Opens March 19th. 20:00 March 19th- April 25th

Curator: Matheos Pontikos

Above: Chainsaw of Life. 180 x 190cm. Oil on Canvas 2009

Made possible with generous funding by the FBKVB The Netherlands Foundation for Visual Arts, Design and Architecture, Amsterdam (NL), as well as the Netherlands, Israeli, and Columbian Embassy.

map

Dörpfeldstraße 56 12489 Berlin, Germany

invite

nederlands versie

“I always need to start with a landscape,” I once heard a writer say when asked, in an interview, how his novels took shape. First comes a spatial image, and within that the characters subsequently emerge as the story unfolds. In the work of visual artist Michael Markwick, a similar kind of thing takes place. He, too, seems to need the landscape as a means to generate something else: in his case, not a narrative or a character, but a drama in terms of form, which does show human characteristics though. The large charcoal drawings that he produced in 2009 show landscapes. The question that arises on looking at them is whether ‘landscape’ can actually be regarded as the subject being dealt with by the artist, or if it serves rather as a setting for other matters.

Take, for instance, the gesture with which these drawings have been made: the curves charged with energy, the physical effort that preceded the work and which now remains in the charcoal. See the play of lines as something that becomes independent of the landscape, takes its own course, resembles a cloverleaf of roads or an industrial obstacle—as something that clashes with and does not serve the depiction of the woods or countryside, but violates it. All of that belongs to the content of these works and can sooner be called abstract or formal rather than landscape-oriented. There are crash points, places where forms collide with each other, but also tranquil areas, like the oasis of circles where movement comes to a standstill. When the works are seen along side each other, they become images in which a great deal gets tumbled about, where change with a capital C takes place—be it constructively or destructively. Contortion, eruption, transformation.

 ”Apocalyptic,” the painter has called his work at times. That particular perspective does hold true. Look at the dark sky that hangs ominously over the field like tent canvas; the sense of open wilderness turns into oppressiveness. In Trench we see pollard trees lining either side of a trench that draws the eye into the depths. Branches protrude outward, like rebellious arms imploring the heavens. But these are not people protesting; these are branches and trees in a tense landscape. Here man has assumed the guise of nature, has become the tree and leads the existence of branches. And this is how many drawings are, as well as paintings made by the artist in recent years. Their figuration is whimsical and ambivalent. Among the trees we catch a glimpse of a person, a face or a pair of eyes emerging in the bark. And then it vanishes again, like a ghost: a latent figure flitting about, yet having no substance.

The character of these drawings is complex, ranging from the hectic and menacing to the delicate and seductive. It’s interesting to wonder what is being controlled and conceived and what is actually unintentional, unconscious or coincidental in terms of its figuration—and corresponding ‘content’. The artist no doubt works on the basis of ideas as to how composition and balance should look. What conditions should be met by a landscape. His handwriting also reflects a certain interest in the style of the old masters. But cropping up through that is something which eludes control and consciousness: areas that come as a gift to the artist while he works and which take shape as a ’second voice’ in the work’s fervor. And that’s precisely where something essential occurs in terms of the content. The drawings could be seen as junctions of forces that are situated in landscape. A face appears where, formally speaking, only trees have been drawn. Form is about to change its guise. The landscape is never merely landscape.

Jurriaan Benschop

translation: Beth O’Brien

Tussen de bomen

English

“Ik heb altijd eerst een landschap nodig” hoorde ik een schrijver in een interview zeggen, toen hem werd gevraagd naar het ontstaan van zijn romans. Eerst een ruimtelijk beeld, en daarin verschijnen vervolgens karakters en komt een verhaal op gang. In het werk van beeldend kunstenaar Michael Markwick is iets vergelijkbaars aan de hand. Ook de kunstenaar lijkt het landschap nodig om een andere inhoud mee te delen. In zijn geval is dat niet een verhaal dat door karakters wordt gedragen, maar een drama in vorm, dat overigens wel menselijke trekken heeft. De grote houtskooltekeningen die hij in 2009 maakte geven landschappen te zien.
Maar de vraag is of “landschap” ook het feitelijke onderwerp is van deze werken, of dat het eerder een setting is voor andere dingen.

