1. JASPER DE BEIJER at Untitled San Fransisco (group show)

     

    Asya Geisberg Gallery at 

    UNTITLED San Francisco

     

    Booth B11

     

    VIP and press preview: Thursday Jan.16, 2 – 8pm

    Friday, Jan. 17, 12 – 8pm

    Saturday, Jan. 18. 12 – 6 pm

    Sunday, Jan. 19. 12 – 6 pm

     

    The Admiral's Headache - Koets | 2019 | 110 x 110 cm | edition of 7 | c-print
    The Admiral’s Headache – Koets | 2019 | 110 x 110 cm | edition of 7 | c-print

     

    The Admiral's Headache - Galjoen | 2018 | 100 x 100 cm | edition of 7 | c-print

    The Admiral’s Headache – Galjoen | 2018 | 100 x 100 cm | edition of 7 | c-print

     
    We are excited to be returning to UNTITLED San Francisco, where we will feature new works by Jasper de Beijer, Matthew Craven, and Melanie Daniel. 
    Jasper will debut two photos from his new series “The Admiral’s Headache,” about Dutch colonialism in Curaçao, created with both cut paper models and digital techniques. Matthew will have collages of gems and mushrooms, on movie posters from the ’60s and 70’s. Melanie is continuing her series on climate change, with fantastical narratives of women and plants in a post-apocalyptic world.

    For a full PDF catalog, detail images, or any additional information on our artists, please do not hesitate to contact us. We hope to see you at booth B11!

    ASYA GEISBERG GALLERY 
    537B West 23rd Street

    New York, NY 10011

    (212) 675-7525

     

  2. Jasper de Beijer at PAN Amsterdam

     

    Flatland Gallery at the PAN Amsterdam

     

    
    The Admiral's Headache - Koets | 2019 | 110 x 110 cm | edition of 7 | c-print

     

    With:

    Alice BrowneErwin OlafGuy YanaiJasper de BeijerKim BoskeStelios Karamanolis

     

    About ‘The Admiral’s Headache’:

    During his 4 month residency at the Instituto Buena Bista in Curaçao Jasper de Beijer collected information about the Dutch past in this former colony of the Netherlands.  The artist was intrigued by the modular character of the buildings, ships, tools and weapons, which were in a way all part of the method of using human beings as a commodity. The administrative papers prove the instrumental character of the Dutch activities, breaking down all commodities into bits of profit or cost.
    De Beijer imagined this whole system as an alien invasion on the island, using the method of compartmentalized boats and houses as prefab and modular units. He took this idea as a vantage point to imagine the ships bringing these units, unloading them like container ships and start colonizing the land to prepare it for the slaves who provided the running engine for the system.

    In this world the colonialists become hidden players, only present behind their facades and their empty uniform costumes in the museums in Curacao. He recreated his version of the island, in 3D in paper  – and made a desolated place in his studio, riddled with living units, storage units, prefab harbors, boats and machines that are waiting to be involuntary powered by humans, the ancestors of the current inhabitants.

     

    Flatland Gallery Logo

     

    DATES & OPENING HOURS

    24 Nov-01 Dec 2019
    24 – 27 november 12 – 9 pm
    28 – 1 december 12 – 6   pm

    Amsterdam RAI, Hall 8, Europaplein, 1078 GZ Amsterdam
    Route & accessibility

  3. Jasper de Beijer at EYE film (group show)

     

    EYE Film presents

    Virtual Dioramas

    13 – 24 November 2019

     


    Screenshot from ‘ The Exhibition’ 

     

    In the group exhibition Virtual Dioramas six Dutch artists signal how to redefine the traditional line between old and new media. The three-dimensional scenes combining virtual tableaux vivants, handmade miniatures and design, are featured in the Room at the Top and Eye’s Project Space.

    Jasper de Beijer – The Exhibition. De Beijer used 3D scans of objects found in several colonial and ethnographic museums. The virtual exhibition of tableaux vivants that are continuously developed and dismantled as the visitor is moving around in the exhibition space, reflects our changing perception of the other.

    Daniël Ernst – Die Fernweh Oper (winner Golden Calf 2019). Three scenes about opera star Asteria who sings a haunting elegy especially for you. Since 2013, Ernst is creating VR experiences that he describes as ‘diorama’s’. With his diorama’s he is now internationally recognized as a pioneer in his field. Premiere of the third scene of the Fernweh Oper (winner Golden Calf award Nederlands Film Festival 2019).

    Celine Daemen – Opera of the Falling. A virtual reality opera and a series of handmade miniatures about loneliness and a sadness that can suddenly overwhelm us; inspired by interviews with people with psychiatrical vulnerabilities.

    Eva Gonggrijp – On Entre. Gonggrijp’s grandmother built her a doll’s house, an almost perfect replica of her own home. A large part of her grandmother’s concealed colonial past, the things she lost and the things she dreamt about are reflected in the doll’s house.

    Lotje van Lieshout – Superfund. Lotje van Lieshout makes oil paintings of landscapes, in this case an imaginary polluted nature area in the US and combines this with virtual reality.

    Paula Strunden – Micro-utopia: The Imaginary Potential of Home. Micro-utopia is based on Utopian interiors, historical paintings and contemporary design, created in reaction to the current housing crisis in London.

     

    About The Exhibition (Press release)

     

    The Exhibition is a museum in virtual reality where a museum show is continuously built up and broken down while the visitor is walking around in it. The route that the visitor chooses dictates the course and content of the exhibition.
    Since the birth of the museum in the 19th century dioramas are being used to show the visitor a slice of reality. These slices of pseudo reality confront the visitor with a point in time and place – frozen in a confined box, while the subjectiveness depends on era and perpective.
    In The Exhibition the visitor dictates the course of the show itself by choosing a route and looking in certain directions. This makes the exhibition different for every viewer, being constructed and deconstructed accordingly.
    During his stay at the Wiels residency the artist has been studying and collecting information at different ethnographic museums, to investigate how these tableaux vivants are a reflection on the zeitgeist in which they were constructed. He used the collected numerous 3D scans of objects he found there to create exhibited objects that have become actors in a narrative that tells us more about our changing perception than it does about the content of the dioramas.

     

     

     

    Please note! Online ticket sales are not possible on 13, 14 and 15 November.
    On those days, tickets can only be bought at Eye’s box office.

    Plan your visit

     

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