De Opmaat (De eerste 10 jaar van Liefhertje & De Grote Witte Reus)


Tentoonstelling tot en met 8 december 2018

Eind november is het tien jaar geleden dat LhGWR haar deuren opende. Na 84 tentoonstellingen en bij benadering 225 activiteiten zoals lezingen, rondleidingen, beursdeelnames en workshops is het tijd voor een feestje, en dat willen we graag met je vieren. Het feestje begint met de opening van de groepstentoonstelling De opmaat (het eerste decennium Liefhertje & De Grote Witte Reus) waar tien makers aan deelnemen met wie we in de afgelopen jaren nauw hebben samengewerkt: Daan PaansKarianne BuenoKrista van der NietLana MesićMarleen SleeuwitsNadine StijnsPierre DerksSarah CarlierSjoerd Knibbeler en Thomas Kuijpers.


Unseen Amsterdam 2018 | Nadine Stijns, Mustafa Saeed, Daan Paans and Thomas Kuijpers


Met veel trots introduceert LhGWR op Unseen Amsterdam 2018 het nieuwe project The Anarchist Citizenship van Nadine Stijns waar zij samen met curator Amal Alhaag al geruime tijd aan werkt. Het werk van Somalilander Mustafa Saeed zal deel uitmaken van de muurvullende presentatie die Stijns en Alhaag speciaal voor Unseen Amsterdam creëerden.
Daarnaast presenteren we ook nog de recente serie The Conquistadores Masks van Daan Paans en mag Thomas Kuijpers, als winnaar van de Grolsch Unseen Residency van het afgelopen jaar, uitpakken met het project dat hij in Stockholm maakte.

over de kunstenaars en hun werk




Nadine Stijns, Amal Alhaag and Mustafa Saeed
The Anarchist Citizenship

The Anarchist Citizenship is een project dat vanuit uiteenlopende invalshoeken het concept van de natiestaat in het postkoloniale Somaliland (Oost-Afrika) onder de loep neemt. Op Unseen Amsterdam presenteren Nadine Stijns en Amal Alhaag, samen met de Somalilandse kunstenaar Mustafa Saeed, een muurvullende visuele installatie die een afspiegeling is van hun onderzoek naar de wijze waarop Somalilanders hun hernieuwde burgerschap vormgeven. Daarbij richten ze zich voornamelijk op aspecten zoals mode, architectuur, vriendschap en cultuur. Met het project willen ze een meer genuanceerd en gevarieerd beeld van de regio geven, en documenteren hoe Somalilanders een unieke beeldcultuur creëren.

Vanzelfsprekend is de inleidende projecttekst geschreven voor een internationaal publiek:

The Anarchist Citizenship delves into the concept of the nation state in postcolonial Somaliland (East Africa). At Unseen Amsterdam, Stijns and Alhaag will present their work together with visual artist Mustafa Saeed (SL) in a visual installation that investigates how Somalilanders define their sense of citizenship through fashion, architecture, friendship and culture. It attempts to offer more nuanced and insightful perspectives on the region, and documents ways Somalilanders take ownership of one’s own image. Central to this project are the questions: What does it mean to be a citizen and how are people shaping their citizenship and country through culture, representation, architecture and everyday life? The presentation in Amsterdam focuses on the agency and stories of women and youth in Somaliland. The visual installation shows the self determined way, in which people want to tell their own story to the world. Each image is carefully constructed without the promise of false representation and created in close collaboration with women and young people deciding on their poses, locations, backgrounds and clothing.
Somalis are known for their oral culture and poetry, which are the most important art forms in Somaliland. However Somaliland is a very vivid and vibrant society with its own visual language.
This rich visual myriad clearly reflects the (historical) influences and local visual language, which is partially fueled by the returning diaspora as much as the local people. This eclectic mix of Ottoman, Arab, Indian, baroque, East African, Mediterranean, modernist and American styles are researched by and reflected in the work of The Anarchist Citizenship.
Due to limited information, and two decades of narrow media focus on war, drought, terrorism, piracy and displacement in Somalia, there is little known about Somaliland. Somaliland is born out of the anarchist vacuum that was created by the demise and the conflicts within the socialist state Somalia. The state of Somaliland is a non-recognized autonomous state since 1991. Despite its status of a non-sovereign nation, Somaliland is a region of Somalia with a functioning public administration, peaceful elections and its own currency.
The presentation at Unseen Amsterdam is a preview to a larger group exhibition presented medio 2019 at Framer Framed, Amsterdam. This exhibition will be a multi-sensory visual project, which consists of photography, video, soundscapes and interviews. Simultaneously with this exhibition, the project will be shown in Hargeisa, Somaliland.


