#rijksakademie

[craft2eu]

Vika Mitrichenko - Recent Notes / Jüngste Notizen: Staufen bis 26.03.2023

In einer eigens für das STUDIO KM Staufen vorbereiteten Installation setzt sich Vika Mitrichenko aus Minsk (*1972) mit der Gewalt in ihrem Heimatland Belarus, den Restriktionen gegen Künstler*innen und dem Krieg Putins gegen die Ukraine auseinander. Sie beschreibt den verzweifelten Kampf, die Wut und Ohnmacht gegenüber den schrecklichen Ereignissen, die unerwartet auf den Menschen hereinbrechen…

[mybeingthere]

Series "Tampan Tulip" by Jennifer Tee (b 1973, Dutch with Indonesian roots).

Jennifer is into spiritual philosophies, ancestral knowledge, craft traditions and pre-colonial heritage, drawing from her Dutch-Indonesian background. J. Tee studied at the Rijksakademie, the Sandberg Instituut and the Gerrit Rietveld Academie in Amsterdam. She lives and works in Amsterdam.

The city’s lineage as a mercantile and imperial centre over centuries, carrying out oceanic trade and conquests, plays a role in her practice alongside her own family stories. J. Tee’s father travelled to the Netherlands by ship in the 1950s, and her maternal grandfather, an exporter of tulip bulbs, would regularly sail to the United States. Jennifer's works of J. Tee respond to experiences of cultural mixtures, diasporic memory and story of trade routes which displaced but also connected people, commodities and objects.

Her encounter with Tampan and Palepai textiles, known as ship cloths by Europeans, led to this long-term inquiry. Reviving emblematic patterns through a collaging process using pressed tulip petals, the artist pays homage to ancestral storylines.

[joostjongepier]

Wat?   Evening Landscape with Cows (1906), Evolution (1911), Red Amaryllis with Blue Background (1909-10), The Blue tree (1908-09) en Composition with Lines and Colour: III (1937) door Piet Mondriaan en Spring Landscape from Lomma Bay (1892), The evolution, The WUS/Seven-Painted Star Series (1908), Poppy (ongedateerd), The Tree of Knowledge, The W Series (1913-15) en The Ten Largest, Group IV No. 3 Youth door Hilma af Klint

Waar?   Tentoonstelling Hilma af Klint & Piet Mondrian – Forms of Life in Tate Modern, Londen

Wanneer?   7 augustus 2023

Een tentoonstelling gewijd aan twee kunstenaars die elkaar noch elkaars werk kenden: Hilma af Klint (1862-1944) en Piet Mondriaan (1872-1944). In het begin van hun loopbaan was er wel een zekere overeenkomst in hun ontwikkeling. Zo begonnen ze allebei hun carrière als landschapsschilder.

Hilma af Klint studeerde vanaf 1882 vijf jaar aan de Academie voor Fijne Kunsten in Stockholm, die pas sinds 1864 was opengesteld voor vrouwen. Gedurende haar latere loopbaan, toen ze abstract werk maakte, bleef ze daarnaast ook landschappen en portretten schilderen. Mondriaan studeerde van 1892 tot 1897 aan de Rijksakademie van Beeldende Kunsten in Amsterdam. Aanvankelijk was hij betrokken bij de Haagse School.

In een volgende fase hielden ze zich allebei op hun eigen manier bezig met het thema ‘Evolutie’. Mondriaan schilderde het drieluik Evolutie dat de menselijke ontwikkeling van het psychische naar het spirituele rijk weergeeft. Hij maakte daarbij gebruik van symbolen uit de Theosofie, een esoterische beweging die zowel Mondriaan als Af Klint interesseerde. Laatstgenoemde kunstenaar schilderde een serie werk met als thema het rijzen van de mens naar een hogere spirituele staat: The evolution. Af Klint geloofde dat ze deze werken had gemaakt in opdracht van haar spirituele gids Amaliel.

