List of galeries and museums, at least two to be visited during the

On your own initiative; visiting two galleries and/or museums during the networkweek
From the list below you will pick at least two addresses that you will visit at your own
initiative during the networkweek. This is an obligatory part of the networkweek
(please refer to the agreements on the networkweeksite). These visits will be made
from Tuesday until Thursday. During those visits you will position yourself as a
professional (not as a noncommittal visitor). That means that in advance you will read
about the institution and exhibition itself. Besides that you will speak to people on the
spot that are employed at this gallery or museum to gain information about the
institution or exhibition. Be aware: if this does not succeed, and this is often because
curators and gallerists have a busy schedule; you will find out of you can answer your
own questions or can find information by using other sources. But if you are able to
speak to the gallerist, ask him or her a few specific questions. If you are visiting
together with other students, try to combine the questions so you can ask them at
once. At a gallery you can think of the following questions:
-
Who do you represent?
What is it you base this selection on?
Is there a maximum number of people that you can or want to include?
How do you decide on a selling price, on what do you base this decision?
Who is the audience?
How do you approach that target group?
How do you maintain your relationship with the artist/photographer?
What is the resigned percentage for the artist/photographer when one of their
pieces is being sold?
What are the agreements when artists/photographers themselves are being
approached by a potential buyer.
How do you want to be approached by artists/photographers?
How do you decide on which artist/photographer will exhibit?
What does that depend on?
About what kind of practical things should an artist/photographer think of once
joining your gallery?
What is the average amount of work you adopt per artist/photographer?
What signature does the gallery have?
What can an artist/photographer expect from the gallery?
Are you especially focused on young artists?
How can they make themselves visible?
Do you visit graduation exhibitions?
What is your view on a good portfolio?
At the museum; think of the following questions:
-
What are the principles of the exhibition policy?
How does a museum get an exhibition?
How does a decision about viewing a certain exhibition come about?
A museum is a place where works are gathered in a collection. What is the
policy in relation to that collection?
What person is in charge of the procurement and how does this realizes?
What are the practical matters of an exhibition; think of insurance,
arrangement, design, contracts, etc.
To what extent does a photographer have a say in the design of the exhibition?
What are the agreements concerning publicity and supplying the press
photo’s?
How do you want to be approached by (future)photographers, how do they get
in the picture?
Who supplies the prints for an exhibition; the photographer or the
institution/museum?
And like that you can think of many more questions for all the venues: be curious and
think of many other questions!
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Besides the content, also pay attention to the look of an exhibition: do you think the
lay-out has a clear relationship to the content? Write down your thoughts and opinion
in the report. You will write down all of your findings in a report that will be adopted in
the documentation, and you will show on the collective assessments in January 2014.
Musea- en galerielijst (in alphabetical order)
check for openinghours the website’s!
De Pont
Wilhelminapark 1
5041 EA Tilburg
www.depont.nl
Expo:
Willie Doherty
UNSEEN
20 september 2014 - 18 januari 2015
The exhibition will provide a critical overview of Willie Doherty’s photographs and videos
made on the streets of his native city of Derry in Northern Ireland and its surrounding
hinterland, presenting new insight into the artist’s working methods and rationale.
Since 1985 Doherty has recorded the way in which the city has been shaped and altered in
response to unfolding political events as he explored its streets through the simple acts of
walking and looking. The title of the exhibition, UNSEEN, refers to Doherty’s self-conscious
method of using the camera in a context where it was imperative for him to avoid undue
attention and to minimize the risk of being mistaken for a photojournalist or a tourist. The
exhibition will reveal how Doherty has used the techniques of photojournalism, documentary
landscape photography and the appropriation of images and texts to create a body of
photographic work that explores the fine line between fiction and non-fiction.
Source: www.depont.nl
-------------------------------------------------------------------------------Foam
Keizersgracht 609
1017 DS Amsterdam
www.foam.org
Expo’s:
JH Engström - Close Surrounding
12 September – 10 December 2014
Foam is proud to present the work of the Swedish photographer JH Engström (1969) in the
exhibition 'Close Surrounding'. Engström divides his time between Paris, France and his
birthplace in Värmland, Sweden. The manoeuvring between the slow pace of country life and
the stimulating energy of the city is essential in Engström's life. This is reflected in his pure
and authentic photographs and in the exhibition at Foam. The exhibition includes unique,
previously unseen collages. The books that Engström has published are another important
element of the exhibition.
JH Engström's photographs - which always reflect his engagement with his surroundings reveal the loneliness and absurdity of the human condition. Engström uses his camera and its
artistic possibilities to communicate in a meaningful and direct way with the viewer. He also
shares his doubts about whether it is possible to truly understand what life is about. He
explores various photographic genres such as the self-portrait, landscape, the snapshot and
aerial photography.