Neem het gebaar waarmee de tekeningen zijn gemaakt, de spanningsbogen die getrokken zijn, de fysieke inspanning die vooraf ging aan het werk en nu in houtskool is achtergebleven. Neem het lijnenspel als zich dat losmaakt van het landschap, een eigen baan volgt, op een klaverblad van wegen lijkt, of een industrieel obstakel. Iets dat dissoneert en niet dienstbaar is aan de voorstelling van het bos of land, maar daarop inbreekt. Dat alles is mede inhoud van deze werken en is eerder abstract of formeel te noemen dan landschappelijk. Er zijn knallende plekken, waar vorm op elkaar botst, maar ook rustige, een oase van cirkels waarin de beweging stilvalt. Als je de werken op rij ziet, zijn het beelden waarin heel wat wordt omgewoeld, waarin – goedschiks of kwaadschiks – verandering aan de hand is, veelal met een hoofdletter. Verbuiging, eruptie, transformatie.

“Apocalyptisch” heeft de schilder zijn werk wel genoemd en dat is één perspectief dat opgaat. Neem de donkere lucht die als een tentdoek over het veld hangt, en het gevoel van vrije natuur verandert in dreigende natuur. In Trench staan geknotte bomen, aan weerszijden van een loopgraaf die het oog van de kijker de diepte in trekt. Takken steken omhoog, als opstandige armen die een klacht ten hemel richten. Maar het zijn geen mensen die hier klagen, het zijn takken en bomen in een nerveus landschap. De mens is hier vermomd in de natuur, boom geworden, takkenbestaan leidend.  En zo gaat het in meerdere tekeningen en ook in de schilderijen die de kunstenaar de afgelopen jaren maakte. De figuratie is grillig en ambivalent. Er is een glimp van een mens tussen de bomen, een gezicht of paar ogen dat tevoorschijn komt in een bast. En dan is het alweer verdwenen. Latente figuratie in het landschap, als een geest die rondwaart maar geen substantie heeft.

Het karakter van de tekeningen is complex en reikt van druk en dreigend tot licht en versierderig. Het is interessant om je bij dit werk af te vragen wat er bestuurd en bedacht is en wat er onbedoelde, onbewuste of toevallige figuratie is (en navenante “inhoud”). De kunstenaar werkt ongetwijfeld vanuit opvattingen over hoe compositie en balans eruit moeten zien. Waar een landschap aan moet voldoen. In zijn handschrift is ook interesse in de stijl van oude meesters te zien. Maar daartussenin duikt iets op dat aan beheersing en bewustzijn ontsnapt. Plekken die de kunstenaar tijdens het werk cadeau krijgt. Die in de vuur van het werk als “tweede stem” ontstaan. En precies daar gebeurt iets essentieels, waar het om de inhoud gaat. De tekeningen, zou je kunnen zeggen, zijn knooppunten van krachten die zijn gesitueerd in een landschap. Een gelaat dat tevoorschijn komt waar formeel alleen bomen zijn getekend. Vorm die op het punt staat van gedaante te veranderen. Het landschap is nooit louter landschap.

Jurriaan Benschop

Vernissage: Febr. 19th 19:00
Finnisage: March 7th 15:00

Download Invite

[ scroll down for english ]

Kunst in Kreuzberg e. V. freut sich ,eine Werkgruppe des Niederländers und gebürtigen US-Amerikaners Michael Markwick (geb.1974) auszustellen. Seit 2005 lebt und arbeitet Markwick in Berlin. Mit “The Periphery Rising” verlässt er die Malerei und zeigt statt dessen großformatige Kohlezeichnungen. Basierend auf seinen Untersuchungen über bewaldete Landschaften, erscheinen sie gleichzeitig wohlbekannt und fremdartig

Oft ist gerade das, was an der Peripherie des Blickfelds erscheint, das eigentlich Fesselnde – auch wenn es meist übersehen wird. Die 2 x 3 Meter großen Zeichnungen belegen Markwicks Vielseitigkeit und Virtuosität und geben dem Betrachter die Möglichkeit, eine andere Seite seines Schaffens kennen zu lernen. Markwicks Werk positioniert sich inmitten der Bandbreite expressionistischer Traditionen zwischen Abstraktion und Repräsentation. Sowohl kraftvoll als auch sensibel verschmilzt er Erinnerungen und Naturerlebnisse mit einer Art “apokalyptischem Sound”.

