Visual art and jewellery inspired by trees and woods

02.05 to 07.09.2014

The exhibition The Force Of Nature offers a wide selection of works that have nature as their starting point or theme. The work shown was made in the Netherlands or by Dutch artists in the last three decades, with an emphasis on the past decade.

CODA director Carin Reinders and guest curator Ward Schrijver have put together a very diverse exhibition with works by 39 artists. Reinventing Nature, a retrospective of jewellery made by Terhi Tolvanen that is also inspired by the theme of nature, is part of this exhibition.

The Force of Nature also shows jewellery made by other visual artists and designers. In addition, sculptures, photos, drawings and paintings by various Dutch artists are exhibited.

Wir sind das Gedächtnis #02 | 2013 | 170 x 115 cm | edition of 7 | c-print

Galerie Nouvelles Images presents:

JASPER DE BEIJER . Wir sind das Gedächtnis

You are cordially invited to the opening at the 25^th of January between 1600 – 1800 hrs

The dream that was Germany in 1871 is over. The passion and concerted effort that had brought unity to the nation were torn apart by a frustrated Kaiser and a sociopathic dictator. The cities of the former kingdom of Prussia, the cultural heart of the nation, were razed to the ground. Today, after decades of nursing their wounds and repairing the destruction, these centers have recovered some of their former glory.

The artist recently made a study tour past some of the locations that played such a dramatic role in Europe’s recent history. Viewing the reconstructed cityscapes, he wondered how often you can demolish and rebuild a structure before it loses its identity. He imagined a town that has been destroyed for the umpteenth time, and a community that tries to erect a silhouette of its culture from a vague recollection of its past. Using only the primitive means left at their disposal, the townspeople strive to recover their identity, rebuilding their city with the same determination that they shared in former times – an echo of an idealized past.

Exhibition runs from 25-01-2014 to 05-03-2014

You can find further information on the website of Nouvelles Images:
http://www.nouvellesimages.nl

Westeinde 22
2512 HD Den Haag
T +31 (0)70 346 19 98
F +31 (0)70 346 46 18
E info@nouvellesimages.nl

9th of November 2013 until the 18th on January 2014

The dream that was Germany in 1871 is over. The passion and concerted effort that had brought unity to the nation were torn apart by a frustrated Kaiser and a sociopathic dictator. The cities of the former kingdom of Prussia, the cultural heart of the nation, were razed to the ground. Today, after decades of nursing their wounds and repairing the destruction, these centres have recovered some of their former glory.

The artist recently made a study tour past some of the locations that played such a dramatic role in Europe’s recent history. Viewing the reconstructed cityscapes, he wondered how often you can demolish and rebuild a structure before it loses its identity. He imagined a town that has been destroyed for the umpteenth time, and a community that tries to erect a silhouette of its culture from a vague recollection of its past. Using only the primitive means left at their disposal, the townspeople strive to recover their identity, rebuilding their city with the same determination that they shared in former times – an echo of an idealized past.

You can find further information on the website of TZR: http://www.tzrgalerie.de

The Empire Project will be exhibiting at

The UNSEEN Photo Fair Amsterdam

Wir sind das Gedächtnis #03 | 2013 | 115 x 170 cm | edition of 7 | c-print

26 – 29 September 2013 | Between 12.00 and 20.00

Gözde Türkkan
Esra Rotthoff
Jasper de Beijer
Cemil Batur Gökçeer
Ali Taptık

The Empire Project

The Empire Project identifies and exhibits contemporary art from the regions which have historically been within the cultural sphere of influence centered upon (or significantly affected by) the imperial locus we today call Istanbul. Geographically speaking, the range is wide, including most of the Mediterranean world and Arabian Peninsula, much of Eastern Europe, Anatolia, the Black Sea region, and Central Asia.

Location:
Westergasfabriek
Klönneplein 1
1014 DD Amsterdam
The Netherlands
www.westergasfabriek.nl

Zeitgenössische Fotografie

Jasper de Beijer (NL) / Alexander Chekmenev (UA) / Nan Goldin (US)
Herbert Hoffmann (DE) / Josef Huber (DE) / Zoltán Jókay (HU)
Aino Kannisto (FI ) / Andrej Krementschouk (RU) / Natacha Lesueur (FR)
Duane Michals (US) / Ian Ritterskamp (DE) /  Ira Vinokurova (RU)
Francesca Woodman (US) / Kohei Yoshiyuki (JP)

Zur Eröffnung der Ausstellung am Freitag, 14. Juni 2013, um 19.00 Uhr sind Sie herzlich eingeladen.