Nadine Stijns (NL, 1977) works on long-term photographic projects fueled by her curiosity for socio-economic and/or political situations. Topics such as labor migration in a global economic system, diaspora communities and national identity in post-colonial regions fascinate her and inform her projects. Her work has been on display at venues like Stedelijk Museum Amsterdam, The Empty Quarter Gallery (Dubai), The New Dehli Photofestival and Format Photofestival (Derby). It is part of the collection of the Stedelijk Museum and several private collectors.



Amal Alhaag (NL, 1983) is a Dutch curator and researcher with an interest in counter-culture, oral histories and global geopolitics and intersectionality. Her work explores these themes through short- and long-term collaborations with artists, institutions and audiences. Her research project Technologies of Certain Bodies is currently presented as part of WORK, BODY, LEISURE, the Dutch Pavilion at the 16th International Architecture Exhibition of La Biennale di Venezia.



Mustafa Saeed (Somaliland,1989) explores different media including documentary photography, graphic design and sound design. His work marries poetic symbolism with sociopolitical critique in order to explore issues of war, conflict and environment. For The Anarchist Citizenship Saeed is cooperating with Nadine Stijns and Amal Alhaag as an intermediair and at the same time as an artistic contributor. Their joint installment at Unseen Photo Fair 2018 will contain his newest series, an atmospheric insight in spiritual rituals.




Daan Paans
The Conquistadores Masks

Voor zijn nieuwste serie The Conquistadores Masks portretteerde Daan Paans Spanjaarden die poseren met Maya-maskers. Maskers die indertijd gemaakt zijn om de Spaanse agressors te verbeelden. De serie werd genomineerd voor de eerste editie van de Somfy Award en werd begin van het jaar tentoongesteld op de bijbehorende tentoonstelling op Utrecht CS. Voor die gelegenheid schreef artistiek directeur van Foam Amsterdam Marcel Feil een introducerende tekst:

“Maskers hebben een grote betekenis in de samenleving van het Precolumbiaanse Mexico, vooral als onderdeel van rituelen die hen in contact moesten brengen met de goden. Met een masker kon de drager letterlijk iemand anders worden. Voor Daan Paans is dit een fascinerend gegeven, zeker in het licht van het debat over culturele identiteit: wie zijn wij, wat maakt ons tot een bepaald individu of deel van een bepaalde groep? Een masker verhult de individuele identiteit van de drager, maar benadrukt de collectieve identiteit van de groep waarvoor het gebruik van maskers betekenis heeft.
De Spaanse invasie van het Maya-rijk had stilistische invloed op de oorspronkelijke maskers. Er werden nu ook maskers gemaakt die de ‘conquistadores’ uitbeelden. De Spanjaarden zelf zagen kans om via maskers en rituelen invloed te krijgen op de Maya-samenleving.
Stilaan gingen de maskers van de Spaanse veroveraars deel uitmaken van de cultuur van de Maya’s en later van de Mexicanen.
Veel van dergelijke maskers hebben blauwe ogen of een rode huid en zijn feitelijk het resultaat van een complexe interactie tussen culturen die tot op de dag van vandaag plaatsvindt.
Paans kocht een aantal van deze maskers via e-bay en liet deze naar Nederland overvliegen. Via Facebook en Airbnb legde hij contact met Spanjaarden die bereid waren de maskers te dragen. Zo droegen uiteindelijk verre nazaten van de conquistadores maskers die hun voorvaderen moesten uitbeelden.
Met deze fotografische serie raakt Daan Paans aan de complexiteit van de vorming van culturele identiteiten, aan interactie en uitwisseling, globalisering, kopieergedrag en mengvormen die eigen zijn aan elke cultuur.”