JH Engström's oeuvre is multi-faceted. He documents the ambience of the places he
photographs, but at the same time his work can also be interpreted as a personal, visual
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'stream of consciousness', a continuous flow of images that portray feelings, observations
and memories of the photographer. Furthermore he 'plays' with one of the traditional
characteristic of photography: depicting reality. In his photographs he emphasizes the fact
that they are visual interpretations of that reality, by experimenting with technical
imperfections such as overexposure, motion and dust. The edges of the negatives are
sometimes visible in the printed photograph. The results vary from raw images to appealing
photographs in pastel tints. Above all, the work of JH Engstrom can be interpreted as a
restless and never-ending quest for answers to the question of what it is to be human.
JH Engström was born in Karlstad, Värmland, in Sweden. When he was ten years old, he
moved with his family to Paris - an immeasurably large city in comparison to his birthplace.
When he was thirteen years old, the family moved back to the country, but since then he has
constantly returned to Paris, the city to which he is devoted. In 1997 he graduated from the
Photography and Film Department of Gothenburg University. He then worked as an assistant
to fashion photographer Mario Testino and the documentary photographer Anders Petersen.
He developed his own unique style, which is characterised by a combination of raw and
highly aesthetic images. Engström likes to present his work in books. To date, he has
published twelve. He has received many prizes and nominations, including a shortlist
nomination for the Deutsche Börse Photography Prize (2005) and the Best Photobook of the
Year Award (Arles, 2009).
Under Construction - New Positions in American Photography
17 September – 10 December 2014
Foam presents 'Under Construction - New Positions in American Photography', a group
exhibition featuring the work of nine young American and Canadian artists: Sara
VanDerBeek, Lucas Blalock, Joshua Citarella, Jessica Eaton, Daniel Gordon, Owen Kydd,
Matt Lipps, Matthew Porter and Kate Steciw. Even though the results of the artists' individual
artistic practices are very diverse, the mentality, methodology and presentation of their work
show a number of remarkable similarities.
A key characteristic is the investigative attitude they adopt to the photographic image and its
representation. All of the participating artists are explicitly engaged in a fundamental
reassessment of the value and significance of photography in the early 21st century. The farreaching digitisation of society exerts an unparalleled influence on almost every aspect of the
medium. This ranges from completely new photographic techniques (digitisation of the
equipment) and the use of the photographic image (distribution via digital networks) to the
value and significance of photography itself (in view of the never-ending stream of many
millions of photographic images that are being taken, distributed and manipulated every day).
This fundamental reassessment is particularly appropriate and important in a society in which
so much culturally relevant information is communicated via images and where an
unprecedented and extremely complex dynamic has developed between images. In this new
world, how can photography or a photograph be defined? What is the value and significance
of photography in this age? How are photographic images created? How does photography
relate to reality? What is the function of images in a society in which digitisation has so
fundamentally altered the way we communicate (socially, politically and commercially)? What
is the position of photography in the complex dynamic of contemporary networks? What is the
relationship of the medium and its users to tradition and the past? What is the role of the
creator?
These kinds of questions are of the utmost relevance for this new generation image makers.
This is a reinvention of photography within a totally different societal context, taking account
of more than 150 years of photographic history. It is no less than a photographic renaissance.
3
Foam 3h: Anika Schwarzlose - Disguise and Deception
10 October - 23 November
A special unit of the National People's Army in the former DDR was tasked with the
production of fake weaponry and the development of camouflage techniques. After the
reunion of Germany this practice was continued and still exists today. The work of the
unit called 'Tarnen und Täuschen' (Disguise and Deception) consists of creating
impressions and experiences. Therefore their work can be considered as an artistic
intervention. The underlying principle of 'Tarnen und Täuschen' and their artisanal fake
weaponry are used as metaphors in the series 'Disguise and Decepton' by visual artist
Anika Schwarzlose (DE, 1982). With her photographs she navigates a world consisting
of deception and illusion. The series reflects on the nature of the image, on military
and artistic strategies. The images refer to the Cold War and simultaneously represent
a situation that is still current today.
In the exhibition different categories of photographs are combined: archival photographs from
the 'Tarnen und Täuschen' unit, photographs taken by Schwarzlose at the workshop and
photographs of tools constructed by the artist. She made these tools to alter the perception of
reality right in front of our eyes. In combination with the other photographs the role of
perception and the principle of make belief is used in both military and artistic practices is
emphasized.
About the artist
Anika Schwarzlose was born in Berlin, the former DDR. She graduated from the Gerrit
Rietveld Academie in 2009 and then pursued a MA at the KHM in Malmö.
Schwarzlose works and lives in Amsterdam. In conjunction with the exhibition the book
Disguise and Deception, A Mimetic Exchange of Strategies for Make Believe, published by
Kodoji Press and Van Zoetendaal Publishers, will be launched.
The project Disguise and Deception is supported by the Amsterdam Fund for the Arts and the
Mondrian Fund. The exhibition is made possible by the Gieskes-Strijbis Fund and the Van
Bijlevelt Foundation
Source: www.foam.org
--------------------------------------------------------------------Fotomuseum Antwerpen
Waalse Kaai 47
2000 Antwerpen
Belgie
www.fotomuseum.be
Expo’s:
Shooting Range. Photography in the firing line?
27.06.14 - 11.11.14
The 'Great War' was the first large-scale conflict that was recorded on celluloid and film. The
fledgling media appeared to have unprecedented powers as the all-seeing eye, a reminder,
but also as a weapon. Images not only chronicle a conflict, they also play a crucial role in it.
