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The T-Shirt is the medium

11 Aug
Installation of T shirts as art

Front row: Ode to the cessation of bleeding by Lesley Anne Morgan (Te Awamutu), Alternative Activities for the Addicted by Elaine Arkell (London), Love Me Knots (with twists) by Sonja van Kerkhoff (The Hague), Elephants for Peace by Elaine Arkell, T-Shirt Plastic by Maureen Baker (Whangarei Heads), Out of Sequins by Brian Harris (Auckland), De-composition (with biogradable rubberbands) by Sonja van Kerkhoff.

Te T-Shirt Show
Curated by Sonja van Kerkhoff + Virginia Guy
Hikurangi Art Station, 31 King St, Hikurangi, Northland, Aotearoa | New Zealand

detail of Te T-Shirt show, Hikurangi, New Zealand

Detail of T-Shirt Plastic by Maureen Baker (made out of fused plastic bags), Out of Sequins by Brian Harris, De-composition (with biogradable rubberbands)
by Sonja van Kerkhoff.

20 Artists:
Elaine Arkell (London, U.K.) | Maureen Baker (Whangarei Heads) | Hamish Oakley-Browne (Whangarei) | Susan Burgess (Christchurch) | Megan Corbett (Hikurangi) | Virginia Guy (Hikurangi) | Brian Harris (Auckland) | Dulcie Hering (Hikurangi) | Sen McGlinn (Kawakawa) | Lesley Anne Morgan (Te Awamutu) | Julia Newland (Whangarei Heads) | Benjamin Pittman (Hikurangi) | Lisa Ponweiser + Mt Hutt College students (Methven) | Jason Ratahi (Opunake) | Jacob Squire (Hikurangi) | Ursula Safar (Wales) | Te Kowhai Trust (Whangarei) | John Thomson (Hampshire, U.K.) | Raewyn Turner (Auckland) | Sonja van Kerkhoff (The Hague, The Netherlands) | Jacqueline Wassen (Maastricht, The Netherlands). Te shirts as the medium for an art show

detail of a T shirt by Lesley Anne Morgan

T-shirts by Lesley Anne Morgan + Elaine Arkell.
Click for a larger view.

Front row:
Ode to the cessation of bleeding by Lesley Anne Morgan. In celebration of menopause, the delicately cut out pieces were scattered on the floor underneath this. The black t-shirt behind this is ‘Arch Overload’ – Portsmouth Festival – 1990, custom made by John Thomson. (thomsonart.co.uk) and Alternative Activities for the Addicted by Elaine Arkell is next, who wrote: “Well, yes I once was a foolish smoker with teeth all stained and brown. The wrangle with nicotine was long and hard and this work came through and out of that wrangle.”

Love Me Knots (with twists) by Sonja van Kerkhoff

Love Me Knots (with twists)

The design for her shirt which features an original 1960s spirogragh drawing made as an ‘alternative activity’ for smoking and the T-shirt was created for the “Your Art Here (too)” on Camberwell Green, South London for Daniel Lehan’s Camberwell arts Week event in 2010. This T-shirt series also had an outing to Brighton with David Medella and the artists of the London Biennale for the project, Longshore Drift. The pink T-shirt, Love Me Knots (with twists) by Sonja van Kerkhoff is a play on materiality and sentiment with the row of rosebud knots at gut level.

Left to Right, 4th row from the front:

The Te T Shirt show

Click for a larger view.

Tīmatanga Kaitiaki (Protected or guided beginning, start or intro) by Jason Ratahi. A T-shirt of slogans in Māori and New Zealand English, Red by Sonja van Kerkhoff, a padded and filled T Shirt. Rabbits by Dulcie Hering. The light blue Tao Shirt by Susan Burgess has the symbol cut. The black shirt at the end of the next row is ‘seed, crop, harvest’ from the album CLAY CLASS DFA Records New York, 2012 by John Thomson, who wrote “My kinetic sculptures feature in the music videos of the U.K. band, Prinzhorn Dance School.” Next is ‘I begin I end’ What I do in between is up to me, a unique symbol screenprint by Megan Corbett while Rabbit by Dulcie Hering is a printed design sewn onto a T-Shirt.

t-shirts

Details of T-shirts by Susan Burgess + Raewyn Turner.
Click for a larger view.

Apron with anti-spasmodic, anti-arthritic, anti-rheumatic galbanum by Raewyn Turner is a blue T-shirt that was cut and resewn into the form of an apron with cloth sachet of perfume. In constrast to Raewyn’s repurposing of the T-shirt, Forget Us Not is purpose-made by Ursula + Alison for their rural gardening business which cares for the gardens of the oft ‘forgotten’ in our society: the elderly.

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From Iran with Love, Iranian artists in The Hague

8 Jul
Karim Allahkhani, Loot Desert, Iran, 2006.

Karim Allahkhani, Loot Desert, Iran, 2006. Installation of 900 flower pots growing wheat grass and 900 bowls of water. Total approximately 3000 square meters.