Thomas Kuijpers
In Search of Something Better

Thomas Kuijpers is op de beurs aanwezig als glorieuze winnaar van de Grolsch Unseen Residency 2017. De resultaten van zijn twee maanden durende residency in Stockholm zijn uitgewerkt in zijn studio in Gent en worden breeduit gepresenteerd in de buitenring van de Westergasfabriek. Kuijpers nam zich voor om het progressieve sociale beleid van de Zweden tegen het licht te houden wat uitmondde in een gelaagde mixed media installatie waarin zijn bevindingen en interpretaties samenkomen. Centraal staat een nieuw videowerk dat de toeschouwer meeneemt door een bebost landschap van toekomstvisies…

Unseen Amsterdam en Grolsch over het project:

Last years’ proud winner of the Grolsch Unseen Residency 2017 Thomas Kuijpers will present the results of his two months stay in Stockholm in the outer ring of the Westergasfabriek. Kuijpers set out to investigate the progressive social policies for which Sweden is globally renowned. His research has resulted in a multilayered mixes media installation bringing together his findings and interpretations. Centre piece of the installment will be a video work that takes you through a forested Swedish landscape of future visions.


Unseen Amsterdam and Grolsch about the project:


Sharing the opinion that conventions must be challenged to foster innovation, Grolsch and Unseen present the Grolsch Unseen Residency, a programme offering artists an opportunity to create a new body of work, to connect with the industry and gain international exposure. Working closely with a number of photography professionals, the winner of this award is housed in a capital city for two months, where they are encouraged to make work that reflects on the urban space in unconventional ways. In 2017, the residency was granted to Thomas Kuijpers (1985, Netherlands), one of Unseen Amsterdam’s premiering artist.

This year Kuijpers set out to investigate the progressive social policies for which Sweden is globally renowned. In his attempts to understand utopian ideas of equality and freedom in a local context, the visual artist began interviewing Stockholm’s inhabitants, collating their insights allthe while.In his conversations, Kuijpers asked locals various questions about what their ideal world would look like if we try to look beyond the problems we’re facing, and more importantly, what route could take us there. As he discovered the friction that exists between reality and the best intentions of governmental policy, the scope of his research changed.


Over the course of two months, Kuijpers gathered as many opinions on the contemporary problems we’re facing in Europe as well as different visions for a better world. The artist investigated the friction that he had encountered on the streets of the Swedish capital using various visual approaches. By piecing together his recordings of conversations with locals, Kuijpers transforms monologues into an imaginary dialogue: creating a bridge between two ideas that come together, but subsequently divide and drift off into unknown territory.

Brought to you by the Grolsch Unseen Residency.


Thomas Kuijpers during his residency, 2018 © Martijn Melis


We like to thank MiaP, Prins Bernhard Cultuurfonds, Mondriaan Fund and Stroom Den Haag for their kind support to The Anarchist Citizenship and The Municipality of The Hague for supporting LhGWR.

Photo London 2018 | Thomas Kuijpers, Lana Mesić en Sjoerd Knibbeler

Sjoerd Knibbeler | Exploded views, installation shot from the exhibition Within Reach at Collectie De.Groen in Arnhem (2018)


Photo London
16 mei – 20 mei 2018
Somerset House | Londen | Verenigd Koninkrijk


Met veel trots reist het team van LhGWR naar Londen om – na bijna tien jaar – voor het eerst deel te nemen aan een beurs in het buitenland. Photo London, dat plaats zal vinden van 16 tot met 20 mei, is een jonge beurs met veel ambitie en daar is het talent van Thomas Kuijpers, Lana Mesić en Sjoerd Knibbeler perfect op zijn plek.

In de Discovery Section die is gecureerd door Tristan Lund tonen jonge makers en/of jonge galeries nieuw werk. LhGWR koos voor het werk van; Thomas Kuijpers, die nieuwe werken uit zijn succesvolle serie Bad Trip zal presenteren, Lana Mesić die haar serie City Players (over het bankwezen in Londen) terug naar de oorsprong zal brengen, en Sjoerd Knibbeler’s nieuwe prachtige reeks Expoded views.

It is with great pride that the LhGWR team travels to London to participate, for the first time in almost a decade, in an art fair abroad. Photo London , which will take place from 16 to May 20 , is a new and upcoming fair with a lot of ambition. The talent of Thomas Kuijpers , Lana Mesic and Sjoerd Knibbeler fit perfectly in place.

