works have the structure and syntax of sculpture, but they simultaneously have all the trappings of painting. This blurring and confounding of classification lends them a strange sense of hybridity.
For Montgomery the works represent different kinds of labour. The shims are composed of a generative, readymade material, the 16 inches long, tapered wedges you can find in the lumber section of any American DIY store. Rearranging them, assembling them, is another way of representing painting. Painting for Montgomery is not the pursuit of one ultimate masterpiece but rather a collection of choices, starting from the ground up, to reach an image-like quality. For his collages he is basically attracted to the classical portrait format with which he creates layered abstract images, which are often reminiscent of faces or muzzles.
Montgomery takes this kind of caricaturization a step further in his most recent, slightly larger and flatter works. They begin as self-portrait pencil sketches on paper, emphasizing a large nose and long hair and perhaps a gender fluidity. The sketches are then vectorized and assigned colours in the computer. Then they are printed on plastic with an emulsion that interacts with alcohol in order to be transferred onto canvas. The goal is to have a single action image production through the transfer process on to the canvas. Chance, liquidity and manipulability take over from then but the artist decides if satisfaction is achieved in that single action.
Besides shims and collages Montgomery also works in other media. He for example makes dolls out of the same wedges he uses for the shims. These figures can manifest themselves physically, but also in the form of animations. They are like avatars that represent an anthropomorphized image of labour. In the animations the doll repeats elementary human actions over and over. Painting for Montgomery is ultimately not about expression: painting is a verb, a repetitive tool, a possibility to keep working.
Joseph Montgomery (1979, Northampton, MA, US) lives and works in New York. Recent solo exhibitions include Rules for Coyote at Dürst Britt & Mayhew, DOLLS (with Sherrie Levine) at Paula Cooper Gallery, Heads, Calves at Laurel Gitlen, Doll Index at Peter Blum Gallery and Five Sets Five Reps at the Massachusetts Museum of Contemporary Art (MASS MoCA). His work was also shown in the seminal group exhibition Painter Painter at The Walker Art Centre in Minneapolis. Work by Montgomery is held in private and public collections, including the Centraal Museum Utrecht.
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At Amsterdam Art Fair 2016, Dürst Britt & Mayhew presented the work of Dutch artist Paul Beumer.
Traditional Chinese approaches to painting have always been an inspiration to Paul Beumer, especially in the depictions of natural scenery. A classical Chinese landscape painting is not meant to reproduce an actual view, as would a Western figurative painting. Whereas the European painter wants you to borrow his eyes and look at a particular landscape from a specific angle, the Chinese painter does not choose a single viewpoint. His landscape is not a real one, and you can enter it from any point: there are various paths for the eyes to travel or divert from.
In 2015, Paul Beumer spent four months in Xiamen in China as a resident at the Chinese European Art Centre (CEAC), where he further researched his sensibility for the country’s ancient visual forms and techniques and how to combine these with his own Western artistic background. For the previous two years Paul Beumer had been experimenting with mixing inks and watercolours with natural materials such as mud, leaves and twigs, to create compositions, which for the greater part depend on gravity and viscosity to reach their final form.
The painted cotton fabrics shown at the Amsterdam Art Fair still hold this suggestion of various natural processes, but on a much larger scale. The works are irregular, unpretentious, earthy, combining imprints of household objects, like mops and buckets, with more organic forms. The patterns of ink make you travel through a landscape which is both physical and mental. Just like the classical Chinese painter Paul Beumer does not want to borrow you his eyes. He wants you to enter an inner landscape, a spiritual and conceptual space, in which you slowly have to carve your own individual path.
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For the inaugural edition of Independent Brussels in 2016, Dürst Britt & Mayhew presented works by Mexican artist Raúl Ortega Ayala and Dutch artist Pieter Paul Pothoven. Both artists are no stranger to iconoclasm and have a strong predilection for the application of scientific techniques within their artistic practice, be it the use of X-rays on paintings or diamond turning on an antique bronze mirror. These techniques are used to strip away layers of time in order to create new engagements with history. Ortega Ayala’s works reveal images that are hidden under paintings from various museum collections. Pothoven gives back use value to two corroded antique mirrors, in order for us to look at ourselves in an unexpected light.
Click here to read ‘Double Exposure’, a specially commissioned essay by Christel Vesters.
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For our second participation in Art Rotterdam, Dürst Britt & Mayhew presents a solo booth by Lennart Lahuis.
Lennart Lahuis’ main artistic concern is the suspension of visual information. His deployment of very diverse materials results in works that seem to be in a constant state of transformation and try to slow down the process of immediate access to imagery.
For his presentation at Art Rotterdam, Lahuis created a series of eight silkscreens that he subsequently burnt. The appropriated images on the silkscreens are taken from advertisements for luxury watches. By speeding up the process of deterioration Lahuis puts an emphasis on the themes of duration and consumption. The advertised eternity of these high-end watches seems to be negated by the burnt paper. In a way Lahuis seems to capture the last breath of an image and put it bluntly in front of an image-hungry audience. He considers the image as a material, as an element that has to deal with the process of time and its consequences. The image will become frail, fade away and eventually die.
This correlation between construction and deconstruction is reminiscent of Federico Fellini’s famous film 8 ½, in which an eminent director, played by Marcello Mastroianni, starts the production of his next movie while suffering from “director’s block”. The film was highly influential as it liberated subsequent filmmakers of the conventions of time, place and mode of experience that had prevailed up to the 1960s. Lahuis silkscreened and burnt two film stills as a reference to 8 ½ ’s dealing with the deconstruction of narrative and the never-ending greed for image production.