Shooting Range highlights the way in which this happened in a conflict that kept the world in
its grip for four years.
FoMu shows how still image was used in newspapers, magazines, postcards or for military
purposes. Propaganda and anti-war films also serve to widen the concept of this world
4
conflict. FoMu does not only show historical documents in their original form, but also views
century-old images with contemporary eyes.
Download the app Shooting Range
Discover more about photography in times of war with the Shooting Range app. At the
exhibition, there is a mobile app that can be used inside or outside the museum. Due to be
launched on 26 June 2014, it allows you to work with photos and stories. For iOS and
Android.
Richard Mosse
27.06.2014 - 11.11.2014
The Enclave
With The Enclave, FoMu brings Richard Mosse's (IE, °1980) acclaimed multimedia
installation to Belgium. Starting in 2010, Mosse made several trips to eastern Congo to
capture on film the region's intractable spiral of war. Since 1998, this conflict has claimed the
lives of 5.4 million people, yet goes relatively unreported in the mass media.
Richard Mosse documents armed rebel groups in eastern Democratic Republic of Congo
using a type of infrared film that was originally developed by the military to detect camouflage.
This now discontinued film registers infrared light and is characterised by its unusual colour
palette of vivid pink and teal blue.
Mosse attempts to challenge traditional notions of war photography and confronts the viewer
with a disorienting and physically immersive multimedia installation. The piece comprises six
large screens with twelve point surround sound, creating a layered and kaleidoscopic
experience, highly aestheticized yet firmly grounded in harsh reality. It is a looping, non-linear
narrative which documents civilians fleeing massacre, Mai Mai militia preparing for battle, as
well as M23 rebels moving on, fighting for, and finally taking the city of Goma. This
humanitarian disaster unfolds in a landscape of extraordinary beauty, on the shores of Lake
Kivu.
For this project, Richard Mosse collaborated with the filmmaker Trevor Tweeten (US, °1983)
and sound artist Ben Frost (AU, °1980). The Enclave represented Ireland at the Venice
Biennale in 2013 and won the 2014 Deutsche Börse Prize.
Mikhael Subotzky & Patrick Waterhouse
27.06.2014 - 11.11.2014
Ponte City
Ponte City is the latest project from artists Mikhael Subotzky (ZA, °1981) and Patrick
Waterhouse (GB, °1981). The project focuses on a single building, the monumental Ponte
City, an apartment block that dominates the Johannesburg skyline. One of the architectural
icons of the city, it is also the perfect witness to a society in constant change.
Subotzky and Waterhouse took photographs from, inside of and around the fifty-four-storey
building. As they explored, they came across stacks of documents that had been left behind
in vacant apartments. These included both cards, brochures and press releases dating from
the utopian beginnings of the building as well as images and texts by generations of migrants
from across Africa. The exhibition gathers all this material together to bring to vivid life the
symbolic value of this Johannesburg monument.
The exhibition is a co-production of FoMu, Antwerp and Le Bal, Paris. The book Ponte City,
published by Steidl, will be available at the exhibition.
5
Walker Evans
27.06.2014 - 11.11.201
The magazine work
This concise exhibition focuses on Walker Evans' photographic magazine work. Uniquely,
Evans (US, 1903-1975) photographed, wrote, edited and designed his pages. From 1929 to
1965 he published in avant garde journals and the mainstream magazines Fortune, Harper’s
Bazaar, Vogue, Sports Illustrated and Life. For this exhibition, FoMu draws on the extensive
collection of curator and critic David Campany (GB, °1967). Campany is curating the
exhibition in collaboration with FoMu. A book, Walker Evans: the magazine work, is published
by Steidl.
---------------------------------------------------------------------Fotomuseum Den Haag
Stadhouderslaan 43
2517 HV Den Haag
www.fotomuseumdenhaag.nl
Expo:
Paul Kooiker
Nude Animal Cigar
Now until 01/18/2015
Paul Kooiker is among the most interesting conceptual photographers currently working in the
Netherlands. Although his work consists entirely of photographic images, he is not so much a
photographer as a sculptor and installation artist. His fascination with intriguing themes like
voyeurism, innocence and clichés leads him to construct fictive collections of images that are
of extremely uncertain origin, subject and significance. In his latest installation, Nude Animal
Cigar, created at the invitation of the Hague Museum of Photography, Kooiker looks back
over his twenty-year career in the visual arts. The result is a bewildering array of two hundred
photographic works, in which images of nudes and of animals are interspersed with close-ups
of the countless cigars he has smoked in his studio over the years.
Paul Kooiker (b. 1964) is not interested in creating the perfect photographic image. The value
of his work lies not in his individual photographs (which are sometimes overexposed, blurred
by camera movement or grainy), but in what he does with them postproduction – the
subsequent process of selection and manipulation. In the initial phase of his creative process
he is a deliberately ‘bad’ photographer, producing a mass of exploratory material that often
runs to hundreds of images. He then approaches this material as a visual artist, creating
‘collections’ in the form of three-dimensional installations and photo books. These fictive
collections look as if they have been found somewhere or have turned up in some ancient
suitcase abandoned for decades in an attic. To ensure their credibility, Kooiker pays
meticulous attention to internal consistency of form and style. This stands in sharp contrast to
the contents of his series, which are often enigmatic and vaguely disturbing.