Curated by Tristan Lund the Discovery Section will be the platform where you will find young artists and/or young galleries showing new works. LhGWR selected works by; Thomas Kuijpers, who will present new works from his successful series Bad Trip , Lana Mesić who will bring her series City Players back to its source, and Sjoerd Knibbeler who will show a new wonderful range of Expoded views.

over de kunstenaars en hun werk

Thomas Kuijpers

Kuijpers amassed an archive of front pages, sensationalist headlines, and popular images that kindle a collective fear of terrorism. He encroached into the fringes of the web, tracking the posts of a number of right-wing/anti-Islamic communities to study the kind of information their members consume. In an attempt to retrace what exactly inspires his own angst, he filmed and photographed situations in his daily life that triggered associations with terrorism. A truck loaded with gas tanks: surely the perfect weapon to drive into a crowd? A blurry positive of an ambulance passing at speed: a car bomb explosion. We see a woman participating in an online forum, and a veiled woman on a bus watching what seems to be an online sermon. Both inhabit virtual realities that unconsciously and involuntarily inspired suspicion with the artist. With his therapeutic practice of collecting and deconstructing the visual make-up of a shared paranoia, Kuijpers questions how our perception of reality is led largely by sensationalism, fake news and irrational fears.

Thomas Kuijpers fell into a dark hole after Trump got elected. Where his practice before was always about understanding the structures behind the image, opening up these structures to the public, Trump destroyed these structures overnight by introducing the term ‘fake-news’- instantly making everyone a media-skeptic.

Confused about his role as an artist, and willing to understand why people would give their vote to someone like Trump (or his Dutch equivalent), he encroached into the fringes of the web, tracking the posts of a number of populist communities to study the kind of information their members consume. No work was made in 4 months, and while Kuijpers only consumed this information, something weird started to happen to his daily reality. When being at a crowded party, for instance, these bataclan-flashbacks started to appear, leaving Kuijpers wondering where to run when someone with bad intentions would come in. These triggering moments, to Kuijpers clearly influenced by the amount of information he consumed, became increasingly more present in his daily life. In an attempt to retrace what exactly inspires his own angst, he filmed and photographed situations in his daily life that triggered associations with terrorism. The photographs of these situations where taken back to the studio, where he used his archive of front pages, sensationalist headlines, and popular images to retrace the cause of the paranoia at that moment. With his therapeutic practice of collecting and deconstructing the visual make-up of a shared paranoia, Kuijpers questions how our perception of reality is led largely by sensationalism, fake news and irrational fears.
Booklaunch Gesture by Thomas Kuijpers (published by Metronom Books)

First glance at Gesture by Thomas Kuijpers (published by Metronom)

For all autograph hunting book collectors: On Friday 18th of May around 16:00 hrs. Thomas will be present at the booth of LhGWR to sign his newest publication.


Blocks (indicating targets), Hahnemuhle print + archival collage, 61 x 50 cm, 2018


Radical verse (I suppose), Hahnemuhle print + archival collage, 44 x 37 cm, 2018


Suitcase (In abandoned car, beneath shopping centre), Hahnemuhle print + archival collage, 52 x 45 cm, 2018


Trump just made my favourite restaurant a target (or isn’t hummus Jewish?), Hahnemuhle print + archival collage, 58,5 x 49 cm, 2018


In 2016 I read they will use drones to harm us at some point (can still happen any moment), Hahnemuhle print + archival collage, 44,5 x 53,5 cm, 2018


Praying in public out loud (Bluetooth phone call), Hahnemuhle print + archival collage, 45 x 52 cm, 2018


Live (Celebration), Hahnemuhle print + archival collage, 44 x 35,5 cm, 2018


I’m at Zaventem (again), Hahnemuhle print + archival collage, 61 x 50 cm, 2018


13 sim cards (conspiring), Hahnemuhle print + archival collage, 80 x 50 cm, 2018


Loud bang on the street (Big Bags), Hahnemuhle print + archival collage, 65 x 48 cm, 2018


Full Street (Stay on the side), Hahnemuhle print + archival collage, 43,5 x 37 cm, 2018


Lana Mesić

LhGWR will presents Lana Mesić’ projects Souls, Ties and a Pile of Carrots and a part of Towers. Souls, Ties and a Pile of Carrots has been realized whilst doing a residency in London as the winner of the Grolsch Unseen Residency 2016. In line with her research on the financial district in London (focussing on time passing money stackers), Mesić interviewed and portraid bankers in order to get a grip on this invisible and abstract world they life in. After a year the project will travel back to it’s origin, searching for dialogue.