Die neue Werkgruppe wird im Ausstellungsraum des Atelierhofs Kreuzberg, einer jungen und wachsenden Plattform für zeitgenössische Kunst in Berlin, zu sehen sein.

**In der Ausstellung wird außerdem ein begleitender Text des niederländischen Autors und Kurators Jurriaan Benschop präsentiert.

Zuletzt waren Markwicks Arbeiten in der Galerie Cluster in Berlin, im Dordrecht Museum in den Niederlanden und bei der Netherland Royal Painting Prize Exhibition im Gemeente Museum Den Haag zu sehen.

– Kunst in Kreuzberg e.V.

Diese Ausstellung wurde ermöglicht durch die freundliche Unterstützung von FBKVB (The Netherlands Foundation for Visual Arts, Design and Architecture, Amsterdam) und in Kooperation mit Kunst in Kreuzberg e.V.

English

Kunst in Kreuzberg e. V. presents the American-born Dutch artist Michael Markwick (1974) who has been living and working in Berlin since 2005. Stepping outside his usual painting medium, Markwick presents an unusual solo exhibition of recent, large-scale charcoal drawings based increasingly on his investigations of wooded landscapes that seem both natural and alien at the same time. It is often what is on the edge of vision (the periphery) that is the most compelling and yet overlooked.

The large-scale drawings (3×2 meters) show Markwick’s versatility and virtuosity, offering a compelling view into another aspect of his creative work. Markwick works from a variety of expressionistic traditions between abstraction and representation, showing both power and sensitivity, and combining memories and experiences of nature with apocalyptic overtones.

This new body work is presented at the gallery space Atelierhof Kreuzberg, a new and growing platform for contemporary art in Berlin. The exhibition also presents an accompanying text by Dutch author and curator Jurriaan Benschop.

Markwick’s other recent exhibitions have included shows at the Gallery Cluster, Berlin; the Dordrechts Museum, The Netherlands; and The Netherlands Royal Painting Prize Exhibition at the Gemeente Museum Den Haag.

– Kunst in Kreuzberg e.V.

j

Kunst in Kreuzberg e.V.
Atelierhof Kreuzberg
Schleiermacherstr. 31 – 37
10961 Berlin
www.atelierhof-kreuzberg.de

Diese Ausstellung wurde ermöglicht durch die freundliche Unterstützung von FBKVB (The Netherlands Foundation for Visual Arts, Design and Architecture, Amsterdam) und in Kooperation mit Kunst in Kreuzberg e.V.

Documentation

 

Grotere kaart weergeven

http://www.kma36.de/

Sa.16.01.2010  20:00 Uhr

Buchpräsentation mit:

Adriana Molder
“WE HAVE FACES!” (2009)
Katalog anläßlich der gleichnamingen Ausstellung in der DSV Kunstkontor, Stuttgart
Mit Beiträgen von: Dr. Andreas Schalhorn und Dr. Christiane Valerie-Gerhold
Jahr: 2009
Sprache: deutsch / englisch
Format: 20 x 30 cm, 80 Seiten/pages, Hard-cover, linen-bound
Preis: 28 Euro plus Versandkosten / plus postage
Verlag: Deutscher Sparkassenverlag, DSV Kunstkontor, Stuttgart
ISBN: 978-3-09-32808-6