Beide kunstenaars observeerden nauwkeurig de natuur, wat resulteerde in een groot aantal bloemschilderijen. Mondriaan was vooral geïnteresseerd in cultuurplanten, Af Klint in indigene Skandinavische planten. Ook bomen was een onderwerp waar beide schilders zich mee bezighielden. Mondriaan verwerkte de invloed van het kubisme in zijn werk, terwijl Af Klint de Tree of Knowledge-serie schilderde, waarin mythologische en religieuze tradities zijn verwerkt.

In hun latere leven gaat het werk van de twee kunstenaars steeds meer uiteen lopen. Mondriaan gaan zich bezighouden met vlakken en lijnen. De verticale lijnen staan daarbij voor het mannelijke principe, de horizontale lijnen voor het vrouwelijke principe. Af Klint ging zich steeds meer richten op het occulte. In haar testament legde ze vast dat het abstracte werk tot twintig jaar na haar dood niet mocht worden getoond. De tentoonstelling eindigt met haar serie The Ten Largest, onderdeel van The Paintings fort he Temple, werk dat Af Klint in opdracht van haar spirituele gidsen zou hebben gemaakt.

In het begin van hun loopbaan lijken er nog de nodige parallellen, maar later lijken de verschillen groter dan de overeenkomsten. Het werk van Af Klint is mystieker, meer occult van aard. Bovendien is Mondriaan vooral bezig met rechthoekige vlakken en rechte lijnen, terwijl Af Klint vooral ronde organische vormen gebruikt.

Als Nederlandse kunstliefhebber was ik al bekend met het werk en de ontwikkeling van Piet Mondriaan. Hilma af Klint ken ik nog maar een paar jaar. Hoewel dat voor haar zeker geen doel in zichzelf was, was ze een van de allereerste abstract werkende kunstenaars, nog voor schilders als Kandinsky. Het feit dat zij het tentoonstellen van haar abstracte werk na haar dood lang onmogelijk maakte, gecombineerd met het feit dat zij vrouw was, zorgde ervoor dat ze lang onbekend bleef. Langzaam maar zeker vindt haar werk nu erkenning. Ik ben er allerminst zeker van of ze daar zelf blij mee zou zijn. Haar ging het primair om de spirituele en occulte boodschap.

[nicoooooooon]

Water Poem #1, Oil on wood and acrylic on the wall frame (2018) by Femmy Otten

Femmy Otten is a sculptor and painter from The Netherlands. She studied at the HISK Higher Institute for Fine Arts in Ghent, Belgium, and was resident artist at the Rijksakademie van Beeldende Kunsten in Amsterdam and Atelier Holsboer at Cité Internationale des Arts in Paris.

Femmy Otten lives and works in The Hague.

[abwwia]

Marie van Regteren Altena (1868–1958) was a Dutch painter known for her still lifes. Altena was born on 28 December 1868 in Amsterdam. She studied at the Rijksakademie van beeldende kunsten (State Academy of Fine Arts). She studied with Geo Poggenbeek and Gerard Overman. She was a member of the Amsterdamse Joffers. She was also a member of the Vereeniging Sint Lucas Amsterdam (Amsterdam Artists Association of Sint Lucas) and the Arti et Amicitiae artist's society. via Wikipedia

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Henriëtte Asscher (1858-1933) pintora holandesa.

Nació en Ámsterdam. Su padre era el cirujano, Philip Benjamin Asscher, su madre Louise Heijerman. Como la familia era judía, varios de sus hermanos fueron asesinados en campos de exterminio.

Su padre pudo financiar la educación y formación de Henriëtte como pintora. Para practicar, visitó el Rijksmuseum y allí copió cuadros.

Estudió en la Rijksakademie van beeldende kunsten (Academia Estatal de Bellas Artes) y en la Rijksnormaalschool voor Teekenonderwijzers (Escuela Nacional Normal para Profesores de Dibujo). Sus profesores incluyeron a Eduard Frankfort.