"The Disintegration of unity" ceramic pieces partly glazed, diameter 200 cm, as installed during the residency in the Hague.

“The Disintegration of unity” ceramic pieces partly glazed, diameter 200 cm, as installed during the residency in the Hague.

Squatting on the floor of the gallery next to his floor piece, Karim Allahkhani showed me pictures of his land art projects in Iran while I showed him pictures of my land art projects. Using googletranslate would take too long so we just switched images and gestured. He was one of the ten Iranian artists Mitra Jashni obtained visas for the week-long residency that preceded this exhibition in the Hague, Pulchri Gallery. Seven artists based in European countries, most of them also Iranian, joined these ten. The show has works by a total of 32 artists. Some could not come from Iran and a few are from other countries.
Tina Bateni (from Tehran, Iran) with her painting, Nanotechnology, acrylic on canvas, during the residency in the Hague, June 2018. Photo: Sonja van Kerkhoff

Tina Bateni (from Tehran, Iran) with her painting, Nanotechnology, acrylic on canvas, during the residency in the Hague, June 2018. Photo: Sonja van Kerkhoff

The curator, artist and gallery manager, Mitra Jashni, who left Iran for Ecuador in 2010, moved to the Netherlands in 2015. She received over 300 responses from artists in Iran to a call for this exhibition and residency in the Hague. While some of these Iranian artists have long careers, such as Karim Allahkhani who teaches at the Arts Academy in Kerman, none are international names. The show offers a taste of diverse contemporary art practices in Iran today.
Left to Right: Acrylic on canvas by Diana Valarezo (Ecuador/Belgium) “Song,” acrylic on canvas by Bahareh Aref (Iran/Hamburg) and Karim Allahkhani (Kerman, Iran) on right in discussion. photo: Sonja van Kerkhoff

Left to Right: Acrylic on canvas by Diana Valarezo (Ecuador/Belgium) “Song,” acrylic on canvas by Bahareh Aref (Iran/Hamburg), detail of “Love” acrylic on canvas by Maryam Iravani, and Karim Allahkhani (Kerman, Iran) on right in discussion. Photo: Sonja van Kerkhoff

Samira Alborzkouh, Acid Attack, oil on canvas, 140 x 160 cm

Samira Alborzkouh, Acid Attack, oil on canvas, 140 x 160 cm

Samira Alborzkouh’s subversive realist images of women wearing crash helmets engage with gender politics, such as acid attacks. She was articulate about her work, consciously using the glossy look not just to make a point about visibility and the visual but also as a means for infiltrating into Iranian galleries where hyperrealism was acceptable but politics is not.

Left to Right: Ghassal (Baptism) by Yousef Abdinejad and a detail of “The Royal Juggernaut” by Saied Khazaie, ecoline on canvas.


Manuchehr Gholami’s gouches are examples of the Negargari style while Saied Khazaie has patched past representations into a mismatch in his work “The royal juggernaut.” Yousef Abdinejad’s “Ghassal” (Baptism) is surreal and whimsical while Tina Bateni’s pop art like painting, “Nanotechnology” and her ‘Head to Toe’ portraits are socio-political comments on the wider world.
Sahar Eftekharzadeh (from Tehran, Iran) “No.11” acrylic and oil on canvas, 60 x 155 cm


Sahar Eftekharzadeh (from Tehran, Iran) “No.11” acrylic and oil on canvas, 60 x 155 cm

Sahar Eftekharzadeh’s “No.11” is part of a series of images on the multi-generational chain of motherood while the abstract made for this show by
"Love" acrylic on canvas, 100 x 100 cm, by Maryam Iravani (from Isfahan, Iran)

“Love” acrylic on canvas, 100 x 100 cm, by Maryam Iravani (from Isfahan, Iran)

Maryam Iravani simply has the title ‘Love.’

“Putting color on the face of the world” curated by Mitra Jashni
When: 16 June – 8 July 2018, open Tues-Sundays, 12-5pm, Tues-Sundays
Where: Lange Voorhout 15, The Hague
070 – 346 17 35, info@pulchri.nl
About this show on the Pulchri website.
Video introducing the artists.

Artists:
Samira Alborzkouh, Yousef Abdinejad, Karim Allahkhani, Bahareh Aref, Diana Valarezo, Tawab Safi, Salam Djaaz, Saeid Khazaie, Maryam Iravani, Tina Bateni, Claudette van De Rakt, Larissa Oksman, Manuchehr Gholami, Taha Hamed, Maryam Tavakoli, Hero Sheykholeslam, Atefeh Mohammadpour, Sanaz Ahmadi Ashestani, Zahara Sajadifar, Narges Adilipour, Mona Jafarnejad, Sahar Eftekharzadeh, Azam Eisazadeh, Nazanin Nabavi, Farnaz Karimi, Saba Soleymani, Hamed Heidari, Mehdi Noori, Afshin Bagheri, Amir Mansour Almaloo, Elmira Amirazodi, Morteza Mottaghi, Maryam Khorami, Marzieh Nazemzadeh, Leila Banki, Shadi Pahlavani.