Paul Kooiker studied at the School of Photography in The Hague and the Rijksakademie van
Beeldende Kunsten in Amsterdam. In 1996 he won the Prix de Rome and in 2009 he was
awarded the A. Roland Holst Prize for his oeuvre. As well as exhibiting widely in the
Netherlands and internationally, Kooiker has devoted considerable attention to the publication
of his work. In the final part of this exhibition, he displays multiple copies of all the artist’s
books he has issued since 1999, mostly in partnership with publisher Willem van Zoetendaal.
Paul Kooiker’s work is described in a recently published Dutch-language book entitled
‘Fotoverhalen’. The volume showcases the photographic collection of the Gemeentemuseum
Den Haag and is edited by its curator, Wim van Sinderen. It contains a collection of
6
anecdotes relating to 150 unique photographs from a range of stylistic periods – from Breitner
to Breukel and from Araki to Zwartjes. The book is on sale, price €29.50, in the museum shop
and all good bookshops in the Netherlands.
---------------------------------------------------------------------------
Galerie van Kranendonk
Westeinde 29
2512 GS Den Haag
Expo:
Fugacidad – Photography by Frédérique van Rijn
Tentoonstellingsperiode:
6 september t/m 15 november.
Bekijk hier de uitzending van Kunststof tv waar Frédérique te gast was samen met haar
grootvader Remco Campert die gedichten maakte bij haar fotografie: kunststoftv.ntr.nl
“Ver weg van elk grote stad met haar lawaai van gonzende stemmen, toeterende auto’s,
piepende trams en rochelende autobussen dieselend door nauwe straatjes volgepropt met
mensen vol verlangen om snel aan de boulevard in het volle licht en de zilte zeewind uit te
stappen.
Ver weg van zo’n stad, bijvoorbeeld Barcelona, rijdt Frédérique van Rijn in een krankzinnig
oude ziekenauto volgestouwd met foto-apparatuur, slaapzakken en ander eenvoudig gerief
om de nachten onder de naakte hemel te kunnen doorbrengen, door de stoffige wegen de
bergen in, het lawaai en de luchten van verse en bedorven vis in de stad ver achter zich
latend.
Vol goede moed trekt ze verder omhoog, de flanken op van de trotse Pyreneeën, nog wat
kleine stadjes, dorpjes eigenlijk passeert ze in haar camion met opvallende kruisen van de
Frères de Sacré Coeur die menig slachtoffer hebben gered door hard ziekenhuiswaarts te
rijden. Met Frédérique aan het stuur ligt het tempo lager, natuurlijk, een fotografe kijkt rond,
tuurt, zoekt en dat vereist een andere snelheid.
De zon staat al hoog, warmte neemt de ontdekkingsreiziger in een ferme greep, geen
ontkomen aan, belangrijk om nu te rusten op het heetst van de dag, daar is een verlaten huis
met schaduw, dat moet lukken. Frédérique weet al dat het een plek is om foto’s te kunnen
nemen. Fotografen gaan als jagers op pad. Ze voelen het aan, dáár moet ik zijn. De foto zit al
in het hoofd, de plek moet nog worden gevonden, dat maakt de jacht ook soms vermoeiend.
Maar nu heeft ze een beetje geluk, het verlaten huis is inderdaad net aan zijn lot
overgelaten. De open haard smeult zelfs nog na, als Frédérique binnenwandelt en de
verlaten kamers doorziet. De keuken bezit nog veel gerei, er staat een omgewoeld bed in de
slaapkamer, de luiken zwaaien op de warme wind, schurend, het interieur dan weer in het
licht dan weer in het duister zettend en opeens staat er een hond in de deuropening.
Is dit dan toch het huis van een kraker die de eenzaamheid wenst? Boven op zolder is er in
jaren niemand meer geweest. De natuur groeit welig door de dakbinten naar binnen, wat
losstaand meubilair ligt dik onder het stof, een scheefhangende spiegel lacht de fotografe toe,
ijdelheid is al lang uit dit huis vertrokken.
De foto’s die Frédérique maakt van dit soort verlaten Spaanse plekken zijn getuigenissen van
hoe het leven er was. De bewoners zijn altijd net vertrokken, voorgoed, keren nooit meer
terug, maar zelfs de tand des tijds kan hun sporen, hun jaren die in het huis liggen verankerd,
niet voorgoed uitwissen. De weemoed hangt zwaar in de kamers die Frédérique op haar
tochten vindt. De intimiteit van het huiselijk leven weet zij echter op subtiele wijze in beeld te
brengen. Zij maakt uitsluitend gebruik van het bestaande licht. Dit licht maakt het leven van
weleer wakker, de schaduwen dansen ook zonder muziek. Maar soms is dit zonlicht knalhard
7
en schijnt ongenaakbaar door de openstaande ramen de kamer in de houten bank en een
eenzame stoel in de spotlights zettend als was het een dramatisch theaterstuk.