Comenzó a pintar profesionalmente cuando tenía treinta años. Como no podía ganarse la vida con ello, también realizó otros trabajos en los meses de verano. A menudo pintaba naturalezas muertas, pero también mucho en residencias de ancianos.

También pintó escenas de género y figuras, paisajes urbanos y naturalezas muertas.

En 1915 ganó una medalla de plata en la Exposición Internacional Panamá-Pacífico en San Francisco.

Fue miembro de la Vereeniging Sint Lucas Amsterdam (Asociación de Artistas de Ámsterdam de Sint Lucas) y de la sociedad de artistas Arti et Amicitiae. Sus estudiantes incluyeron a Charlotte Pothuis y Hendrika Van Gelder.

Murió en Ámsterdam a los 74 años.

Tiene obras en el Museo Judío.

[skipieohhhhh]

Exhibition 2

The gallery has a number of exhibitions, but I mainly focused on the Amie Siegel exhibition and the exhibition from Christopher Mahon.

By Christopher Mahon.

VISUAL is pleased to present Sincere, or what you will, a solo exhibition by Irish artist Christopher Mahon. 

Mahon works across a range of media including sculpture, painting, photography, installation and performance, and his practice is notable for the variety of disciplines and materials used. He has worked with actors and dancers to create site-responsive environments that combine the mundane and theatrical, and often incorporates found objects in the finished piece. 

For several years Mahon has maintained a studio in Cairo, Egypt, basing much of his sculptural production on the techniques and capabilities of the small industrial workshops – the foundries, metal-, stone- and wood-working studios – that dot the city’s backstreets. 

Mahon’s sculptures occupy the unstable space between lyricism and materiality, the concrete and ineffable. His materials reference the form and patina of everyday objects and their archaeological forebears. Figurative and decorative elements – carved stone arms, cast brass urns, found textiles – speak to both the historical context and daily domesticity. His material language embraces the mechanical detritus of the modern metropolis. Once functional objects now beyond repair, furniture so broken that no one will give it houseroom. The twisted fragments, nuts, bolts, cogs, pipes, of an obsolete infrastructure are repurposed or recreated so they can play their part as elements in a newly finished work. 

Take BAI GAMAYKA, a key work in Sincere, or what you will. The seemingly meaningless set of brass sans-serif letters mounted on the wall reproduces the sign that hangs above one of Cairo’s few remaining downtown bars. The cursive flourish of the r fell off long ago and there is no soft g in colloquial Egyptian pronunciation. Bar Jamaica/BAI GAMAYKA hangs opposite The Sky so Blue, a scrawled handwritten phrase that has been recreated in outsized aluminium letters that hang floating in space; half-baked poetry facing off against a hard-bitten bar. 

The exhibition’s title Sincere, or what you will foregrounds the artist’s interest in the ambiguous, the porous, the making things whole anew, if only temporarily. While it is now widely accepted that sincere derives from the Latin sincerus meaning clean, pure, sound, a common folk etymology has it that sincere is derived from the Latin sine, without, and cera, wax. The phrase was used to describe a perfect marble sculpture with no cracks needing to be filled with wax to trick unwary buyers. “or what you will” is drawn from the full title of Shakespeare’s Twelfth Night, a romantic comedy replete with love triangles and protagonists in disguise. The play was written to be performed on the twelfth night of Christmas or the feast of the Ephiphany, a holiday that shifts around the calendar depending on the Eastern or Western Christan tradition, and which now marks the boundary between an extended holiday period and the imminent return to work. 

This exhibition, too, exists on the boundary between places and times both real and reimagined, where memories and materials can appear and dissolve and reappear anew. 

Sincere, or what you will is co-curated by Benjamin Stafford (VISUAL) and Rachael Gilbourne (IMMA, RGKSKSRG). A text by Gilbourne, An Ode to Spring, from the End of Winter, to the Start of Summer, accompanies the exhibition and is available here and at the gallery. 