Engaged personal connections

12 Dec

by Brit Bunkely, Adrienne Spratt, Michelle Backhouse, Pietertje van Splunter, Edward Walton

Left to Right: St Cyricus, plastic, artificial flowers and Epoxy, 40 x 15 x 60 cm by Brit Bunkley; Netting, wire and acrylic, by Michelle Backhouse; Pouhine (red basket form), harakeke (flax), muka (flax fibre), commercial dyes. Raranga + whatu (Māori weaving techniques) by Adrienne Spratt; Lake Alice Water-tower, plastic, paint and artificial flowers, 60 x 12 x 12 cm, by Brit Bunkley; Into the pink, wire and acrylic, by Michelle Backhouse; Cleaning the Air, 43 sec video + Daily Dishes, 7 min 11 sec video by Pietertje van Splunter; Oil on canvas by Edward Walton; From the War / No War series, six laser print on card reliefs (obliquely on the wall) by Hohepa; Kete Pingao, 20 x 10 cm, woven basket by Brenda Tuuta; Herenga rahi (Big connections/confinement), harakeke, muka, tanekaha bark and paru dyes. Raranga, whatu (Māori weaving techniques, suspended basket) by Adrienne Spratt.

The Poetic Condition was a show of multifaceted visions in diverse media on engaged personal connections with history, culture and social worlds by 13 artists based in the Hague and New Zealand.

by Brit Bunkley + Michelle Backhouse

Left to Right: St Cyricus by Brit Bunkley, Netting by Michelle Backhouse.

Brit Bunkley’s St Cyricus looks like a doll from a by gone age but is a 3D scan of a 1470-80 marble statue of the child saint by Italian Renaissance sculptor, Francesco Laurana.
Bunkley saw this statue in the Los Angeles Getty museum (view this statue) and was intrigued by the idea of a saint being a child. The story goes that in about 200-300 AD, that the child while being held by the governor (while the child’s mother, Saint Julitta, was on trial) the child stated that he was also a Christian and bit the governor. For this act of defiance the child was killed. Other stories tell of him being brutally tortured. The Renaissance artist incorporated symbols of sainthood such as the palm and laurel branches, and the cut off body suggests that he might be in a cauldron. The recasting of this in dark grey plastic with the addition of artificial flowers, makes the work an enigma because both aspects of social history (the religious and the art context of the statue at present) are simultaneously referenced and distanced.

by Edward Walton + Anne Wellmer

L to R: Een Rode Citroen (A red lemon), 2015, 9 min 53 sec., video + soundscape by Anne Wellmer; Oil on canvas by Edward Walton; Lake Alice Water-tower + St Cyricus by Brit Bunkley.

Lake Alice Water-tower, from the abject history series, is another sculpture by Brit Bunkley created with 3D printer from scans of an existing structure also with a flower insert. Perhaps this work is nature vs culture, or nature out of culture. Water towers are still iconic structures in small New Zealand towns. This tower, in particular, makes reference to another aspect of New Zealand’s abject history, the infamous rural pyschiatric institution, Lake Alice. Like many New Zealand psychiatric hospitals, Lake Alice was self-sufficient, with its own farm, workshop, bakery, laundry, and fire station as well as its now questionable practices on its inmates. It closed in 1999.

The flower could be a sign that nature always endures, always has some measure of self-sufficency, while the static cultural innate object gains or loses meaning if its function is lost. However in foregrounding the materiality of these sculptures, such as details in the greyer than grey facades, he reminds us that this is still artifice, it is still plastic, and in the end this is a sculpture of oppositions that forces us to take our own stance.

by Michelle Backhouse, Edward Walton

Left to Right: Kāinga a roto (Home Within), suite of 5 videos (on laptop) by Sonja van Kerkhoff, Adumbrate No. 2, 2014, wire netting + Untitled, 2017, wire netting and building paper by Michelle Backhouse; Oil on canvas by Edward Walton; Een Rode Citroen (A red lemon), 2015, animation, 9′ 53” by Anne Wellmer. Soundtrack: Anne Wellmer. Drawings: Geerten Ten Bosch. Animation: Harriët van Reek. Text excerpt from The Writing Notebooks (edited in English by Susan Sellers) by Hélène Cixous. Voice: Stephie Büttrich-Kolman.