“One of the largest global failures in the recent years was the 2008 economic crash. This event was so devastating that the ripples of doubt in regards to the financial industry are still felt today and has changed the face of banking forever.
I was curious to find out more about these Wizards of Oz. I wanted to know more about them, how they work, what they feel and how they think about theri enviroment. What ensued was a series of interviews in which I asked small and big questions.

However photography as such has fallen short and to portray the purely photographically wouldn’t give justice to the subject. Cross-stich technique was used instead. In this form of embroidery x-shaped stitches are used in a raster like pattern in order to form a picture. The relation of time vs value being clearly demonstrated, as the more time the practitioner puts into the work the clearer it becomes. In the case of “Souls, Ties and a Piles of Carrots”, the time given by each individual is transformed into the time I have put in the cross-stitch. Each pixel corresponds to one coloured stitch. The time that each individual “gave” during the interview was used as abase value which I then extrapolated to the timeI was allowed to work on their portrait. This resulted in 12 hand-made portraits of individuals that work in the Financial Industry of London and reflects ideas expressed during the time we have spent together.”

(Lana Mesić, 2018)


The City Player 01, Cotton thread on aida fabric, 35,5 x 27,5 cm, 2017


The City Player 02, Cotton thread on aida fabric, 29 x 23,5 cm, 2017


Tower IX, Ultrachrome print, 118 x 150 cm, 2016


The City Player 03, Cotton thread on aida fabric, 29 x 23,5 cm, 2017


The City Player 04, Cotton thread on aida fabric, 35,5 x 27,5 cm, 2017


Tower VIII, Ultrachrome print, 118 x 150 cm, 2016


The City Player 05, Cotton thread on aida fabric, 35,5 x 27,5 cm, 2017


The City Player 06, Cotton thread on aida fabric, 42 x 32 cm, 2017


The City Player 7, Cotton thread on aida fabric, 42 x 32 cm, 2017


The City Player 08, Cotton thread on aida fabric, 35,5 x 27,5 cm, 2017


The City Player 9, Cotton thread on aida fabric, 35,5 x 27,5 cm, 2017


Tower VII, Ultrachrome print, 118 x 150 cm, 2016


The City Player 10, Cotton thread on aida fabric, 35,5 x 27,5 cm, 2017


The City Player 11, Cotton thread on aida fabric, 35,5 x 27,5 cm, 2017


The City Player 12, Cotton thread on aida fabric, 35,5 x 27,5 cm, 2017


Tower, HD video, loop (duration 1.10 min), 2016


Tower I, Ultrachrome print, 118 x 150 cm, 2016


Tower II, Ultrachrome print, 118 x 150 cm, 2016


Tower III, Ultrachrome print, 118 x 150 cm, 2016


Sjoerd Knibbeler

In his work and practice Sjoerd Knibbeler often takes a rudimentary approach to characterize and question the complex. Rather than simplifying, it allows him to outline the innately human qualities that lie at the core of technology: curiosity and inventivity. Recently he has started exploring the concept of the Camera Obscura, inspired by Isaac Newton’s first experiments on the nature of light. He has built his own version of this device in an attempt to de-familiarize himself with photography and consciously begin again.
A beam of sunlight is reflected into the camera obscura and passes through a constellation of prisms to produce colour and contrast. The shape and position of these handmade prisms determines the way white light is dispersed into spectral colours. By altering the position of the prisms he is able to create different compositions that are recorded as photograms. Once recorded, the photogram is solidified within a three-dimensional transparent block: a prism encompassing a physically rendered analogue colour space.