The walls of the booth at Art Rotterdam have been covered in wallpaper and show two sentences relating to transparency and the transfer of information. The words are made from glass micro beads. To be able to read the sentences the viewer has to slowly navigate around the booth in order for the reflection to hit the eye and the information to reach the brain.
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For its first participation in The Others, in a former prison in Turin, Dürst Britt & Mayhew presented Sigh, an installation of works on paper by Dutch artist Paul Beumer.
Paul Beumer’s painting practice oscillates freely between figuration and abstraction. His recent works on paper, made with watercolour and ink, bear a strong relation to the manifold spontaneous processes happening in nature and its ever-changing scenes and colours. Just like one cannot predict the shapes of a cloud or the structures of semi-precious stones, Beumer leaves it partly up to chance how his work will turn out. The works are presented on low pedestals, as a reference to how they were originally produced. Inks and watercolours were mixed with materials from nature, such as mud, leaves and twigs, to create compositions, which for the greater part depend on gravity and viscosity to reach their final form.
In 2015, Dürst Britt & Mayhew was part of the Art The Hague programme. It involved a presentation of work by Paul Beumer, Lennart Lahuis, Joseph Montgomery and Sybren Renema.
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In 2015, Dürst Britt & Mayhew took part in the Unseen Amsterdam Photo Fair, where the gallery exhibited work by Lennart Lahuis, Alexandre Lavet, Pieter Paul Pothoven and Sybren Renema.
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NRC Handelsblad by Sandra Smallenburg
Mister Motley by Lieneke Hulshof
In 2015 Dürst Britt & Mayhew presented work by Paul Beumer, Joseph Montgomery, Sybren Renema at the Amsterdam Drawing Art Fair.
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For its first participation in LOOP Fair Barcelona Dürst Britt & Mayhew is premiering the videowork Solitary Company by Puck Verkade.
Solitary Company is a portrait of a remote island as seen through the eyes of its inhabitants. It was filmed in the micro-community of Hrisey, an island off the north coast of Iceland. Filming took place during the darkest months in winter when all is covered in snow and silence. During a month-long residency on Hrisey, Puck Verkade conducted interviews with three generations of local people, about their personal connection with the island, the effect of living in such a small community off the mainland, and their relationship to silence. Throughout the video we never get to see the faces of the interviewees, only their backs and the views they can see through the windows. The island itself thus becomes an additional character, showing its empty landscape and silent presence. The circular frame stresses visual isolation as well as the physical borders of the island. Essentially the narrative reflects on the borders of solitude, on silence and its inevitable connection to mortality.
Click to read a specially commissioned conversation between Puck Verkade and Jacob Dwyer
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For the first edition of Amsterdam Art Fair Dürst Britt & Mayhew presents a solo presentation by Dutch artist Pieter Paul Pothoven, whose artistic practice concerns itself with the historic and social connotations of various valuable objects, ranging from lapis lazuli to ancient Egyptian mirrors. Pothoven mixes personal experience and first-hand research with historical information, which he ultimately translates into immersive installations.
Pieter Paul Pothoven’s approach predominantly relates to Walter Benjamin’s idea of a past that constitutes present meaning. His aim is to unearth the blind spots in the meaning and significance of his chosen objects within the framework of their given historical narratives. These are not alchemistic acts of turning formerly invaluable objects into precious artefacts, but conceptual exercises and manual gestures that add layers and narratives to pre-existing abstracts. In the work of Pieter Paul Pothoven objects become subjects that transgress information, value or meaning as they are drawn into the artistic realm.
Click to read ‘Like a Rolling Stone’, a specially commissioned essay by Vincent van Velsen.
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Metropolis M by Domeniek Ruyters
Mister Motley by Heske ten Cate
For its first participation in Poppositions in Brussels Dürst Britt & Mayhew presents the work of French artist Alexandre Lavet.
Alexandre Lavet’s work plays with the idea of emptiness, disappearance and erasure. Under the apparent homogeneity of an exhibition space lie the details that mark the uniqueness and specificity of the place. It is these elements that Lavet wants to bring to light, thereby making the viewer more aware of the environment surrounding him. Lavet’s photoseries Vides shows a set of different exhibition spaces from the ‘White Cube’ ideology, but they are empty of artworks. He retouched the internet-sourced images by removing the artworks from them, thereby simultaneously constituting a new work and bringing attention to the specifics of the exhibition spaces themselves. Next to the Vides series Alexandre Lavet will show a variety of subtle site-specific interventions within the space of the booth.
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For its first participation in Art Rotterdam Dürst Britt & Mayhew presents the work of American artist Joseph Montgomery (1979). His work has the structure and syntax of sculpture, but it simultaneously has all the trappings of painting: wood, canvas, various types of coating and paint. The blurring and confounding of classification lends it a strange sense of hybridity. Montgomery’s expansion of abstract painting results in two distinctive types of painting: collages and shims. Lately he also added animation and wallpaper to his practice. Montgomery recently had a solo show at the Massachusetts Museum of Contemporary Art (MASS MoCA) and his work was shown in the much-discussed exhibition ‘Painter Painter’ at The Walker Art Centre in Minneapolis.
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Metropolis M by Domeniek Ruyters
de Volkskrant by Merel Buiting
Kunstbeeld by Nadia van Vuuren and Gerda van de Glind
Trendbeheer by Jeroen Bosch (2)