The gallery space was dominated by Anne Wellmer’s soundscapes from her 3 videos played in a loop. Medieval chanting, whisperings in German and English, sounds, narration, instructional or provocative texts connected us with individualistic collaborative worlds. The 9 minute animation Een Rode Citroen (A red lemon), was a surreal exploration of a mutating organic inner and outer ‘strange-scape’ in which eerie sounds and the evocative text (in English) by Jewish-French, Algerian-born poststructuralist feminist, Hélène Cixous complemented biological galatical worlds.
Still from Vox Sanguinis (Voice of the blood), video and soundtrack: Anne Wellmer.

Still from Vox Sanguinis (Voice of the blood), 1’53”. Video and soundtrack: Anne Wellmer. Video and soundtrack: Anne Wellmer. Camera: Florian Cramer. Voice: Cora Schmeiser. Music: “O rubor sanguinis” by Hildegard of Bingen. Trumpet: Heimo Wallner. Silent performer and stage design: Geerten Ten Bosch


Another video Vox Sanguinis (Voice of the blood), was a teaser for the music theater performance by Cora Schmeiser with new compositions inspired by Hildegard of Bingen (1098-1179) by 4 Dutch composers: Giuliano Bracci, Kate Moore, Lukas Simonis, Boudewijn Tarenskeen and Aliona Yurtsevich. The sound design and live electronics were by Anne Wellmer. Vox Sanguinis toured to four cities in the Netherlands in 2015.

by Martje Zandboer, The Happiest place on earth, plastic, paint and artifical flowers by Brit Bunkley

Left to Right: Warm Memories, emulsion on five suspended teabags by Martje Zandboer; The Happiest place on earth, plastic, paint and artifical flowers, 55 x 45 x 10 cm, by Brit Bunkley; Kāinga a roto (Home Within), videos (on laptop) by Sonja van Kerkhoff; Adumbrate No. 2, 2014, wire netting + Untitled, 2017, wire netting and building paper by Michelle Backhouse; Oil on canvas by Edward Walton; Transfusionen (Transfusions), 2015, video with sound, 2′ 43” by Anne Wellmer. Sound: Anne Wellmer. Hands: Geerten Ten Bosch. Voice: Cora Schmeiser. Music fragment from BLAST (2015) by Lukas Simonis. Text fragment from ‘Della Religione Christiana’ by Marsilio Ficino (1433-1499), first published in Italian in 1568. This German translation was published in ‘Das Blut: Symbolik und Magie’ (Blood: Symbolism and Magic) (2004) by Piero Camporesi; St Cyricus 3D plastic print sculpture by Brit Bunkley.

The whisperings in German in the video Transfusionen (Transfusions) spoke of medieval beliefs about witches using the blood of children to make medicine and the various uses (transfusions or transmutations) of this medicine, including the making of wine.

The sounds from these three videos were the soundscape of this show unless one put on headphones to listen to two of the other videos in the exhibition. Under two spatial abstractions of wire by Michelle Backhouse was the suite of videos, Kāinga a roto (Home Within), by Sonja van Kerkhoff (More >>) and around the corner was the 29 minute video, Et in Arcadia Ego by Channa Boon.

Sonja van Kerkhoff

Left to Right: Et in Arcadia Ego, 29 min video by Channa Boon; Love of the other, 10 cm diameter, print on aluminium by Sonja van Kerkhoff; Muka and taniko kete, harakeke muka, tanekaha bark + paru dyes. Whatu and taniko (Māori fibre and weaving techniques) by Adrienne Spratt; What kind of Idea, print on dubond by Sonja van Kerkhoff (More >>).

Et in Arcadia Ego was filmed in the former Soviet Union during an artists’ roadtrip. While historical events are the carrier of the film, a chess game, played by two residents of Odessa, sitting near the city’s Arcadia Beach, is the physical link connecting the different locations: the Aral Sea (Uzbekhistan), Odessa (Ukraine) and Tbilisi (Georgia). This film ends when the chess game is over, but the large-scale power game that is still being played out in the former U.S.S.R. is not over. Stalin’s cotton industries for example, founded by him in Central Asia, are still the reason why large parts of the Aral Sea are gone and the entire region is polluted. It has turned out to be the largest environmental disaster of the 20th century. In this work, Boon investigates the idea of location as a carrier of information, which any individual or being can tap into, just by being present at a given spot. Conversely, the film aims to show the system of thoughts and ideas that, throughout history, has created both the physical landscape and those who live in it; how it has affected the way they think and act; and how a collective consciousness has been formed in the past and is still being formed in the present.