Laufzeit: 15. Juni bis 25. August 2013
Begrüßung: Dirk Steimann, Vorstand Kulturforum Witten
Einführung: Christoph Kohl, Kurator für zeitgenössische Kunst, Märkisches Museum Witten
Parallel zeigen wir im Graphischen Kabinett “Wittener Stadt-Ansichten”.
Eine Ausstellung in Kooperation mit dem Verein für Orts- und Heimatkunde in der Grafschaft Mark.
Grußworte: Dr. phil. Ralf Molkenthin, Vorsitzender des Vereins für Orts- und Heimatkunde in der Grafschaft Mark.

Märkisches Museum Witten
Husemannstraße 12 · 58452 Witten
Telefon: 02302 – 5 81 25 50 · Telefax: 02302 – 5 81 25 69
E-Mail: maerkisches.museum@stadt-witten.de
www.maerkisches-museum-witten.de

Öffnungszeiten: mittwochs und freitags bis sonntags 12.00 – 18.00 Uhr
donnerstags von 12.00 bis 20.00 Uhr

U bent van harte uitgenodigd aanwezig te zijn op de opening van de tentoonstelling THE GLORIOUS RISE AND FALL….(AND SO ON) op zaterdag 11 mei om 17.00 uur.

MET DEZE EXPOSITIE VIERT KW14 HAAR TWINTIG JARIG BESTAAN.

DE TENTOONSTELLING IS TE ZIEN IN HET VOORMALIG GROOT ZIEKENGASTHUIS, OP DE KRAAMAFDELING EN DE INTENSIVE CARE.

De focus ligt op de polariteit opbouw – verwoesting, een essentie van de menselijke conditie.

Deelnemende kunstenaars
Natasja Kensmil, Korrie Besems, Jeroen Eisinga, Charlotte Schleiffert, Har van der Put, Pietsjanke Fokkema, Peter Feiler,Dieuwke Spaans, Anne Wenzel, Gijs Assmann, Ronald Ophuis, Folkertde Jong, Martha Colburn, Margit Lucas en Persijn Broersen, Sven Kroner, Pieter Hugo, MarcPhilip van Kempen,Bas Princen, Yael Bartana, Jasperde Beijer, Gert-Jan Kocken, Kim van Norren,Daya Cahen, Rob Voerman, Lotte Geeven,Marc Bijl, Natasja van Kampen, Luuk Wilmering en Marjan Teeuwen.

11 MEI TOT EN MET 16 JUNI

VRIJDAG TOT EN MET ZONDAG
13.00 – 17.00 uur

VOORMALIG GROOT ZIEKENGASTHUIS
ZUID WILLEMSVAART
INGANG SPOEDEISENDE HULP
‘S-HERTOGENBOSCH

Ausstellungseröffnung: 01. Februar 2013, 18 – 21Uhr – Laufzeit der Ausstellung: 02.Februar – 23. März 2013

From the series Marabunta | #06 | 2012 | 60 x 90 cm | edition of 7 | c-print

Die Paraphernalia des Mexikanischen Drogenkrieges sind Jasper de Beijers Inspiration für seine Serie Marabunta von 2012.

Seine Aufmerksamkeit richtet sich insbesondere auf das beinahe mystische und visuell obsessive Interesse an der Verherrlichung des grellen und großspurigen Lebens der Bandenanführer und die prachtvollen Beerdigungen der Opfer.
Marabunta zeichnet eine aufrüttelnde, chaotische und auch ehrfurchtsvolle Welt – ein unfassbares Amalgam der allgegenwertigen Ikonographie des Todes.
Bedenklich dominieren die Berichte über die extremen Gewaltverbrechen und Morde der mexikanischen Kartellkriege unsere Nachrichten. Enthauptete Körper, bedeckt mit Warnungen und Zeichen, werden am helllichten Tag mitten in der Stadt abgelegt. Eine bereits existierende festliche und beinahe phantasievolle Kultur der Gebeine und Geister, wird von der Idealisierung dieser Killer und Verbrecher vereinnahmt, was in extravaganten, kirchenähnlichen Mausoleen gipfelt, die in unmittelbarer Nachbarschaft zu den prachtvollen Schreinen der seliggesprochenen Heiligen und Märtyrern errichtet werden.

De Beijer präsentiert diese glorifizierten Friedhöfe und auch die blutigen Orte der Gewalt in seinen hyper-realistischen, absolut befremdlichen inszenierten Fotografien. Mit Hilfe der schreienden Farben und Texturen seiner Bilder, einem Schauer von Realität und dem Eindruck medialer Dokumentation, daneben den ebenso evidenten konstanten Hinweisen auf den inszenierten, gebauten Charakter seiner Bilder, verweigert De Beijer den Betrachtern einen Fixpunkt, auf dem im Kontinuum von Wirklichkeit zu Imagination eine Verankerung möglich wäre. In De Beijers Jenseits sind die Charaktere hässliche Abbilder lebender Geister, ein Fuß aus Plastik geformt und ein Gesicht mit Tattoos aus Klebebandtexten. Das resultierende merkwürdige Bild des Fegefeuers ist intensiviert: De Beijer formt seine eigene Mythologie, eine verzerrte und zerlegte Vision der Realität. In seiner Version des Jenseits‘ weigern sich die Toten zu sterben und der Schrecken ihrer lebendigen Tage scheint hell und unheilvoll, nicht willens, abgeschaltet zu werden.

