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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.

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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.

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Inter-sensory correspondences

13 Jan
Detail of the Poetic Condition exhibition, Shutter Room, Whangarei

Detail of “The Poetic Condition” in the Shutter Room, Whangarei.
Left to Right: Triptych by Inge Reisberman, Photos and model by Thom Vink, Video-drawing by Sannes Maes and the grid of photo-drawing combinations by Christiaan van Tol.

Tomorrow is the final day of the show and this ends with a spectacular presentation beginning at 12 noon by Auckland artist, Raewyn Turner, who will show and demonstrate inter-sensory correspondences in her own art projects as well as leading a discussion on ‘the poetic condition’ when it comes to the artistic practice. Links to a 7 min film about her scent work and where and when, and the Facebook event page.

Left to Right: Photograph + mixed media by Marg Morrow, Photogram by Megan Dickinson, Videos by Pietertje van Splunter, detail of a photo-model installation by Thom Vink

Left to Right: Photograph + mixed media by Marg Morrow, Photogram by Megan Dickinson, Videos by Pietertje van Splunter, detail of a photo-model installation by Thom Vink

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Left to Right: Detail of photos and model by Thom Vink, Two photo-grams by Lisa Clunie, Photograph by Elektra Bakhshov.

Left to Right:

Left to Right: Photograph by Ellie Smith, Print by Sonja van Kerkhoff, Video by Anne Wellme (in collaboration with Geerten Ten Bosch, Harriët van Reek + Stephie Büttrich-Kolman), Photograph + mixed media by Marg Morrow, Photogram by Megan Dickinson, Videos by Pietertje van Splunter, detail of a photo-model installation by Thom Vink, Video by Channa Boon.

Disarm at TodaysArt, The Hague

26 Sep

23-25 September 2016

Disarm (mechanized) by Pedro Reyes in Pulchiri, The Hague.

Disarm (mechanized) by Pedro Reyes in Pulchiri, The Hague.

“Disarm (mechanized)” by Pedro Reys are a collection of mechanical musical instruments made in part out of firearms, including revolvers, shot-guns and machine-guns, given to him by the Mexican government in the city of Ciudad, Juarez, after they had been rendered useless by tanks and steamrollers. In hearing of his work “Palas Por Pistolas,” where he transformed 1,527 guns owned by the residents of Culiacán by melting these down into 1,527 shovels, which were then used to plant 1,527 trees around the world, he was offered 6,700 destroyed weapons from the Mexican Secretary of Defence in 2012. “Disarm (Mechanized),” his second work made from these firearms, can either be automated or played live by an operator using a laptop computer or midi keyboard. This 3.55 min video clip is a piece run from a laptop titled “Turner 2015” in the Pulchri gallery in the Hague.

“For Pedro Reyes the process of transforming weapons into objects of positive utility was more than physical. “It’s important to consider that many lives were taken with these weapons; as if a sort of exorcism was taking place, the music expelled the demons they held, as well as being a requiem for the lives lost.” Artlyst.com, 25 Sept, 2015

“Pedro Reyes’ work is a socio-political critique on contemporary society and our responsibility towards it. His projects are catalysts for communal and psychological transformation, triggering group interaction and creativity.

Disarm is a demand for towns and cities across the world to relinquish their weapons and transform them from agents of death to agents of life. It is an attempt to highlight the invisible violence that underpins the international industry of death and suffering: the commercial and government complicity that allows for weapons to be made and sold by public companies for shareholder profit; the laws banning assault rifles which go neglected; and the films and video-games which depict trigger-happy heroes. For Reyes, an idealist whose projects affect real change and are often explicit attempts to improve the society around him, a world free of guns is a human right, and a utopian ideal to which we should all aspire.” Lisson Gallery, 2013, London.

Pedro Reyes was born in Mexico City in 1972, where he lives and works. He has won international attention for his large-scale projects that associate social issues with imaginative solutions. Pedro Reyes was awarded a Medal for the Arts in January 2015, by the US State Department for his continued commitment to the State Department’s cultural diplomacy outreach.

See his website or his blog for more.

TodaysArt Festival, hosted annually since 2005 in the Hague, focusses on the presentation and development of contemporary visual and performing arts and emerging culture. About the 2016 edition.

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

Last week of “Film + Art” Leiden theatre + music in Galerie de pieter

29 Jun
Erik Olijerhoek reads post in POST theatre, all about the postmodern, with Gideon Roggeveen on the backstage at Galerie de Pieter, Leiden