Christopher Mahon is an Irish artist and the work for VISUAL was produced in his studio in Cairo. He attended the École Jacques Lecoq Movement Research Laboratory, Paris, holds an MA in Art and Research Collaboration from IADT and was a resident at the Rijksakademie, Amsterdam 2018–2019. Mahon has exhibited in Ireland and internationally. Projects include Paris Art Book Fair, Palais de Tokyo, Paris (2024), Aswan International Sculpture Symposium (2021), Rijksakademie Open Studios, Amsterdam (2019), Le Menagerie de Verre, Paris (2019), Townhouse Gallery, Cairo (2019), RGKSKSRG Cribs, Dublin (2019), Double Negative, ARKO Art Centre, Seoul (2018) and Active Archive, Project Arts Centre, Dublin (2018). Mahon’s work is held in private and public collections in Ireland, Europe and North America.

By Amie Siegel

VISUAL is pleased to present Asterisms, a solo exhibition by Amie Siegel. Siegel is an American artist who lives in Brooklyn, New York, and works across film, video, photography, sculpture, painting and installation. 

Asterisms is both a moving-image work and a sculptural installation, its uniquely star-shaped wall of overlapping images built to a scale the artist proposed in response to the architecture of VISUAL’s Main Gallery. An asterism is a loose collection of stars that form a pattern, similar to but smaller than a constellation. This notion of disparate elements combining to form a complete image is key to both Asterisms itself, and to Siegel’s practice in general, in which deep research produces artworks that address cultural, political and social questions.

The setting and context of Asterisms is the United Arab Emirates, a place that has modernized at a rapid pace, built on wealth originally derived from ownership of natural resources. Throughout Siegel’s cinematic work the viewer encounters images of factories, labour, commerce, leisure, technology, humans, and animals. These elements are interwoven in the artist’s careful montage and in the various cinematically-scaled geometries that build and layer over time, both in their accumulation of meaning but also as the images dynamically overlap and connect on the star-shaped wall. Horses play a role in the work, and are seen stabled in luxurious accommodation, in sharp contrast with the conditions in which migrant labourers live and work. Horse’s flanks echo the shape of sand dunes and seem to merge with the landscape. The material of that same desert landscape – sand – is everywhere; kicked up into dust by hooves, encroaching on buildings, filling the doorways and windows and almost totally burying houses. Sand is dumped onto artificial islands, to arrest their rapid erosion back into the sea.

These artificial islands comprise a development designed to mimic a map of the world when viewed from above. Despite having once been a flagship project of the Emirate of Dubai, they are no longer promoted by the government. They hide in plain sight, simultaneously visible and invisible. In one of the later shots in Asterisms, the camera zooms out from a party on one of the islands, where a crowd drinks and dances by a swimming pool. As the partygoers recede into the distance, the lights of the sole inhabited island in a sea of dark ones makes them appear as distant and alone as a star hanging in a night sky.

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On show in VISUAL’s Digital Gallery is Siegel’s RM, a series of photographs of radioactive minerals. This group of works allude to Asterisms both in their constellation-like display, individually illuminated in a darkened space, and their own almost astral representations, glowing gently in dark matter. Many of the minerals Siegel photographed are pseudomorphs, or “false forms”, an occurrence where one mineral’s substance is entirely replaced by another while retaining its outward physical appearance. In each of these differently scaled works, the inherent danger of the radioactive material contrasts with their jewel-like colours and forms, their true nature disguised.

Alongside these works Siegel presents Listening to the Universe (2014), a work-on-paper and act of montage derived from the artist's collection of science and space museum postcards, presenting the vacuum of sound that is outer space, and our continual efforts to listen, or know, our sphere and beyond.

Asterisms is a commission of the Fundação Bienal de São Paulo, Brazil and VIA Art Fund. Additional support by KTLO, Los Angeles.

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Amie Siegel (b. 1974, Chicago, IL) is a visual artist working variously with film, video, photography, sound, performance and installation. She is known for her layered, meticulously constructed works that trace and perform the undercurrents of systems of value, cultural ownership and image-making.