Mark Lammert
“ARBEITSBÜCHER 1989 – 2004″
Mit einem Text/With a text by Knut Ebeling und/and Carolin Meister
und einem Interview von/ and an interview by Michael Freitag
Jahr:2005
Sprache deutsch/englisch
Format 30,5 x 20,5 cm, 104 Seiten/pages, Hard cover
Preis 36 Euro
Verlag: Richter Verlag, Düsseldorf
ISBN 3-937572-39-2

Michael Markwick
“MICHAEL MARKWICK, COLLISIONS. EARTH-TREE-BONES-SKY”
Monograph
Jahr: 2009
Sprache: englisch/ niederländisch
Mit einem Beitrag von Prof. Timothy van Laar
Format: 43.5x 27,5 cm, 64 Seiten, Hard-cover, linen-bound
Preis: 50 EUR plus Versandkosten
Verlag: Tienstuks, Amstelveen, Niederlande/ Walther Köning Hackesche Markt, Berlin
ISBN 978090-8860-026-5

Stephan Balleux
“PERSONA”
Monograph
Herausgeber: Think 21 Contemporary Gallery
Jahr: 2008
Sprache: französisch/englisch
Mit Beiträgen von: Muriel Andrin, Jurriaan Benschop and Claude Lorent
Format: 28,5 x 23 cm, 144 Seiten, soft cover
Preis: 28 EUR plus Versandkosten
Verlag: Think 21 Contemporary Gallery
ISBN 978 90 81318 01 3

Tom Liekens
“SOUVENIR EXOTIQUES: Paintings 1999-2005″
Monograph
Jahr: 2005
Sprache: english/niederländisch/ französisch
Mit Beiträgen von: Dr. Johan Pas, Sofie Vermeieren (MUHKA)  and Frank Herreman’
format: 28 x 28 cm, 122 seiten/pages, Hard-cover, linien bound
Preis: 25 EUR plus Versandkosten
Verlag: www.stockmans.be
ISBN: ISBN 90-77207-11-2

Stephan Balleux
“PERSONA”
Herausgeber: Think 21 Contemporary Gallery
Mit Beiträgen von: Muriel Andrin, Jurriaan Benschop and Claude Lorent
Verlag: Think 21 Contemporary Gallery

Alex Tennigkeits
“Usurper’s Choice”
Mit Texten von Karin Pernegger und Axel Heil
Kerber Verlag

Katharina Ziemkes
“The Thicket”
Zürcher Studio, New York

“Family Jewels”
Ausstellungskatalog für die Galerien der Stadt Esslingen
Herausgeber: Conny Becker + Damien Deroubaix
mit einer Zusammenarbeit der Galerie Bongout

+ Dj’s Special

Kosmetiksalon Babette
Bar in der Karl-Marx-Allee 36
10178 Berlin
täglich offen ab 18:00
mail@barbabette.com
kma36@gmx.de
www.barbabette.com

On February 26-28, 2010 and on various dates in March 2010 Noordkaap presents the group exhibition Schwarzwald in and around the Energiehuis building, Noordendijk 148, Dordrecht

Guesturator: Arno Coenen

Artists: Abner Preis (USA), Alexander Krone (Denmark), CHAOMETRIC, Arno Coenen, Dragan Striskovic (Croatia), Gwen Stok, Hans van Bentem, Martyn F. Overweel, Iris Roskam, Luuk Bode, Marinus de Ruiter, Martin C. de Waal, Michael Markwick (USA/NL)

Above:  Blackened Earth:  Charcoal on Paper/ Dyptic – 7 Meters x 2 Meters ( 23  x 6.5 feet ) 2010

 

saturday/ sunday 6 and 7th of march: 17 – 21pMsaturday/ sunday 13 and 14 march 14-20 pm
and film screenings from 20:30 till 22pm

Opening night : Friday February 26 from 19.00 until late. Featuring performances by opera singer Martina Prins, Kid Goesting (electro/metal), Transformer Di Roboter (electro) and the metal bands Onheil (Dordrecht) and Signs of Darkness (Limburg). In cooperation with the Popcentrale Dordrecht venue.