Erik Olijerhoek reads post in POST theatre, all about the postmodern, with Gideon Roggeveen on the backstage at Galerie de Pieter, Leiden

openingstijden t/m 7 juli + supposten >>

Programma
Gratis entree en als je het goed vindt gooi wat in de pet daarna voor de makers

za. 29 juni, 13.00 galerie is open met de expositie film + kunst met elf site-specifieke ruimtes en meer door 25 kunstenaars.
19.00 Vroege muziek en hedendaagse versies van Feyen en Vermasse.
20.00: Post
voorstelling van Leids theatermakers Roggeveen|Olijerhoek (www.voornu.nl).
20.45: Dempsey speelt Dempsey
Leids band met eigen liedjes. www.dempsey.nl

zo. 30 juni, 13.00 galerie is open met de expositie film + kunst.
17.00-19.30 Galerie is GESLOTEN
19.30: “Destination inconnu – Een postmodern reisverslag”
Jos van Broek verteld met dias
20.00: Post
voorstelling van Leids theatermakers Roggeveen|Olijerhoek (www.voornu.nl).
20.45: LUCHT van Levend Lijf, theater in beeld en beweging (www.levendlijf.nl).

dinsdag: 2 juli, 19.30 galerie is open met de expositie film + kunst met elf site-specieke ruimtes en meer door 25 kunstenaars.
20.00: Post tv uitzending met vraag en antwoord over het postmodernisme van Roggeveen|Olijerhoek (www.voornu.nl).

za. 6 juli, 13.00 galerie is open met de expositie film + kunst.
20.00: Fields of Wonder voorstelling (www.fieldsofwonder.nl) + Bed Peace 2013 van Carmen McGlinn + Sonja van Kerkhoff.

zo. 7 juli
13.00 – 16.00: KETEL HAEZER met fragmenten IlIASZ
Geluidstheater live ‘chloor voor de oren’
van Klaas Bolhuis
20.00: Afsluiting POST
voorstelling van Leids theatermakers Roggeveen|Olijerhoek (www.voornu.nl) Beperkt ruimte. Een boeking is nodig voor 7 juli.

de hele avond programma voor “film + kunst” >>

“Film + Art” theater en muziek avonden in galerie de pieter

17 Jun

openingstijden t/m 7 juli + supposten >>

Programma
Gratis entree en als je het goed vindt gooi wat in de pet daarna voor de makers

Bed Peace 2013 by Carmen McGlinn + Sonja van Kerkhoff. Performers: Carmen McGlinn + Toroa McGlinn, 31 May.

Bed Peace 2013 by Carmen McGlinn + Sonja van Kerkhoff. Performers: Carmen McGlinn + Toroa McGlinn, met videos van Theolijke Smit, Coen van der Geest + de Leiden International Short Film Experience.

dinsdag: 25 juni, 19.30 galerie is open met een interactieve projectie in de foyer, en de expositie film + kunst met elf site-specifieke ruimtes en meer door 25 kunstenaars.
20.00: The Happy Acorns spelen alternatieve bluegrass, americana en alt country.
(facebook.com)
21.00: Post tv uitzending met vraag en antwoord over het postmodernisme van Roggeveen|Olijerhoek (www.voornu.nl).

vr. 28 juni, 19.30 galerie is open met een interactieve projectie in de foyer, en de expositie film + kunst met elf site-specifieke ruimtes en meer door 25 kunstenaars.
buiten het galerie in Leiden: De Lakenfeesten (lakenfeesten.nl).
21.00: De Recycling Act
voorstelling van Leids theatermakers Kuiper|Berbée met muziek van “Vetschiller” (Vetschiller met Kuiper en Berbée op het Magneetfestival Amsterdam + Vetschiller’s YouTube-kanaal)
22.00: Post voorstelling van Leids theatermakers Roggeveen|Olijerhoek (www.voornu.nl).

za. 29 juni, 13.00 galerie is open met de expositie film + kunst met elf site-specifieke ruimtes en meer door 25 kunstenaars.
19.00 Vroege muziek en hedendaagse versies van Feyen en Vermasse.
20.00: Post
voorstelling van Leids theatermakers Roggeveen|Olijerhoek (www.voornu.nl).
20.45: Dempsey speelt Dempsey
Leids band met eigen liedjes. www.dempsey.nl

zo. 30 juni, 13.00 galerie is open met de expositie film + kunst.
17.00-19.30 Galerie is GESLOTEN
19.30: “Destination inconnu – Een postmodern reisverslag”
Jos van Broek verteld met dias
20.00: Post
voorstelling van Leids theatermakers Roggeveen|Olijerhoek (www.voornu.nl).
20.45: LUCHT van Levend Lijf, theater in beeld en beweging (www.levendlijf.nl).

dinsdag: 2 juli, 19.30 galerie is open met de expositie film + kunst met elf site-specieke ruimtes en meer door 25 kunstenaars.
20.00: Post tv uitzending met vraag en antwoord over het postmodernisme van Roggeveen|Olijerhoek (www.voornu.nl).

za. 6 juli, 13.00 galerie is open met de expositie film + kunst.
20.00: Fields of Wonder voorstelling (www.fieldsofwonder.nl) + Bed Peace 2013 van Carmen McGlinn + Sonja van Kerkhoff.

zo. 7 juli
13.00 – 16.00: KETEL HAEZER met fragmenten IlIASZ
Geluidstheater live ‘chloor voor de oren’
van Klaas Bolhuis
20.00: Afsluiting POST
voorstelling van Leids theatermakers Roggeveen|Olijerhoek (www.voornu.nl) Beperkt ruimte. Een boeking is nodig voor 7 juli.