Recent solo exhibitions include Panorama, Carnegie Museum of Art, Pittsburgh (2023); Bloodlines, Scottish National Museum Gallery of Modern Art (2022); The Silence, ArkDes, Stockholm (2022); Medium Cool, Blaffer Art Museum, Houston (2019); In Focus: Amie Siegel – Provenance, Tate St. Ives (2018); Winter, Guggenheim Museum Bilbao (2017); Strata, South London Gallery (2017); Double Negative, Museum Villa Stuck, Munich (2016); Ricochet, Kunstmuseum Stuttgart (2016) and Imitation of Life, Temple Bar Gallery, Dublin (2016). She has participated in the 34th São Paulo Bienal; 12th Gwangju Biennial; Dhaka Art Summit, Bangladesh; Glasgow International, Scotland; 5th Auckland Triennial, New Zealand; and the Whitney Biennial, among numerous other group exhibitions. 

Siegel’s work is in the permanent collections of The Museum of Modern Art, New York; Tate, London; Carnegie Museum of Art, Pittsburgh; The Art Institute of Chicago; Kunstmuseum Stuttgart; Auckland Art Gallery, New Zealand; MAK-Museum für Angewandte Kunst, Vienna; The Metropolitan Museum of Art, New York; Whitney Museum, New York and the Solomon R. Guggenheim Museum, New York. Her films have screened at the Cannes, Berlin, Toronto, Rotterdam and New York film festivals. She has been a fellow of the DAAD Berliner-Künstlerprogramm and Guggenheim Foundation, a Fulton Fellow at The Film Study Center at Harvard University and a Smithsonian Artist Fellow. Siegel has received numerous grants and awards including from the Sundance Institute, Princess Grace Foundation, ICA Boston (Foster Prize), Creative Capital, Anonymous Was a Woman and the Foundation for Contemporary Arts, New York. In 2023 she was an Artist-in-Residence at the Yale Center for British Art, New Haven, CT.

[robhen55]

Campendonk étudie à l'école des Beaux-Arts de Krefeld de 1905 à 1909. Son professeur est le peintre symboliste Johan Thorn Prikker. En 1911, il adhère sur l'invitation d'August Macke au groupe Der Blaue Reiter.Chassé par les nazis dès 1934 et déclaré « artiste dégénéré » en 1937, Campendonk se réfugie aux Pays-Bas où il enseigne à la Rijksakademie van beeldende kunsten d'Amsterdam et finit sa vie sans jamais retourner en Allemagne. Avant sa mort, il prend la nationalité néerlandaise.Très doué dans le domaine des arts décoratifs, il se voit décerner le grand prix pour un vitrail présenté à l'Exposition universelle de 1937 à Paris.

Harlequin and Columbine, 1913, Heinrich Campendonk

[theamazingpoppingeyes]

Into Kévin Bray's work at RijksakademieOPEN 2019, Rijksakademie Amsterdam. Also check out his beautiful presentation at Palais Tokyo, Paris. #kevinbray #art #artist #contemporyart #painting #oil #acrylic #installation #scattered #virtual #nonvirtual #hyperreal #figure #figuration #staged #raopen #raopen2019 #rijksakademieopen #rijksakademie #amsterdam https://www.instagram.com/p/B5QxGq7AiIx/?igshid=1mwxteyx7sgs4

[drawdownbooks]

Plan and Play, Play and Plan: ⁣ Defining Your Art Practice⁣ Available at www.draw-down.com⁣⁣ ⁣⁣ How, as an #artist (or #designer, photographer or other “independent creator”), do you become who you are and who you would like to be? How can you guide your artistic practice? Plan and Play, #Play and #Plan invites artists to explore their own questions about their work, using analytical models to help them determine where they stand and what they stand for. Editor #JanwillemSchrofer was director of Amsterdam's #Rijksakademie from 1982 to 2010, and thus knows from practical experience the complexity of the artist's dilemmas and how important self-reflection is for #artisticpractice. Looking back over his pedagogical experience and assembling notes and pointers gathered from interviews with a wide variety of artists, Schrofer has developed an appealing #guidebook intended for artists and those who wish to become artists. Designed by #LauraPappa / Published by #Valiz https://www.instagram.com/p/BzIdXZfns7Z/?igshid=117jtdb78rbrm

[mybeingthere]

Michael Raedecker (born 1963) is a Dutch artist who works in the United Kingdom.