Welcome to the elder ruins again
The wind whispers beside the deep forest
Darkness will show us the way
(Mayhem – De Mysteriis Dom Sathanas, 1994)

Schwarzwald is a collaborative artwork in the form of a dark forest. It represents primal human urges through painting, sculpture, video, photography, collage, performance, storytelling, opera, electro and heavy metal.

In European culture and art the forest is an emotionally charged subject; it can stand for fear, danger, strength and beauty at the same time. Author Elias Canetti connected the symbolic idealization of the forest to the rise of national socialism. In the feature film Antichrist (2009) by Lars Von Trier the main character regards the forest, and consequently nature, as a destructive force.

It’s striking how in times of crisis people are attracted to symbols of nature; in 1930s Germany the forest was widely used as a simple, universal symbol to appeal to all people. Currently in The Netherlands the sea (or water) is used as a symbol to connect the nation, not only in pop music and popular films, but also in the campaigns of successful populist political parties.

By appropriating symbols for propaganda these symbols become unambiguous in their meaning, with the unwanted effect of becoming suspect. The artists in the Schwarzwald exhibition demonstrate that a symbol, in this case the forest, can be used in many contradictory ways and by doing so they deflate the symbol of its univocal appearance.

The international artists contributing to Schwarzwald are fascinated by the European perspective on the forest. However, they tend to expose the forest as a creative source and an unpredictable, polymorphic phenomenon. They refer to denounced art forms like heavy metal, True Norwegian Black Metal, gothic art, tattoo art, Wagnerian opera, Eastern European folk art, decoration, woodcutting, kitsch, camp, fairytales and children’s stories.

The nature of the works incorporated in Schwarzwald is not a moralising one. It rather is in line with horror cinema; the effect is alternately frightening and humorous, with the intent to put the senses to a test.

Schwarzwald takes the shape of a festival; the emphasis lies on the opening weekend, in which Noordkaap collaborates with Popcentrale Dordrecht and cultural centre Energiehuis. After the weekend there will be incidental events alongside the exhibition.

Metal Heart III
Schwarzwald is a continuation of the Metal Heart project by artist and curator Arno Coenen (1972). Recently Coenen organised two group exhibitions entitled Metal Heart, in art space Planet Art and at the alternative art fair Kunstvlaai in 2008. With the help of likeminded artists Coenen expressed his fascination for heavy metal, the subcultural phenomenon known for its extremely loud and dynamic rock music.

In his adolescent years Coenen was a heavy metal fan. After his art education Coenen discovered that many aspects of heavy metal corresponded with his artistic vision. Heavy metal can be regarded as a multidisciplinary art form, in which loud and dynamic rock music is combined with slogan-like lyrics and powerful visuals. The exaggeration, magnification, the grand gesture, the provocative character and the shock effect are aspects of heavy metal that can be recognized in Coenen’s visual strategy as well.

Not unlike many post-modern art forms, heavy metal is full of paradoxes that are interesting from an artistic and conceptual point of view. Heavy metal sounds extremely violent and antisocial, while the behaviour among fans is mostly warm and friendly. Heavy metal arose from grass roots fan culture, but is very commercial at the same time. Heavy metal sounds recognizable, but is often full of influences from all kinds of cultures and musical styles (see documentaries like Heavy Metal in Baghdad (2007), about the Iraqi metal scene, and Global Metal (2008), about metal scenes all over the world).

On the visual side heavy metal is full of strange juxtapositions as well. At first sight the typical attire of metal bands (leather, spikes, chains) looks like an expression of macho culture. Most fans who dress up in this fashion do not seem to be aware of its origins. It has in fact emerged from the S&M gay scene, which is apparent from interviews with singer Rob Halford of the early metal band Judas Priest, who has pioneered this style of clothing. Like Halford, Norwegian metal singer Gaahl has kept his homosexuality hidden for a long time.