Virgil’s phrase ‘Et in Arcadia Ego’ is also the title of a famous painting (1638) by Nicolas Poussin. The painting shows a group of shepherds who discover the phrase on a tomb, and so become aware of the existence of death in their Arcadian existence. This gives them the capacity to reflect and thus develop self-awareness. In this video, Boon connects this loss of innocence of the Arcadian shepherd – signifying an ideal world that is destroyed forever – with the present and past of the former Soviet Union. Hence, the phrase becomes a reference to the ideal world that Communism aimed to bring about in this region and the nostalgia that it still invokes.

paperpulp by Michelle  Backhouse, The Image (The spectacle is mesmeric in  order to be successful), silkscreen print and mixed  media + Where change is barely visible, 2008, laser print by Sonja van Kerkhoff

Left to Right: The Happiest place on earth, plastic, paint and artifical flowers by Brit Bunkley; Enclosure No. 1 wire netting + paperpulp by Michelle Backhouse; The Image (The spectacle is mesmeric in order to be successful), silkscreen print and mixed media (More >>) + Where change is barely visible, 2008, laser print by Sonja van Kerkhoff; Kete Whakairo (on table), dyed flax basket by Brenda Tuuta; Et in Arcadia Ego, 29 min video by Channa Boon.

The works surrounding this video were a pull and push on this theme of the romantic: Michelle Backhouse’s wire grid in colours that referenced nature and yet were unnatural in a formation that was both plant-like and yet inorganically abstract, woven baskets by Brenda Tuuta and Adrienne Spratt juxtaposed with works bearing politicized texts, and Brit Bunkley’s plastic model of the Disneyland castle recast as a ruin.

Left to Right: Mauri, harakeke, raranga (Māori weaving techniques) by Adrienne Spratt; Josephine’s Mother, print on aluminium, acrylic and varnish by Sonja van Kerkhoff (More >>); Bird of Prey, mixed media video loop by Sanne Maes; Untitled + Dark Entries, black and white photographs + The Speed of Dark, models on a shelf by Thom Vink; Warm Memories, photographic emulsion on teabags + magnets by Martje Zandboer and The Happiest place on earth, plastic, paint and artifical flowers, 55 x 45 x 10 cm, by Brit Bunkley (More >>).

by Adrienne Spratt

Left to Right: detail of Girl with Iberian Lynx by Michelle Backhouse; Oil on canvas by Edward Walton; From the War / No War series, six laser print on card reliefs, each is 10 x 15 x 2 cm, by Hohepa; Poutama (Step pattern), cylinder shaped basket + Herenga rahi (Big connections/confinement), harakeke, muka, tanekaha bark and paru dyes. Raranga, whatu (Māori weaving techniques) by Adrienne Spratt.

Martje Zandboer’s suspended photographic emulsion teabags, Thom Vink’s models and photographs and Sanne Maes’ mixed media video loop develop this pull and push into dialogue between the familiar and the other, estranged or mysterious. Adrienne Spratt’s basket below, reads as an empty vessel while its title alludes to a spirit filled essence.

On the other side of the gallery space are two more woven vessels by Adrienne Spratt. The enormous basket sways from numerous lines. Its title refers to both connection and enclosure.

Adrienne Spratt

Pouhine, Harakeke, muka, commercial dyes.  Raranga and whatu techniques by Adrienne Spratt.

Edward Walton’s gestural abstract paintings are like signatures or ‘nature traces’ while Michelle Backhouse’s paper pulp, building paper and mixed media, Girl with Iberian Lynx, from the species facing extinction series, references the tangible topic of environmental responsibility.

On the adjacent wall a frieze relief of reproductions of paintings from Hohepa’s War / No War series uses Maori cultural symbols as commentary issues of the day. Below this is a small purse-like open pingao (a New Zealand natuve yellow grass) basket by Brenda Tuuta.

In another corner lines flow out from the red basket, Pouhine by Adrienne Spratt, which blur its contours. The title refers to the pattern woven into the sides.

ddd

Left ot Right: Detail of Into the Pink, wire and paper pulp + Girl with Iberian Lynx by Michelle Backhouse; From the War / No War series, six laser print on card reliefs, each is 10 x 15 cm, by Hohepa; Kete Pingao, 20 x 10 cm, woven basket by Brenda Tuuta; Poutama (Step pattern), cylinder shaped basket + Herenga rahi (Big connections/confinement), harakeke, muka, tanekaha bark and paru dyes. Raranga, whatu (Māori weaving techniques) by Adrienne Spratt, Paewae (Threshold), aluminium print (above doorway) by Sonja van Kerkhoff; Lake Alice Water-tower, plastic sculpture by Brit Bunkley; Josephine’s Mother, print on aluminium, acrylic and varnish by Sonja van Kerkhoff; Mauri (essence/spirit), harakeke, raranga (Māori weaving techniques) by Adrienne Spratt; Detail of Bird of Prey, mixed media video loop by Sanne Maes.

Hohepa

Left to Right: From the War / No War series: Warrior with Taiaha, Patu-paiarehe lovers, black and white laser prints on card, Warrior with Taiaha, Mākutu, No more war with Taiaha laid down, Rangatahi, colour laser prints on card, each piece approx. 10 x 15 x 2 cm, by Hohepa; Kete Pingao, 20 x 10 cm, woven basket by Brenda Tuuta.