Een stille wereld is het huis geworden, achter gelaten door de bewoners, stilte ook zo
kenmerkend voor de foto’s van Frédérique van Rijn, stilte waaruit respect en betrokkenheid te
voelen is van de fotografe met haar onderwerp.
Fugacidad, onomkeerbaar gevoel van vergankelijkheid. De fotografe keerde nog een laatste
keer terug naar dit verlaten landschap. De expositie is een weerslag van deze Spaanse
periode die nu is afgesloten om plaats te maken voor een nieuw onderwerp. Fugacidad, alles
is gezegd.”
-----------------------------------------------------------------------------------------Huis Marseille / Museum voor Fotografie
Keizersgracht 401
1016 EK Amsterdam
www.huismarseille.nl
Expo:
September 13, 2014 / December 7, 2014 de Marseillaise / fifteen years of collecting
With selections by: Valérie Belin / Jacqueline Hassink / Naoya Hatakeyama / Sarah
Jones / Rob Nypels
As well as: Claudia Angelmaier / Uta Barth / Per Bak Jensen / Bownik / Winfried Bullinger /
Balthasar Burkhard / Ed Burtynsky / Sophie Calle / Popel Coumou / Jeff Cowen / Susan
Derges / Charlotte Dumas / Ger van Elk / David Goldblatt / Candida Höfer / Axel Hütte / Luisa
Lambri / Ryan McGinley / Yasumasa Morimura / Vik Muniz / Thomas Ruff / Dr. Erich Salomon
/ Jörg Sasse / Thomas Struth / and others
Still Life with Dish, 2014
Valérie Belin,
courtesy Galerie Nathalie Obadia, Paris/Bruxelles
A photography collection can be seen as a dynamic part of a museum, which can be
regarded in various ways. In this case, the heart of the exhibition is formed by five
photographers with whom Huis Marseille collaborated on multiple occasions in the recent
past: Valérie Belin, Jacqueline Hassink, Naoya Hatakeyama, Sarah Jones and Rob
Nypels. They have each been invited to fill curate a gallery with their own work and combine
topicality with earlier purchases by Huis Marseille. In this way, their own personal, artistic
growth in the past fifteen years becomes visible.
Valérie Belin (1964, Boulogne-Billancourt)
Her work astonishes the viewer with the enormously increased complexity of her subject
matter and the unbelievable amount of detail that she succeeds in forging into a whole, then
stretching it like a taut photographic skin of light and shadow – in her newest series she works
both in colour and in black and white – across the entire image
Valérie Belin
Untitled (Masks series), 2004
collection Huis Marseille Amsterdam
Valérie Belin
Still Life with Dish, 2014
courtesy Galerie Nathalie Obadia, Paris/Bruxelles
8
Jacqueline Hassink (1966, Enschede)
View, Kyoto, the impressive series on Japanese temples and gardens on which she has
worked since 2004, shows the degree to which Hassink, the conceptual photographer of
Tables of Power, has blossomed into a powerfully analytical and lyrical image-maker. The
strong composition of her photographs reveal her deep knowledge and understanding of
Japanese culture and of the inherent conflicts that must be resolved, again and again, to
achieve a harmony between the natural world and modern, industrial civilization. The
photographic series View, Kyoto will be published for the first time in its entirety (Hatje Cantz,
design: Irma Boom).
Jacqueline Hassink
Sho-den-ji, summer
Northwest Kyoto
22 July 2004 (9:00–11:30)
collection Huis Marseille Amsterdam
Jacqueline Hassink
Shiratani Unsuikyo 7
Yakushima, Japan
11 March 2013
courtesy Jacqueline Hassink
Naoya Hatakeyama (1958, Rikuzentakata, Iwate)
Hatakeyama made his international reputation with Blasts (from 1995), in which he
photographed limestone being dynamited for industrial purposes. Now he is meticulously
documenting the fragility of the defences being constructed in Japan today to try to cope,
after the disaster of 11 March 2011, with the next earthquake. In this project, on which he has
worked ceaselessly since 2011, he is focussing principally on the reconstruction work taking
place in Rikuzentakata, in north-eastern Japan – where he himself was born, and which was
almost totally destroyed by the earthquake and the tsunami that followed.
Naoya Hatakeyama
Blast #5707, 1995
collection Huis Marseille Amsterdam
Naoya Hatakeyama
2014.5.18, 2014
courtesy Taka Ishii Gallery, Tokyo
Sarah Jones (1959, London)
Sarah Jones gained international recognition for her photographs of psychoanalyst’s couches
along with her studies of young women in domestic interiors, drawing studios and urban parks
which draw attention to the relationship between sitter, location, photographer and viewer. In
her recent photographs, both black and white and colour, she continues to explore how
subjects are measured and transcribed through the large format view camera and flattened in
pictorial space, contained as if in a museum vitrine. This transition establishes looking as a
vertiginous experience.