TZR Galerie Kai Brückner
Poststraße 3
D-40213 Düsseldorf
Di – Fr 13-18, Sa 12 – 16

Fon: +49 211 9174489
Fax:  +49 211 9174943
Mobil: 0177-3087448
info@tzrgalerie.de

tzrgalerie.de

Vanaf 24 januari te zien

From the series Udongo | #09 | 2009 | 120 x 170 cm | edition of 7 | c-print

Voor het eerst toont Singer Laren de nauwelijks bekende topcollectie van Henk en Victoria De Heus-Zomer. Sinds 1989 verzamelt het echtpaar hedendaagse beeldende kunst van over de hele wereld. Uit deze inmiddels zeer omvangrijke collectie toont Singer Laren een selectie van Nederlandse schilderkunst, beeldhouwkunst en fotografie. In de tentoonstelling is werk te zien van Ben Akkerman, Erik Andriesse, Jan Andriesse, Karel Appel, Armando, Hannah van Bart, Tjebbe Beekman, Jasper de Beijer, Koen van den Broek, Constant, René Daniëls, Jan Dibbets, Rineke Dijkstra, Desirée Dolron, Marlene Dumas, Ger van Elk, Edgar Fernhout, Guido Geelen, Joris Geurts, Kees de Goede, Daan van Golden, Herman Gordijn, Frank van Hemert, Hering a/Van Kalsbeek, Hans van Hoek, Pieter d’Hont, Willem Hussem, Alex Jacobs, Folkert de Jong, Rob van Koningsbruggen, Omar Koubâa, Juul Kraijer, Atelier van Lieshout, Lucebert, Marc Mulders, Peter Otto, Michael Raedecker, Jan Roeland, Viviane Sassen, Jan Schoonhoven, Marien Schouten, Han Schuil, Piet Tuytel, David Vandekop, JCJ Vanderheyden, Toon Verhoef, Emo Verkerk, Koen Vermeulen, Henk Visch, Carel Visser, Co Westerik, Robert Zandvliet, Ronald Zuurmond, Ina van Zyl

nouvellesimages.nl/

The Empire Project presents Jasper de Beijer’s solo exhibition “MARABUNTA”.
17 January – 2 March 2013

From the series Marabunta | #029 | 2012 | 86 x 120 cm | edition of 7 | c-print

Marabunta is the title of the second solo exhibition of Dutch photographer Jasper de Beijer. In each of his prior photographic series, De Beijer has created elaborate models in his studio out of paper and other sculpture materials, based on images from media and historical sources, and often concerning colonialism and its representation. In each series, he approaches the very nature of historical depiction, using varying modes of photography and questioning culturally embedded images.

With Marabunta, De Beijer takes the paraphernalia of the Mexican drug war as his inspiration, particularly the mystical and visually obsessive interest in celebrating the flamboyant lives of its leaders and colorful deaths of its victims. De Beijer carves a world in Marabunta that is alarming, chaotic, and reverential – an unnerving amalgam of the omnipresent iconographies of death.

Ominously dominating more of our news, the cartel wars in Mexico have resulted in increasingly more outrageous acts of murder and mayhem. Bodies are beheaded, covered in warnings and signs, left in broad daylight and in city centers. A pre-existing culture of skeletons and ghosts, festive and even fanciful, coincides with the idolization of these killers and criminals, resulting in gigantic extravagant mausoleums resembling churches, and a general conflation of the gaudy shrines with those of beatific martyrs and saints. De Beijer exploits these glorified graveyards and bloody scenes of murder in his hyper-detailed, entirely fantastical staged scenes.
With frenetic color and texture, a frisson of the real and media-influenced, and constant hints at the fabricated nature of De Beijer’s images, the photographer never quite allows a specific point in the continuum between the real and the imagined for the viewer to land. In De Beijer’s afterworld, the characters are eerie facsimiles of living ghosts, one foot made of plastic, and a face of duct-taped tattooed texts.

The resulting strange purgatory is then multiplied: as the outsider, De Beijer forms his own mythology, interweaving distorted and refracted visions gleaned from reality. In his version of the afterlife, the dead refuse to die, and the horror of their living days shines brightly and yet ominously, refusing to be put out.

theempireproject.com