The heart of Hohepa’s work is a dialectical process – fed from his Māori heritage. He descends from the tribes: Ngāti Whakaue, Tuhourangi, Tuwharetoa ki te Aupouri, Tapu Ika, Rangitihi, Uenukukopako, Te Arawa, Ngāpuhi (Whangaroa), Ngāti Kai Tangata. These small reliefs are prints of 1 x 2 metre paintings from the War / No War series exhibited in 2017 in the Chiesa San Antonio, Lecce, a Baroque church in southern Italy.
van Splunter

Left to Right: Into the pink, wire and acrylic, by Michelle Backhouse; Detail: Lake Alice Water-tower, plastic, paint and artificial flowers by Brit Bunkley; Cleaning the Air, 43 sec video + Daily Dishes, 7 min 11 sec video by Pietertje van Splunter.

The video Cleaning the Air is actually a recording of a mobile sculpture which animates various household cleaning objects while in the video, Daily Dishes, the mundane chore of doing the dishes is turned into an animation of colour and pattern.
Still from Cleaning the Air by Pietertje van Splunter

Still from Cleaning the Air by Pietertje van Splunter.

Pietertje van Splunter’s videos are like a poetics on the mundane: housework. Her brooms seem animated by an unearthly force and the constant stacking of the differing tribes of kitchen utensils suggests a game with secret rules. In using humour with the overkill her videos are reminders that the everyday domestic, is also a microcosm of the amusing, perhaps necessary banality of habit while Michelle Backhouse’s sculptures use seemingly banal materials, building paper, netting or house paint to create ethereal protusions.

Otaki show of diverse media: 3 of the Hague based artists

12 Nov

Left to Right: works by Sonja van Kerkhoff, Sanne Maes + Thom Vink

Left to Right: works by Sonja van Kerkhoff (print on aluminium), Sanne Maes (video + drawing) + Thom Vink (photographs + model on shelf)

Josephine’s Mother, print on aluminium and oil paint by Sonja van Kerkhoff.
The pose and composition of Josephine’s Mother is similar to the 1871 painting Whistler’s Mother where in this case, Josephine is the child the young woman is carrying. The mother looks alert and details such as a watch and the wall plug indicate that hers is a contemporary world, although she wears clothing typical of a bygone age. More >>

Still from Bird of Prey by Sanne Maes

Still from Bird of Prey by Sanne Maes

Bird of Prey, drawing on tracing paper + video, loop 0’25”, 21″ LCD tv in custom made frame by Sanne Maes
Her work consists mainly of video installations; video images (either on a monitor or projected in space) which are projected onto a drawing, a painting or an object. She uses short looped clips to create the sense of repetition in motion. In some works this creates a sense of the picturesque where images move and come to life and in other works this creates a sense of the body being locked or trapped within the drawing.
In her other works the dissonance between the still and moving images often alludes to mortality. This theme of transience and transformation is a reference to our humanity in relation to our environment – everything is linked, from micro to macro. We are all parts of the natural world. More >>
The Speed of Dark by Thom Vink

The Speed of Dark by Thom Vink


Dark Entries, black and white photograph by Thom Vink. Edition of 5.
Untitled, black and white photograph by Thom Vink. Edition of 5.
The Speed of Dark, 3 cardboard models + shelf by Thom Vink.

Thom is a graduate of the Royal Academy of the Hague School of Art (1990). In 1992 he co-founded the artist-run gallery, Quartair (www.quartair.nl). His works are poetic references to our lived-in space. Often he builds house-like models as a counterpart to his atmosperic black and white photographs. These ‘wall-based installations’ are also a play on the theme of display and objectivity. Just as in the site-specific work of Sol LeWitt, Vink has given instructions for the poetics of how his work is to be arranged, rather than specifying a particular composition. They appear as one work and yet are several works in which the boundaries are blurred. Recent exhibitions are his 2009-10 solo exhibition, MOTH HOUSE in the Hague Centre for Visual Arts and Architecture, The Netherlands, and the group exhibitions Patterns of the Mind, Turku Biennial 2011, and Limbus, Kiasma Museum of Contemporary Art, Helsinki, also in Finland. More >>

Watch this space for a daily blog on the works by 13 New Zealand and Hague Based artists in The Poetic Condition show until 10 Dec 2017 at the BackWal Gallery, 99 Atkinson Ave, Otaki.  13 Nov blog | Exhibition info

“The Poetic Condition” Backwal Gallery, Otaki

20 Aug
Still from Cleaning the Air by Pietertje van Splunter

Still from Cleaning the Air by Pietertje van Splunter

The Poetic Condition
De Dichterlijke Aard

28 Oct – 10 Dec 2017
13 artists from
The Hague and
Aotearoa | New Zealand

A Red Lemon (Een Rode Citroen), 2015, 9' 53” Sound: Anne Wellmer. Drawings: Geerten Ten Bosch. Animation: Harriët van Reek. Text: Helene Cixous. Voice: Stephie Büttrich-Kolman