Sarah Jones
The House (Francis Place) (II), 1997
collection Huis Marseille Amsterdam
Sarah Jones
The Drawing Studio (Life Model) (I), 2008
courtesy Maureen Paley, London
9
Rob Nypels (1951, Leiden)
Nypels is the only one who wanted to show his own work in context of that of his peers in the
Huis Marseille collection. Rob Nypels’ eye for what landscape and nature have to offer in
terms of colour and sensibilities simply defies description. His work brings together places
where magic comes to life, whether they are in the city or in the country. He rides a fine line
between abstraction and expression. In his mastery of mood and colour he has revealed
himself to be a true magicien de la terre of our times.
Rob Nypels
#4763, 2008
collection Huis Marseille Amsterdam
Uta Barth
White Blind (Bright Red) (02.10), 2002 (detail)
Han Nefkens H+F collection/ Huis Marseille Amsterdam
Courtesy the artist and Tanya Bonakdar Gallery, New York
Alongside these five solo presentations, a number of galleries have been installed by Els
Barents and Rob Nypels with a selection of collected works.
-----------------------------------------------------------------------------------Joods Historisch Museum
Nieuwe Amstelstraat 1
1011 PL Amsterdam
http://www.jhm.nl/
Expo:
Masterpieces from the Howard Greenberg Collection
11 September 2014 until 11 January 2015
Following great success in Lausanne, Paris and Budapest, the Jewish Historical
Museum presents the exhibition Masterpieces from the Howard Greenberg Collection
(11 september 2014 - 11 January 2015). Approximately 150 photos from the private
collection of New York gallery-owner Howard Greenberg will be on display.
Greenberg's collection features icons by famous photographers such as Henri Cartier
Bresson, Edward Steichen, Robert Frank, Walker Evans and Dorothea Lange, as well
as masterpieces by less well-known photographers such as Consuelo Kanaga and
Jerome Liebling.
Howard Greenberg
Howard Greenberg has an established reputation as gallery owner and photography dealer,
but his passion for collecting has only recently come into the spotlight. He has
beendeveloping his impressive collection over the course of thirty years and today it consists
of over 500 photos. Greenberg's personal love and fascination for certain photographs, as
well as the quality or story of a specific print, are key in his purchase choices. Greenberg's
collection stands out because of the high quality of its prints - Greenberg often waited years in
order to acquire the print of his drea
The Howard Greenberg gallery in Manhattan is one of the largest and most prestigious
photography galleries in the world. Greenberg is well-known for his passion for photography,
his expertise in the field, his network in the international photography-scene and his personal
connections with many photographers or their relatives. With his sharp instinct for
photographic quality, Greenberg played a crucial role in rediscovering the post-war street
photographers of the New York School, amongst which Saul Leiter, whose photos were
exhibited at the Jewish Historical Museum in 2011.
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The collection features many iconic photographs by famous photographers as well as
masterpieces by less well-known artists. For Greenberg, a photographer's fame plays a less
important role. His collection represents a diversity of photographic genres and movements in
Europe and America, with a focus on the New York School and the Czech modernism of the
20's and 30's. Greenberg's collection offers a broad overview of the history of twentieth
century Western photography.
The exhibition was produced by the Musée de l'Elysée in Lausanne in cooperation with the
Fondation Henri Cartier-Bression in Paris. The English publication Howard Greenberg
Collection will be available at Uitgeverij Steidl.
For sale
From the 1st to the 13th of November 2014 twenty photos from the Howard Greenberg
Gallery in New York, one of the largest and most prestigious galleries in the world, will be on
display and for sale in the Intercontinental Amstel Hotel. Among them are icons by famous
photographers including Robert Capa, Ruth Orkin, Saul Leiter and William Klein. A third of the
proceeds of the sale of the photos will benefit the Jewish Historical Museum. We invite you to
visit both the Amstel Hotel as well as the Jewish Historical Museum to admire the beautiful
photos that Howard Greenberg has brought together.
------------------------------------------------------------------------------------------------------Melkweg Gallery
Lijnbaansgracht 234 a
Amsterdam
www.melkweg.nl
Expo:
Marokkaanse Moeders
Marjolein Busstra & Rebekka van Hartskamp
Van 24 oktober t/m 30 november exposeren Marjolein Busstra (fotografe
en documentairemaker) en Rebekka van Hartskamp (documentairemaker) “Marokkaanse
Moeders” in de Melkweg Galerie. De aflsuiting van een serie filmvertoningen waarin
Marokkaanse moeders gesprekken voeren over het opvoeden van hun kinderen in
Nederland.
Onlangs werd Busstra op straat lastiggevallen door een groep Marokkaanse jongens. In een
poging zichzelf te verweren, pakte ze in een reflex haar telefoon en maakte een foto. “Ik
hoopte dat de kracht van de camera mij uit deze situatie zou redden. Het bleek doeltreffend.
De jongen die mij tegemoet kwam, trok zijn capuchon over zijn hoofd en ik ging er vandoor."
De foto is ironisch genoeg het stereotiepe beeld dat maar al te vaak in de media wordt
gebruikt als representatie voor een hele groep mensen. Dit terwijl ze met haar projecten juist
naar alternatieven zoekt voor de sensatiegerichte media. Ze ging op zoek naar het verhaal
achter de capuchon.