Noordkaap is interested in the continuation of the Metal Heart concept for several reasons. Like heavy metal, Dordrecht’s local working class culture can appear off-putting and antisocial at first glance. A closer look reveals unique rituals and manners that have their own tradition, which stems from the Dordrecht’s history as a port and a tough blue-collar town. The city also has a strong and visible church tradition. The visual language of heavy metal has baroque aspects and often refers to biblical themes. The cult surrounding heavy metal has fanatical, religious dimensions, wherein fans persevere in their ‘faith’, even in times when their style does not appeal to a large audience.

With a new chapter of Metal Heart, Noordkaap presents an event that is accessible to diverse audiences, from art aficionados to metal fans, youth interested in subcultures, local residents and other curious people.

http://www.derschwarzwald.eu/


View Stichting Noordkaap in a larger map

Mondriaan Foundation

Popcentrale Dordrecht

Center of Fine Arts Dordrecht

Gemeente Dordrecht, sector MO

Black Widow Rotterdam

Subbacultcha

Eröffnung: 11.12.2009 / 19.00

Begrüßung: Sigrid Klebba/Bezirksstadträtin für Bildung und Kultur
Friedrichshain/Kreuzberg

Öffnungszeiten: täglich 12-19 Uhr

(geschlossen am 25./26. Dezember 2009
sowie am 31. Dezember 2009 und 1. Januar 20010)

Programm:
jeden Sonntag um 14 Uhr (außer am 27. Dezember):
RUNDGANG DURCH DIE AUSSTELLUNG mit Anke Becker von blütenweiss

Sonntag, 13. und 20. Dezember jeweils ab 15 Uhr:
ADVENT IM BETHANIEN: Glühwein & Kekse

Donnerstag, 17. Dezember, 19 Uhr
VORTRAG VON DR. ANDREAS SCHALHORN/Kupferstichkabinett Berlin
“In Grenzen grenzenlos. Anmerkungen zu Qualität und Vielfalt der Zeichnung“

VERKAUF ANONYMER ZEICHNUNGEN zu einem Einheitspreis von jeweils 150 Euro
am Eröffnungsabend sowie an den Wochenenden von 15 – 19 Uhr
(außer am 26./27. Dezember)

An allen anderen Tagen ist eine Vorreservierung gegen Anzahlung möglich.

Zur Ausstellung erscheint eine PUBLIKATION in limitierter Auflage
mit einer Auswahl von 100 anonymen Zeichnungen zum Preis von 13 Euro.

Kunstraum Kreuzberg / Bethanien
Mariannenplatz 2
D-10997 Berlin
www.kunstraumkreuzberg.de
www.bluetenweiss-berlin.de

U-Bahn Kottbusser Tor

+++++++++++++++++++++++++++++++++++
+++blütenweiss / office++++++++++++
+++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++
+++becker@bluetenweiss-berlin.de+++
+++www.bluetenweiss-berlin.de++++++
+++www.anke-becker.de++++++++++++++
+++++++++++++++++++++++++++++++++++
+++Kunstraum Kreuzberg/Bethanien+++
+++Mariannenplatz 2++++++++++++++++
+++10997 Berlin++++++++++++++++++++
+++Germany+++++++++++++++++++++++++
+++www.kunstraumkreuzberg.de+++++++
+++tel.:030/90298-1455+++++++++++++
+++++++++++++++++++++++++++++++++++

///English Version//////////////////////////////////////////
ANONYMOUS DRAWINGS N°10
December, 12th 2009 – January 17th 2010

opening reception: December, 11th, 2009 / 7 pm

closed on December 25./26. & Dezember 31. &  Januar 1st

program:
every Sunday, 2PM (except December 27):
GUIDED TOUR at the exhibition with Anke Becker (blütenweiss)

Sunday, December 13. and 20. / 3 PM:
ADVENT at BETHANIEN: hot wine punch & christmas cookies

Thursday, December 17., 7PM
LECTURE
with DR. ANDREAS SCHALHORN/Kupferstichkabinett Berlin:
“In Grenzen grenzenlos. Anmerkungen zu Qualität und Vielfalt der Zeichnung“

SALE OF ANONYMOUS DRAWINGS
for a unit Saleprice of 150 Euro each
at the opening night and at the weekends form 3 – 7 PM.
(except December 26./ 27.)