A Red Lemon (Een Rode Citroen), 2015, 9′ 53” Sound: Anne Wellmer. Drawings: Geerten Ten Bosch. Animation: Harriët van Reek. Text: Helene Cixous. Voice: Stephie Büttrich-Kolman


Thom Vink
Sanne Maes
Channa Boon
Anne Wellmer
Martje Zandboer
Sonja van Kerkhoff
Pietertje van Splunter
Michelle Backhouse
Adrienne Spratt
Edward Walton
Brenda Tuuta
Brit Bunkley
Hopeha

99 Atkinson Ave, Otaki

Still from Bird of Prey by Sanne Maes

Still from Bird of Prey by Sanne Maes

Open
Saturdays + Sundays
10-4 p.m.
or by appointment.
021 260 5723

Exhibition events
28 Oct: 11 a.m. – 12 noon “Impressions of the Venice Biennale, Documenta + Munster Skulptuur” by Sonja van Kerkhoff

Meet the artists
in the gallery

28 Oct: 10-3 pm Michelle Backhouse, Edward Walton, Sonja van Kerkhoff

"Lake Alice" - from the abject history series by Brit Bunkley.

“Lake Alice” – from the abject history series by Brit Bunkley.

These artists explore, respond or extend the theme of our human nature and the relevance of the aesthetic of poetic intervention to the self, socio-political or society with a wide range of media and approaches to ‘big questions’ (who are we, how do we live, how do we think/feel), so that the exhibition as a whole is like an installation encompassing diversities of vision.
Netting by Michelle Backhouse.

Netting by Michelle Backhouse.


Some artworks are poetic selections with direct reference to contemporary political worlds, such as Channa Boon’s video, Brit Bunkley’s objects referencing abject histories of place or Sonja van Kerkhoff’s nature vs nurture flower transparencies. Others use materials or metaphors associated with cultural expression and relate them to the personal, such as Brenda Tuuta’s woven ‘speaking’ pieces, Adrienne Spratt’s giant sized basket and Anne Wellmer’s videos. Martje Zandboer’s suspended miniatures, which contain family photographs from the Dutch East Indies, mix Dutch colonial history with the theme of the personal and intergenerational. Thom Vink’s works take a more material versus human spirit perspective, where architectural models and photographs create a composite humane aesthetic, while Sanne Maes’ self-portrait video/drawing connects the self with the natural world. Pietertje van Splunter’s videos are like a poetics on the mundane: housework. Her brooms seem animated by an unearthly force and the constant stacking of the differing tribes of kitchen utensils suggests a game with secret rules. In using humour with the overkill her videos are reminders that the everyday domestic, is also a microcosm of the amusing, perhaps necessary banality of habit while Michelle Backhouse’s sculptures use seemingly banal materials, building paper, netting or house paint to create ethereal protusions.

Spirit, people power, nature power – Wairua, Mana Tangata, Mana Whenua

31 May

10 April – 1 June 2015 0420_2000jess-se-lisaTop Left to Right: Detail of Wairua 2, oil paint/mixed media on canvas, by Keri Molly; Homage, oil on canvas, by Lynn Pirrie Smith; Pou Wairua woven flax + copper panel by Jess Paraone; Several Seas, photographic print on transparency by Sen McGlinn; Long Boat, mild steel by Peter Brammer; Puddle, Pigment print on cotton rag by Lisa Clunie; I want to be reborn, acrylic & oil stick on canvas by Simon Kerr; Prana, Pigment print on cotton rag by Lisa Clunie.

Whenua refers to the link between us and life or the life spirit, which sometimes refers to the land or the natural world. Curated by Piripi Ball + Laurell Pratt this exhibition theme of the spirit as the power of humanity and the power of the natural is expressed in sculpture, carving, weaving, paintings, photographic, installations and craft and design. Piripi’s remit for this show was to encourage artists to approach this theme from the materiality as much as from an abstracted stance and he was successful in getting work from a huge diversity of artistic approaches.
0418_1925te-kuiti-bev
Left to Right: Tewhate-wha – Taonga tuku iho aa Tawhaki / Jeweled Heirloom of Tawhaki, maire, deer antler by Te Kuiti Stewart; Tiki-wananga – Matauranga Aariki / Knowledge of Progenies, kauri, koa, silko, feathers, paua by Te Kuiti Stewart; Where Two Waters Meet, acrylic & gesso on canvas, by Bev Wilson; Detail of a photograph by John McMullen.