In de beeldvorming lijken Marokkaanse jongens altijd op zichzelf te staan. Weinig hoor je over
hun familie, of specifieker: hun moeders. Met dit project wordt vanuit het perspectief van deze
vrouwen het stigmatiserende beeld van de Marokkaanse jongens bevraagd. De expositie
toont enerzijds fotoportretten van de jongens die hun gezichten verbergen om anoniem te
blijven, anderzijds zijn er de moeders die op film hun verhaal vertellen en juist uit de schaduw
stappen. Omdat het zo lastig was om de moeders voor de camera te krijgen zijn menig dichte
deuren en afzeggingen ook in beeld gebracht. Dit geeft aan dat er nog een zeker taboe rust
op de besproken thema's zoals opvoeding, wij en zij, discriminatie en roddel.
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Nederlands Fotomuseum
Wilhelminakade 332
Rotterdam
www.nederlandsfotomuseum.nl
Expo: 13 SEP 2014 _ 11 JAN 2015
Mark Cohen
Dark Knees
The American photographer Mark Cohen (1943) is still relatively unknow to the general
public, but fits seamlessly into the tradition of the major street photographers such as Walker
Evans, Robert Frank, Lisette Model and Helen Levitt.
-----------------------------------------------------------------------------------
Rijksmuseum Amsterdam
Museumstraat 1
1071 XX Amsterdam
www.rijksmuseum.nl
Expo:
Modern Times
November 1 2014 to January 11 2015
Philips Wing
Running from 1 November 2014 – 11 January 2015, 'Modern Times. Photography in the 20th
Century' will be the Rijksmuseum’s first ever photography exhibition to showcase the
outstanding collection of 20,000 20th-century works that it has amassed since deciding in
1994 to extend its photographic holdings beyond the 19th century.
In a display of more than 400 images, the exhibition will trace photography’s key
developments during the 20th century, including the introduction of colour, the growth of
documentary and news photography, and photography as a pure art form. A wide-ranging
overview, it will also explore photography’s role in fashion and advertising and will feature
some amateur works.
Rare photographs by Brassaï, Ed van der Elsken, John Gutmann, Lewis Hine, William Klein,
Jacques-Henri Lartigue, Joel Meyerowitz, László Moholy-Nagy, Eadweard Muybridge, Man
Ray and W. Eugene Smith will be displayed as part of the exhibition Modern Times.
Photography in the 20th Century. This major photographic survey will inaugurate the
Rijksmuseum’s newly renovated Philips Wing, the final stage in the museum’s recent
acclaimed transformation.
Responsible for both the exhibition and its accompanying catalogue are Mattie Boom and
Hans Rooseboom, Curators of Photography at the Rijksmuseum.
The Rijksmuseum in Amsterdam is the Netherlands national museum dedicated to arts and
history. The Museum’s Philips Wing, newly renovated by Spanish architects Cruz y Ortiz, will
open its doors for the first time on 1 November 2014 with the launch of Modern Times.
Photography in the 20th Century, the inaugural exhibition, which will occupy all nine of the
Wing’s new exhibition rooms.
From Muybridge to Sassen
Modern Times ranges over the whole of the 20th century, and also spans the decades on
either side. The earliest images are Eadweard Muybridge’s motion studies, including a
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galloping horse from 1887, and George Hendrik Breitner’s early photographs. The exhibition’s
most recent works were shot in Suriname in 2013 by the exciting Dutch photographer Viviane
Sassen. Among the rarest masterpieces are photographs by John Gutmann (Olympic diver),
László Moholy-Nagy (Pont Transbordeur), Man Ray’s Peggy Guggenheim, Lartigue’s early
photographs of home-made aeroplanes and Joel Meyerowitz’s Moon Launch.
Vintage
Modern Times. Photography in the 20th Century is the Rijksmuseum’s first major presentation
to the public of the 20th-century photography collection that it has amassed over the past two
decades. During that time the collection has earned international acclaim, both for its range
and depth. It is especially remarkable for its large number of original vintage prints, which are
often extremely rare. In many cases, the Rijksmuseum holds the only original print known to
exist of an image, or that is, at the very most, one of just a few.
Development of the 20th-century photographic collection
The Rijksmuseum has assembled an international collection of 20,000 20th-century
photographs since it began updating its collection of 19th-century photography in 1994. The
Rijksmuseum’s total photography collection comprises more than 130,000 photos. The
exhibition Modern Times is the sequel to the large-scale retrospective exhibition in 1996: A
New Art. Photography in the 19th Century.
Document Nederland
Tegelijkertijd opent op 1 november in de nieuwe Philipsvleugel Document Nederland, de
jaarlijkse foto-opdracht van het Rijksmuseum. De fotograaf Hans van der Meer fotografeerde
het grensgebied van Nederland en België.
--------------------------------------------------------------------------------------------------------------------------Stedelijk Museum
Postbus 75082
1070 AB Amsterdam
http://www.stedelijk.nl
Expo:
ON THE MOVE
29 AUG 2014 - 18 JAN 2015
Storytelling in Contemporary Photography and Graphic Design.
