Marabunta #08 | 2012 | 200 x 115 cm | edition of 7 | c-print

DUTCH BELOW

Amsterdam / Rijswijk, the 20th of april 2020

Museum Rijswijk is the winner of the Agnes van den Brandeler Museum Prize 2020. The prize, worth 50 thousand euros, is awarded annually to a small to medium-sized Dutch museum that comes up with a special plan for a solo exhibition. This year the jury selected an exhibition proposal by curator Diana Wind. She will make an extensive solo with earlier work and new projects by the Dutch artist Jasper de Beijer (1973) at Museum Rijswijk.

De Beijer will make a large, new installation in the new wing of the museum. The other spaces will be filled with earlier work by the artist; photo series, installations and videoworks. De Beijer makes carefully constructed and exhilarating photo works. As an image composer he disenchants the reality of the present and past – and creates a new, mysterious reality. In that reality he raises issues about cultural ethnicity, the elusive nature of history and the fictional aspects of the here and now.

The project proposal from Museum Rijswijk for Jasper de Beijer was selected by the jury of the Agnes van den Brandeler prize from a shortlist of museums. The jury, consisting of the board of the Agnes van den Brandeler Foundation – Frank Bergevoet, Robert de Haas and Koeno Sluyterman Van Loo – and supplemented by art critic Lucette ter Borg, finds de Beijers’ work committed, critical and stunningly beautiful. Museum Rijswijk is a small but high quality museum that has been presenting an interesting variety of exhibitions in recent years.

The Agnes van den Brandeler Museum Prize – instituted in 2018 – is an annual prize for medium-size and small museums. The prize is accompanied by an amount of 50,000 euros, intended for a project in which an artist (born before 1978) who, according to the taste of the jury, has been underexposed the past years. The prize is also intended as a financial stimulus for medium-size and small museums.

Damsel Agnes van den Brandeler (1918-2002) was a Dutch artist. Very much against the will of (especially) her father she decided to attend the RoyalAcademy of Visual Arts in The Hague after the completion of her high school. After the war, she traveled between 1947 and 1972 to France, Spain, Greece and Italy. She provided for her maintenance by painting, drawing and teaching. During her travels she became acquainted with impressionism, expressionism and constructivism and experimented between styles. In particular expressionism enhused her: she remained her whole life, even after returning to the Netherlands, making landscapes and history paintings in this style. During her life, Agnes van den Brandeler exhibited regularly – and funny detail: she had her debute in Museum Rijswijk -, but never broke through seriously. On one hand she found that disappointing, on the other hand, she always dreaded “the social stuff”. The Agnes van den Brandeler Foundation – set up by herself and her husband – takes care of her artistic legacy and keeps the memory of this special, very energetic artist alive, among other things by the introduction of the annual AvdB prize.

For more information: jury and board member Robert de Haas: 06-21557915
Diana Wind – Museum Rijswijk: 06-30388366

AGNES VAN DEN BRANDELER MUSEUMPRIJS 2020 NAAR MUSEUM RIJSWIJK

Amsterdam / Rijswijk, 20 april 2020

Museum Rijswijk is de winnaar van de Agnes van den Brandeler Museumprijs 2020. De prijs, ter waarde van 50 duizend euro, wordt jaarlijks uitgereikt aan een klein tot middelgroot Nederlands museum dat met een bijzonder plan voor een solotentoonstelling komt. Dit jaar gaf de jury de voorkeur aan een tentoonstellingsvoorstel van curator Diana Wind. Zij zal een omvangrijke solo maken met ouder en nieuw werk van de Nederlandse kunstenaar Jasper de Beijer (1973) in Museum Rijswijk.

De Beijer zal een grote, nieuwe installatie maken in de nieuwe vleugel van het museum. De overige ruimtes zullen worden ingericht met vroeger werk van de kunstenaar: foto’s van series, installaties en films. De Beijer maakt nauwkeurig geconstrueerde en bedwelmend mooie fotowerken. Als beeldcomponist onttovert hij de werkelijkheid van nu en die van vroeger, en creëert een nieuwe, raadselachtige werkelijkheid. In die werkelijkheid gaat het vaak om vragen over culturele etniciteit, de ongrijpbare aard van geschiedenis en de fictieve status van het hier en nu.

Het projectvoorstel van Museum Rijswijk voor Jasper de Beijer is door de jury van de Agnes van den Brandeler-prijs verkozen uit een shortlist van musea. De jury, bestaande uit het bestuur van de Agnes van den Brandeler Stichting – Frank Bergevoet, Robert de Haas en Koeno Sluyterman Van Loo – en aangevuld door kunstcritica Lucette ter Borg, vindt De Beijers werk geëngageerd, kritisch en beeldschoon. Museum Rijswijk is een klein maar kwalitatief uitstekend museum dat de laatste jaren met een interessante keur aan tentoonstellingen aan de weg timmert.

De Agnes van den Brandeler Museumprijs is een in 2018 ingestelde, jaarlijkse prijs voor middelgrote en kleine musea. Aan de prijs is een bedrag van 50.000 euro verbonden, bedoeld voor een project waarin een kunstenaar (geboren voor 1978) die naar de smaak van de jury net te weinig aandacht heeft gehad, uitgebreid wordt belicht. De prijs is eveneens bedoeld om middelgrote en kleine musea financieel te steunen.

Jonkvrouwe Agnes van den Brandeler (1918-2002) was een Nederlandse kunstenaar. Zeer tegen de zin van (vooral) haar vader besloot zij na de afronding van haar gymnasiumtijd naar de Koninklijke Academie voor Beeldende Kunsten in Den Haag te gaan. Na de oorlog reisde zij tussen 1947 en 1972 naar Frankrijk, Spanje, Griekenland en Italië. In haar onderhoud voorzag ze door te schilderen, te tekenen en lessen te geven. Tijdens haar reizen maakte zij kennis met het impressionisme, expressionisme en constructivisme en experimenteerde met alle stijlen. Met name het expressionisme trok haar: ze bleef haar leven lang, ook na terugkomst in Nederland, landschappen en historiestukken schilderen in deze stijl.

Agnes van den Brandeler exposeerde gedurende haar leven regelmatig – en grappig detail: voor het eerst in Museum Rijswijk -, maar brak nooit serieus door. Dat vond ze enerzijds teleurstellend, anderzijds zag ze ook altijd op tegen ‘het sociale gedoe’. De door haarzelf en haar man opgerichte Agnes van den Brandeler Stichting draagt zorg voor haar artistieke nalatenschap en houdt de herinnering aan deze bijzondere, zeer doortastende kunstenaar levend, onder andere door de instelling van bovenstaande prijs.

Voor meer informatie: jury- en bestuurslid Robert de Haas: 06-21557915

Diana Wind – Museum Rijswijk: 06-30388366

From the 1st of March until the 31st of May Jasper de Beijer will be doing a residency at the Pompgemaal in Den Helder. More soon…

Asya Geisberg Gallery at 

UNTITLED San Francisco

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 – Galjoen | 2018 | 110 x 110 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. De Beijer 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. Craven will have collages of gems and mushrooms, on movie posters from the ’60s and 70’s. Daniel 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

Flatland Gallery at the PAN Amsterdam

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

With: Alice Browne, Erwin Olaf, Guy Yanai, Jasper de Beijer, Kim Boske, Stelios 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.

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

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 19^th 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