0418_1925-hughLeft to Right: Detail: Where Two Waters Meet, acrylic & gesso on canvas, by Bev Wilson; Mauri, silver gelatin print by John McMullen; Rosary, oil on canvas by Hugh Major; Passion 3, mixed media on board by Brenda Liddiard; Koraro Totem, flax flower heads, pumice, copper wire by Carolyn Lye; Howling in the Night, plywood, indian ink, wire by Natascha Rodenburg; Four Strands, plaited bull kelp with harakeke tie by Carolyn Lye.

0420_2001d_bevisLeft to Right: Detail of Nga Kete O Te Wananga (The 3 baskets of Knowledge), digital photographic print on eco-ethical wallpaper by Sheree Edwards; Emergence, carved slate, kauri, mother of pearl, bone, by Bevis Hatch;Clearing – Cowboys & indians on the pa site, digital pigment ink print on archival paper by Ellie Smith; Wairua, acrylic on canvas with oil sticks by Lynn Pirrie Smith; Whare Ihu, puriri and totata, oil paint and aluminium by Aaron Hoskin; Portrait of Ted, photograph on paper by Dr Chris Reid; Portrait of Zena, photograph on paper by Dr Chris Reid;

0418_1926b_julie-al-dorLeft to Right: Round Pit fired pot, stoneware thrown pot, pit fired with wooden horn handle by Julie Cromwell; Untitled (Solar Flare), pigment print on cotton rag by Lisa Clunie; For the love of Stars, feather crosses by Alicia Courtney; Journey Home, screenprint by David Knight; Birdman Series, acrylics/spray paint on wood by Leonard Murupaenga; Pit fired Pot Thrown, stoneware pot, pit fired, copper wire around horn handle by Julie Cromwell; Early Tides – Rawene, silver gelatin print by John McCullum; Hidden, carved oak, sooty mould (fungi), cooper wire, wood, glue, ink by Natascha Rodenburg; Jerusalem Window 1V, mixed media on canvas by Brenda Liddard; Waka, wood-fired, ceramic sculpture by Dorothy Waetford.

The exhibition runs until 1 June 2015,
Kings Theatre, 80 Gillies St, Kawakawa.
Open Wed-Sundays: 10-4. Their facebook page.

Artists in the exhibition
Piripi Ball | Regan Balzer | Gabrielle Belz | Nicholas J Boyd | Peter Brammer | Michelle Chapman | Kiri Clark | Lisa Clunie | Alicia Courtney | Julie Cromwell | Richard Darbyshire | Barry Downs | Davina Duke | Anthony Dunn | Sheree Edwards | Philip John England | Ally Grant | Rhonda Halliday | Shellie Hanley | Nicola Hart | Bevis Hatch | Aaron Hoskin | Leanne Jackson | Tavis Jacques | Darren Keith | Simon Kerr | David Knight | Thomas Lauterbach | Brenda Liddiard | Jo Lumkong | Carolyn Lye | Kirsty Mackenzie | Linda Munn | Hugh Major | Sen McGlinn | Pita McIntireJohn McMullen | Keri Molly | Leonard Murupaenga | Jess Paraone | Lee Ralph | Israel Randall | Karen Reeves | Theresa Reihana | Chris Reid | Natascha Rodenburg | rosy & rich | Carla Ruka | Petera Reid | Kathy Shaw | Ellie Smith | Lynn Pirrie Smith | Nikitta Shine | Barbie Stevenson | Te Kuiti Stewart | Kathy Shaw Urlich | Sonja van Kerkhoff | Dorothy Waetford | Yonel Watene | Karena Way | Lee Ralph and Adam Wharekawa | Bev Wilson | Sasha Wilson | Ann Winship

The Big Draw Leiden

22 Sep

"One stem, one umbrella - we are all connected" drawn by Sonja van Kerkhoff

“One stem, one umbrella – we are all connected” drawn by Sonja van Kerkhoff


“The Big Draw Leiden” are diverse drawing related activities in the city of Leiden for 13-28 September 2014. One of these is “Teken Twee weken” (Draw 2 weeks). For a number of years now, Leiden artist, Christiaan van Tol has run a “daily drawing in today’s newspaper” – a kaleidoscope of current affairs through the drawn. “The Big Draw Leiden” city art gallery, The Lakenhal (the coordinators of the event) asked Christiaan to give a daily assignment for the drawing of the day which anyone could then upload on facebook using an upload + display application hosted by woobox. This weekend when I saw the assignment for ‘draw an umbrella’ and… out came what you see above.

0918_1539pawnshopOn the right is one of three drawings I made on shop windows. Roughly 20 shops in the city have drawings on the windows. This shop is a pawn shop but the “Give and Take” for me relates to the Bahai community as much as to the literal reference, which is why it is a 9 pointed star that appears above the hand.

Another activity I am involved in is the exhibition “Draw Smogasbord” of 16 prints on show above the entrance of the cafe/conference centre, “de tuin van de smid” in the rural park, Cronesteyn, Leiden.
This page has details of all the works.
If you click on a title you can view the work
.