Framing “Film + Kunst” in the old post office, Leiden

13 Jun

Site-specific installation by Robbert Pauwels.

Site-specific installation by Robbert Pauwels.

Detail in the "Film + Kunst" exhibition with work by Inge Reisberman, Adrian Faes, and Katharina Pohlmann.

Detail in the “Film + Kunst” exhibition with work by Inge Reisberman, Adrian Faes, and Katharina Pohlmann.

The exhibition “Film + Kunst” curated by Sonja van Kerkhoff plays with the idea of a frame or medium. It includes films made by artists, and art in response to a selection of films from the Leiden International Short Film Experience.

Eleven artists were invited to make site-specific installations in the old post office building. Catharina van Velden’s room of drawings, objects and video is a gesamtkunstwerk – you walk into the frame, while in the post office safe, Inge Reisbermann’s projection of a nocturnal cat patrolling its territory references the edges of the frame. In Astrid Moors’ room your touch on the interactive screen affects the framework around the protagonists inside the frame. And Klaas Bolhuis’ room changes the framework of the art gallery. His contribution is a functioning art library. You can rent the artworks he has on display, while Suzanne van Rossenberg’s series “A Room with a Lesbian view” is about the intangible. Her work is a conceptual process that unfolds along the walls.

POST theatre on May 31st by Erik Oijerhoek + Gideon Roggeveen in the garage area of the gallery.

POST theatre on May 31st by Erik Olijerhoek + Gideon Roggeveen in the garage area of the gallery.


Meanwhile in the back of the gallery, there is a constantly changing theatre and recording of the theatrical in the form of live takes, live interviews, video and installation by the duo, Roggeveen/Olijerhoek.

Bed Peace 2013 by Carmen McGlinn + Sonja van Kerkhoff. Performers: Carmen McGlinn + Toroa McGlinn, 31 May.

Bed Peace 2013 by Carmen McGlinn + Sonja van Kerkhoff. Performers: Carmen McGlinn + Toroa McGlinn, 31 May.

On entering the show you encounter an empty bed and a collection of televisions.
Some show videos, some show static, some might not be functioning, and words have been painted onto some of the screens. A notice informs you that the televisions are in a constant state of flux and on your next visit there will be differing films on show and other televisions at work. This work “Bed Peace 2013” by Carmen McGlinn sets the tone for an exhibition which is as much about what is outside of the frame as inside. The show which includes works by 25 artists also features live theatre and performances by Roggeveen/Olijerhoek , Fields of Wonder, and De Natte Wang/Kuiper en Berbee.

Artists:
Inge Reisberman, Fields of Wonder,Yoke Ferwerda, Daniëlle Celie, Barthel Brussee, Wendy van Baar, Robbert Pauwels, Christiaan van Tol, Katharina Pöhlmann, Suzanne van Rossenberg, Carmen McGlinn + Sonja van Kerkhoff, Erik Flikkensch​ild, Gideon, Roggeveen|Olijerhoek, Erik, Catharina van Velden, Coen van der Geest, De Natte Wang/Kuiper en Berbee, Iris Mechielsen, Christie Greeve, Loes van Dorp, Theolieke Smit, Emilie Gallier, Michel Siebes, Astrid Moors, Adrian Faes, Henk Hannemann. This page has links to their work >>

“Film + Kunst” @ Galerie de Pieter,
Breestraat 46 (Gallery website)
Open: Sundays + Saturdays (za + zo) 13 – 17.00, (vr) 21 June, 16-18.00
AND: from 7:30 p.m. till 10 p.m. with the following live events on:
25, 28, 29, 30 June, + 2, 6, 7 July.
Ook open op:
11, 25, 28, 29, 30 juni en 2, 6, 7 juli, 19:30-22.00

25 June: 19.30 Gallery is open.
20.00-20.30 concert: The Happy Acorns met acoustische meemrstemmige americana covers Concert by the Leiden acoustic folk music band, “The Happy Acorns”
21.00-22.00: meer: POST discussie, eten, workshoppen met Gideon, Erik + Sonja More “POST” discussion + workshop.

Kijk op de galerie rooster | The Gallery roster and opening times >>

Meer info over de volgende avonden in “Film+Kunst” komt binnenkort.
More details about the following evening events will be added soon.

28, 29, 30 June, 8 p.m.: Theatre by Gideon Roggeveen | Olijerhoek, Erik, De Natte Wang/Kuiper en Berbee and yet to be announced acts + interactive installaties by Sonja van Kerkhoff

Performance by Emilie Gallier at the opening.

Performance by Emilie Gallier at the opening.

2 July, 8-10 p.m.: Meer “POST” / More “POST” events.

6 July, 8 p.m.: Fields of Wonder

7 July, 8 p.m.: Theatre by Gideon Roggeveen | Olijerhoek, Erik, De Natte Wang/Kuiper en Berbee and yet to be announced performances + interactive installaties by Sonja van Kerkhoff