Bas Fontein en Henjo Hekman | Parallel Universe


Bas Fontein en Henjo Hekman
Parallel universe
Dutch coastlines, or other horizons
15 september – 27 oktober 2018

LhGWR grijpt de start van het nieuwe seizoen aan om ook het kleine gebaar ruimte te geven; met een mini-tentoonstelling op kantoor. Bas Fontein presenteert enkele prints en een nieuwe publicatie waarvoor hij samenwerkte met dichter, schrijver en muzikant Henjo Hekman. Hekman heeft een verzameling van zo’n vijfentwintighonderd ‘parallelkaarten’. Dat zijn ansichtkaarten met dezelfde foto, maar dan van verschillende plaatsen. Sommige foto’s zijn op tientallen manieren geheel of gedeeltelijk gebruikt, telkens met een andere plaatsbepaling.
Fontein, die in zijn praktijk werkt met verzamelingen tekst en beeld, kwam per toeval een deel van Hekmans verzameling tegen in een hotel op Terschelling. Met een klein deel van de collectie heeft Fontein nieuwe panorama’s en tweeluikjes gemaakt die onherroepelijk op je lachspieren werken.

De full-colour publicatie is gedrukt in een oplage van vijfhonderd en heeft een formaat van 31 x 10 centimeter.


Flora Reznik | Hole



8 juni tot en met 14 juli 2018

De projecten van Flora Reznik nemen vormen aan die voortkomen uit langdurende performances. De rol van haar lichaam speelt hierbij een grote rol. Voor Hole groef zij gedurende 8 maanden dagelijks een gat in een openbare ruimte. De fysieke handelingen die ze hierbij moest verrichten gebruikte ze als instrument om los te breken van traditionele waarden als mannelijkheid en controle. Haar beginnende observaties uit de realiteit vervormt ze in haar proces in meer abstracte audiovisuele beelden. Een gewone zaak als een gat graven in het zand wordt hiermee een persoonlijke en diepzinnige studie.

Het werk van Reznik wordt tegelijkertijd tentoon gesteld met Mihaly Stefanovicz’ 1.000 Steps waarover George Knegtel (Junior Curator bij LhGWR) het volgende schreef:
“In Hole en 1.000 Steps worden de fysieke handelingen van de kunstenaars in een performance omgezet in een afdruk in het landschap. Door de systematische benadering van deze handelingen ontstaat een visueel patroon dat met de camera nauwkeuriger wordt bestudeerd. Met deze gelaagde werken leggen Reznik en Stefanovicz een nadruk op hun tijdelijke afdruk in het landschap en versterken ze het bewustzijn van een simpele beweging.”

The work of Flora Reznik often derives from long lasting performances. Her project Hole is the result of a long durational performance in which she dug a hole for eight months. The installation consists of a series of 31 photographs, a video and an audio piece. Alongside the video and audio, Reznik presents a series of photographs of the hole she dug in its different stages. The images show the hole always from the same perspective, with no scale or other reference. From the starting observations of the scene she performs in, Reznik explores the movement and physicality of the sand and transforms it into a personal and profound visual study.

Reznik’s work is exhibited at the same time as Mihaly Stefanovicz’ 1.000 Steps. George Knegtel (Junior Curator at LhGWR) wrote the following on the parallel presentation:
“In
Hole and 1.000 Steps, both artists create a performance where the physical acts of their bodies are transformed into a mark in the landscape. The systematic approach of these acts reveal a visual pattern which is studied closely with a camera. In these layered works, Reznik and Stefanovicz emphasize their temporary mark in the landscape and enhance the awareness of a single movement.


Mihaly Stefanovicz | 1.000 steps



8 juni – 14 juli 2018

In 1.000 Steps volgt Mihaly Stefanovicz de traditie van o.a. Richard Long en Hamish Fulton, die de fysieke handeling van lopen in hun artistieke praktijk verweven. In 2016, tussen 30 juli en 25 augustus, maakte Stefanovicz iedere dag een wandeling in en rondom Reykjavik. 27 dagen lang volgde hij deze routine zonder pauzes. Tijdens elke wandeling markeerde hij zijn voetstappen in tarwebloem over een lengte van 37 meter. Met elke stap plaatste hij zo zijn voetafdruk in het landschap. Deze ingrepen bestudeerde en documenteerde hij vervolgens op verschillende wijzen in zijn beelden.

Het werk van Stefanovicz wordt tegelijkertijd tentoon gesteld met Flora Reznik’s Hole waarover George Knegtel (Junior Curator bij LhGWR) het volgende schreef:
“In Hole en 1.000 Steps worden de fysieke handelingen van de kunstenaars in een performance omgezet in een afdruk in het landschap. Door de systematische benadering van deze handelingen ontstaat een visueel patroon dat met de camera nauwkeuriger wordt bestudeerd. Met deze gelaagde werken leggen Reznik en Stefanovicz een nadruk op hun tijdelijke afdruk in het landschap en versterken ze het bewustzijn van een simpele beweging.”

Met dank aan Stroom Den Haag

In 1.000 Steps, Mihaly Stefanovicz follows the tradition set by Richard Long and Hamish Fulton among others who relied on the act of walking in their artistic practice. In 2016, between July 30th and August 25th, on each day, Stefanovicz took a walk in and around Reykjavik, Iceland. He continued this routine for 27 days, without a brake. During every trip, he marked an approximately 37 meters long track by sprinkling flour around his feet at every step. All of the land that he walked across was marked by a contiguous white trace. Stefanovicz documented this act of walking in three different forms that reveal the landscape from under his steps.

Mihaly Stefanovicz’ work is exhibited at the same time as Flora Reznik’s Hole. George Knegtel (Junior Curator at LhGWR) wrote the following on the parallel presentation:
“In
Hole and 1.000 Steps, both artists create a performance where the physical acts of their bodies are transformed into a mark in the landscape. The systematic approach of these acts reveal a visual pattern which is studied closely with a camera. In these layered works, Reznik and Stefanovicz emphasize their temporary mark in the landscape and enhance the awareness of a single movement.


Sheng Wen Lo | The March of the Great White Bear

Dalian forest Zoo, China (2015) © Sheng-Wen Lo


The Videoroom
The March of the Great White Bear
by Sheng Wen Lo

The March of the Great White Bear (2017) is a video that depicts polar bears on display and their artificial habitats. It attempts to portray the dilemmas concerning captive animal programs. These videos are not looped: they are based on the “stereotypical behaviours (endless repetition of a fixed sequence of movements)” of polar bears in captivity, recorded in 17 enclosures worldwide. Ethological studies have shown that stereotypical behaviours stem from limited captive environments that do not satisfy the animals’ normal behavioural needs. It is also seen as a sign of psychological distress in animals. However, it should be noted that stereotypes do not necessarily correspond to poor condition at the time — it can stem from poor welfare in an earlier stage in the course of the animal’s life. For more information, please visit White Bear.
Sheng-Wen Lo, born in 1987 in Taiwan, is currently based in the Netherlands. Sheng’s work focusses on the relation between humans and animals and attempts. His practice involves the use still/moving images, video games and various other media. He received his MA in photography from AKV|St.Joost in the Netherlands, and MSc in computer science from the Computer Music Lab at National Taiwan University. As a scientist, scientific methodologies are also crucial to his work.
His recent work has been shown in EYE Filmmuseum and World Press Photo in The Netherlands, ICP Museum in New York, FORMAT Photo Festival and Belfast Photo Festival in UK, OrganVida Photo Festival in Croatia, and LianZhou Foto Festival in China. Sheng will be an artist in residence at the Rijksakademie in Amsterdam during 2019 and 2020.

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