Reservations are possible on all the other day if you pay a deposit.

bluetenweiss will publish a black&white BOOKLET with a selection of 100 anonymous drawings. Price: 13 €.

location:
Kunstraum Kreuzberg / Bethanien
Mariannenplatz 2
D-10997 Berlin
www.kunstraumkreuzberg.de
www.bluetenweiss-berlin.de

U-Bahn Kottbusser Tor

May 7th Preview 15:00 – 18:00

Admission: 18€ / CJP Pass Student Pass and Senior Citizens 10€ http://www.kunstrai.nl/

 

Michael Markwick wo 07 mei /Michael Markwick do 08 mei /Nina Kluth vr 09 mei/ Heddy-John Appeldoorn za 10 mei /Freya Wisman zo 11 mei /Jasper Hagenaar ma 12 mei

• Sylvie Zijlmans
• Koen Vermeule
• Jurriaan Molenaar
• Rob van Koningsbruggen
• Joost van den Toorn
• Elena Beelaerts
• Hans Broek
• Hideki Iinuma
• Emo Verkerk

Art Amsterdam is een vijfdaags kunstevenement (meestal in mei) in de RAI in Amsterdam. Het is een beurs voor hedendaagse kunst. In 2006 (22e editie) is de naam veranderd van KunstRAI in Art Amsterdam. Van 9 tot 13 mei 2007 vond de Art Amsterdam plaats in de RAI. Er waren meer bezoekers (in totaal 17.790), deelnemers en een hogere omzet dan in 2006. In 2008 wordt het gehouden van 7 tot en met 12 mei met als thema “kunst en het verzamelen”. Er komen vele galeries uit binnen- en buitenland naar deze beurs. Er is een breed aanbod aan informatie over beeldende kunst en over kunstenaars zoals kunstschilders en beeldhouwers, en er zijn stands van kunsttijdschriften en musea.

Support: Ambassade van het Koninkrijk der Nederlanden

 

deutsch text/ nederlands text

How do humans interact with the leftover nature that surrounds them? Photographer Anja de Jong (NL, works in Dordrecht) went travelling with this question. She visited places in the world where the line between original nature and the landscape shaped by humans could still sharply be seen. Although the untouched was photographed, you can also see it disappear, as there is still a visible element of human civilization (or disturbance): a grave, a tyre tack or an observatory, for example. In a series of clear, unsentimental black and white photos entitled Borderland viewers are led along changing areas in locations like Hawaii, La Palma, Antarctica and Namibia.

Michael Markwick (US/NL, works in Dordrecht and Berlin) spent part of his youth in a trailer park in Michigan on the outskirts of the city. It is a remarkable border area where nature and human settlements collide, where landscape and trash mix. Memories of this became the starting point for a number of landscape-focused paintings, including Darker Dualities. In Markwick’s work nature never appears in an untouched or pure form. Pure is a word that actually does not qualify his expressive paintings. Each painting contains contradictory voices and is mixed and layered. It is violent as well as sensitive, while dark as well as light in atmosphere. His unique, expressive touch can also be seen in drawings where city and land are intertwined.

The sculptures of Jeroen Jacobs (NL, works in Berlin) are created in a work process that is a middle ground between the artist’s vision and ‘letting it happen’. What is remarkable about his concrete sculptures is that they look lively and in motion, something you would not expect from concrete. Jacobs has brought this rigid material to life: the concrete forms itself organically and moves freely through space. The work was created by thoroughly observing the material world, as much the obvious properties as the hidden ones. Jacobs looks at things such as the rest shape of a piece of furniture or sees how a metal packaging strip forms a drawing in space once it is cut off. It is important how objects behave in space for him. Only by interacting with architecture is the actual work created, underlined by his unique use of displays. On one occasion it serves as a pedestal for an image, on another one, viewers can sit on it or it is used to divide up space

(Text: Jurriaan Benschop)