Raedecker was born in Amsterdam, in the Netherlands. From 1985 to 1990 he studied fashion design at the Gerrit Rietveld Academie in Amsterdam, and then, from 1993 to 1994, at the Rijksakademie van Beeldende Kunsten there. In 1996 and 1997 he studied art at Goldsmiths College in London. After a period working as an apprentice to Martin Margiela, he began to make pictures that included textiles or embroidery as well as paint.

In 1999 Mirage, a painting incorporating sequins and thread, received first prize in the John Moores Prize Exhibition held at the Walker Art Gallery in Liverpool during the Liverpool Biennial. The following year, Raedecker was on the short-list for the Turner Prize.

[we-crazinist]

I am so proud 👏🏿 of you @martintoloku . . Reposted from @perfocraze_international . We are excited to share with you that @Martintoloku, the project manager for @perfocraze_international Artist Residency, has been selected by the @Rijksakademie as one of the 25 artists who will be in residence from September onwards at Rijksakademie, Netherlands Noor Yusef Abed Timo Demollin Vince Donders Mandy Franca Hsu Che-Yu Katarina Jazbec Kahee Jeong Ayşen Kaptanoğlu Zeynep Kayan Susanne Khalil Yusef Karel van Laere Reyhan Lá Benjamin Li Fiona Lutjenhuis Zauri Matikashvili Shaun Motsi Ai Ozaki Natalia Papaeva Amol K Patil Peng Zuqiang Moe Satt Danae Tapia Martin Toloku Miloš Trakilović Daniel Vorthuys These artists have been chosen by our jury out of 1659 applications from 124 countries. Each year, we look for artists who are at the right moment where a period in residence can help them to expand their horizons. We select artists who are experimental in their approaches, and who will make great use of what the Rijksakademie has to offer – the time, space, facilities, and critical dialogue with advisors, technical specialists, and peers. Together with the current first year residents, they will form an international, multi-disciplinary, experimental, and critically engaged artist community. Clockwise - Susanne Khalil Yusef, Benjamin Li, Daniel Vorthuys, Ayşen Kaptanoğlu, Zeynep Kayan, Fiona Lutjenhuis, Martin Toloku, Natalia Papaeva, Amol K Patil #Rijksakademie #martintoloku #crazinistartiststudio #perfocrazeinternationalartistresidency (at Rijksakademie van beeldende kunsten) https://www.instagram.com/p/CbBZgEPM5jI/?utm_medium=tumblr

[ftnbooks-blog]

Raul Cordero (1971)

Raul Cordero was born in Cuba in 1971 and influenced by the Americam Conceptual artist like Nauman and Baldessari. There are not many Cuban artist that rose to fame in the Western world but Cordero together with Wifredo Lam ( Blog next month) is definitely one of them and of course there is a relation between the Netherlands and Cordero too, because he studied at the Rijksakademie.

The…

[mauricevanes]

Rijksakademie Open, november 2017

[oapm]

Rijksakademie OPEN 2013

photo: GJ. van ROOIJ

[theamazingpoppingeyes]

Preview Sander Breure & Witte van Hulzen at RijksakademieOPEN 2017, Rijksakademie Amsterdam #sanderbreure #wittevanhulzen #art #artists #contemporaryart #installation #sculpture #portraits #portraiture #busts #torso #emotion #position #performers #staged #scenario #life #dead #raopen17 #raopen2017 #rijksakademie #rijksakademieopen #amsterdam @rijksakademie