The Stedelijk Museum Amsterdam presents the exhibition On the Move: Storytelling in
Contemporary Photography and Graphic Design. It is the latest edition of the Proposals for
Municipal Art Acquisitions that the museum organizes every two years, with the financial
support of the City of Amsterdam. The selection of acquisitions from this exhibition always
comprises an important addition to the holdings of the museum.
The photo essay and the photo book are both classic ways of telling stories through
photographs. But photographers are increasingly exploring new ways of storytelling made
possible by technological advances. Apps, audiovisual installations, and websites present
opportunities for less linear forms of narrative. This development also reflects in graphic
design. The role of the graphic designer is no longer confined to “choosing the image
sequence” of a photo book.
Meet the artists on our YouTube-channel
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On the Move focuses on recent developments in photography and reveals the myriad ways in
which artists and photographers build their narratives in dialogue with graphic designers. The
title On the Move refers to the journeys taken by many of the photographers in creating their
projects, as well as the new directions in photography.
Last autumn, the Stedelijk invited artists living and/or working in the Netherlands to submit
work in which they explore new, playful, critical, and challenging forms of narrativity. The
museum received 471 submissions.
A jury consisting of Carolien Glazenburg (curator of graphic design, Stedelijk Museum), Anne
Ruygt (junior curator of photography, Stedelijk Museum), Ad van Denderen (photographer),
Karin Krijgsman (course leader of the photography department at the AKV St. Joost), and
Dimitri Nieuwenhuizen (co-founder of design studio LUST) selected 28 submissions from
young and emerging artists. The selected works include both existing projects and works
never previously exhibited, which are currently being developed especially for the exhibition.
THE SELECTION
Club Donny │ Marc Roig Blesa and Rogier Delfos │ Verena Blok │ Sara Blokland │Olivier
van Breugel and Simone Mudde │ Persijn Broersen and Margit Lukács │ Sarah
Carlier │ Elspeth Diederix │ Meike Eggers and Michael Anhalt │ Ringel Goslinga │ Rob
Hornstra and Arnold van Bruggen │ Robert Knoth and Antoinette de Jong │ Thomas
Kuijpers │ Kadir van Lohuizen │ Anaïs Lopez, Eva Smallegange and Linda Braber | Hans van
der Meer │ Theo Niekus │ Gábor Õsz │ Rune Peitersen │ Ahmet Polat │ Johannes
Schwartz │ Petra Stavast │ Anoek Steketee and Eefje Blankevoort │ Martine Stig │ Nadine
Stijns │ Andrea Stultiens │Elisabeth Tonnard │ Witho Worms and Hans Gremmen
Meet the artists in a minute For the exhibition we made one minute portraits of all selected
artists. Click on the names to watch them or check the playlist on our YouTube-channel.
A number of multimedia productions have also been selected for On the Move. These largescale projects are often co-creations and were developed for different platforms. One such
example is Love Radio, a multiplatform documentary about the Rwandan genocide made by
photographer Anoek Steketee and journalist Eefje Blankevoort with designers Kummer &
Herrman and interactive designer Sara Kolster. The object of many photography projects of
this kind, which can take years to create, is not just to be presented in a museum or gallery;
the projects are increasingly shared with audiences via both traditional and new media, during
its making process. Take The Sochi Project, for example, by photographer Rob Hornstra and
journalist Arnold van Bruggen which, over a five-year period, has been presented in the form
of various photo books, exhibitions, interim cahiers, and a website
Many artists and photographers in On the Move utilize alternative sources, such as citizen
journalism and visual material from the internet. In some cases, they do so as an extension of
their own photography practice, where the photographer also plays the role of editor or
curator. In other instances, these sources are subjected to a critical visual analysis. Thomas
Kuijpers, for instance, collected photographs of American soldiers who took part in a Twitter
protest against their government’s position in the Syrian civil war. The images, together with
the staged photos that Kuijpers uploaded, are united under the hashtag #IDIDNTJOIN. This
raises the question of how we can know with any certainty whether we are looking at an
“authentic” or propagandist image.
Cover Club Donny #10, journal door Samira Ben Laloua, Frank Bruggeman en Ernst van der
Hoeven. Coverbeeld: Wolfgang Tillmans, Untitled, 2001 (detail)
On the Move also presents a selection of photography books – often self-published – by
young artists. And the exhibition features serial magazines such as the “gesamtkunstwerk”
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Club Donny and Theo Niekus’s autonomous cahiers of Amsterdam street photography.
Several photographers re-examine and re-visit their early work, such as Petra Stavast. In
2002, Stavast made an extraordinary portrait of Ramya, her landlady at the time. This year,
after Ramya’s death, she returned to Ramya’s life story. Other artists explore the work of
fellow photographers, such as Andrea Stultiens, who started a conversation with the work of
Ugandan studio photographer Deo Kyakulagira.
On the Move is curated by Carolien Glazenburg, Anne Ruygt, and Hripsimé Visser. During
the exhibition, Beatrix Ruf, director of the Stedelijk Museum, will select a number of works to
be purchased for the Stedelijk’s permanent collection.
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