Exploded views (installation view at Collectie De.Groen in Arnhem), print in perspex block, 2018


Camera obscura, self build camera for the Exploded views - photograms of prisms


Exploded view #7, Photogram in perspex block 16 x 20 x 4 cm, 2017


Exploded view #12, Photogram in perspex block 16 x 20 x 4 cm, 2017


Exploded view #18, Photogram in perspex block 16 x 20 x 4 cm, 2017


Exploded view #40, UltraChrome print op rag paper, 28 x 35 cm (paper size 30 x 42 cm), 2017


Exploded view #93, Photogram in perspex block 16 x 20 x 4 cm, 2017


Exploded view #76, UltraChrome print op rag paper, 28 x 35 cm (paper size 30 x 42 cm), 2017


Exploded view #107, UltraChrome print op rag paper, 28 x 35 cm (paper size 30 x 42 cm), 2017


Exploded view #102, Photogram in perspex block 16 x 20 x 4 cm, 2017


Also available at Photo London: Sjoerd Knibbeler’s Exploded View BoX

The Annual Video Relay Race



18 november 2017 – 21 januari 2018

Get set for the very first Annual Video Relay Race. From November 18th 2017 till January 21st 2018, a new video work is presented every two weeks. In this year’s edition, our focus lies on works that share an uncanny feeling that is beyond the ordinary. Each film carries an inexplicable sense of anxious and exciting uncertainty that draws you closer into its story. Along the line you will discover four artists that will be passing the baton during these two months.

meer over de kunstenaars

Frederik Heyman until the 9th of December

Frederik Heyman (BE) uses photogrammetry to stage digital worlds out of relics of the past. Because one needs time to experience three dimensions, a 3D-scan is a bearer of duration. This duration gives Heyman’s work a narrative element which is often amplified by (mechanically induced) movement and timed text. For Heyman, the 3D-scan is not only a means to conserve the past, but also a means to recycle the present and an attempt to shape the future.


Felicity van Oort until the 24th of December

Second in line is Felicity van Oort who will present her graduation video work Either not dead or does not exist. For the this screening Van Oort’s multi screen video work is transformed into a super wide installment showing her breathtaking mini documentary about one of the many unregistrated persons that died during 9/11.


Kimmo Virtanen until the 21st of January

Thirty-Second Love Songs by Kimmo Virtanen (FI) will be the third artist to screen his work. As Maze de Boer states (as a jury member of the Overduin Award 2016): “Thirty-Second Love Songs is a surreal animated short film contemplating the earthly issues of a divided family. The story is seen from the perspective of outer space and narrated in second person using tree pruning instructions as a metaphor for constructive domestic peacekeeping”.

Alexandra Crouwers | Lost_Horizon .backup


16 september – 4 november 2017

Alexandra Crouwers (1974) werkt voornamelijk met digitale middelen. In haar virtuele atelier combineert zij 3D software met beeldbewerking, fotografie en film. Crouwers’ video-installaties, animaties en werken op papier bestaan uit een bevreemdend mengsel van archaïsch beeldgebruik en digitale mystiek.

Crouwers studeerde aan het AKV St. Joost (Den Bosch) en het Sandberg Instituut (Amsterdam). Ze volgde filmstudies en visuele cultuur aan de Universiteit Antwerpen. Haar column over ‘art speak’ (het kunstjargon) verschijnt maandelijks in het Belgische kunstmagazine H ART.

Crouwers stelde onder andere tentoon in het S.M.A.K. (Gent, B), De Brakke Grond (Amsterdam), Le Fresnoy Studio National des Arts Contemporains (Tourcoing, FR), ISIS Arts (Newcastle, UK) en De Buren (Brussel).

Alexandra Crouwers (1974) works mainly with digital means. In her virtual studio she combines 3D software with computer imaging, photography, and cinema. Crouwers’ video installations, animations, and works on paper consist out of a surreal mixture between an archaic use of images and digital mysticism.

Crouwers studied at AKV St. Joost (Den Bosch) and the Sandberg Institute (Amsterdam). She followed filmstudies and visual culture classes at the University of Antwerp. Her column on ‘art speak’ is published monthly in Belgian art magazine H ART.


Crouwers exhibited at S.M.A.K. (Ghent, B), De Brakke Grond (Amsterdam), Le Fresnoy Studio National des Arts Contemporains (Tourcoing, FR), ISIS Arts (Newcastle, UK), and De Buren (Brussel).

werken in tentoonstelling