Exhibitions — June 16, 2021

Special Event: Individual one-hour ‘insight whisperer’ session with Ola Lanko

Up for taking an active approach to seeking insight? For these one-on-one conversations, Ola Lanko employs an amalgamation of philosophical counseling rooted in psychology, sociology, art, cognitive science, and other conventional and idiosyncratic disciplines. Using radical honesty, shadow work, self-inquiry, and transjective presence, Lanko invites you to explore what is most alive for you at the moment.

Friday 18 & 25 June, Saturday 26 June, Sunday 20 & 27 June
16.00 / 17.00 / 18.00

Click here to register

Part of Amsterdam Art Week 2021 (17-27 June)

 




Exhibitions, Projects — May 22, 2021

Artist Talk — Hans Bol, Victoire Eouzan, Alexander Sporre

Saturday, 29 May | 45-min group talk | 14.00 – 17.00

Click here to register | RSVP | Max. 6 visitors at a time

The exhibition Ici, le temps s’étire (Here, where time stretches) features 3 photographers whose work revolves around the concept of time. Presenting the latest series of Hans Bol and introducing 2 new artists to the gallery selection — Victoire Eouzan and Alexander Sporre. Together they offer a kaleidoscopic view onto a feature which regulates, paces, and constructs our lives.

Hans Bol presents his new series White Crow that captures the natural world in the timeless platinum-palladium prints. This old technique that stems from around 1870 provides a warm and gentle tonal range, as well as a three-dimensionality of the image. Since the light-sensitive layer lies directly on the cotton surface, the final image is absolutely matte and velvety. These prints are the most durable of all photographic processes. The metals platinum and palladium are very stable against chemical reactions that might degrade the print, even more stable than gold. White Crow often depicts crows and ravens — an omen of happiness according to ancient cultures and mythologies.

Hans Bol, Untitled 2004-I, negative 2004, print 2021 | Platinum-palladium print, framed in passepartout w/ museum glass | Image 15 x 20 cm, frame 39,5 x 34 cm | Ed. 3 + 1 AP

In her project Cette Vue Que Je N’aurai Plus (This view that I’d no longer have), Victoire Eouzan focuses on memories: fragmented, evoked, unintended, borrowed. Can an image strike a memory for a viewer who sees it for the first time? Silkscreened poetic sentences on top of the photographs by Victoire might remind of haiku – lyrical, concentrated and brief. She captures snippets of daily life, playing around with the idea that they eventually are to become memories. How can time be experienced in all of its volatility and elasticity? Can we extend it, not let it suddenly slip through our fingers? Cette Vue Que Je N’aurai Plus is an investigation on this subject.

Victoire Eouzan, J’ai Oublié, 2020 | Screenprinted archival pigment print, box frame | 36,5 x 55 cm and 55 x 82 cm | Ed. 3 + 1 AP

Another angle on the subject is offered by Alexander Sporre who sees his photography as a by-product of a metaphysical search for reality. His series Parallel Universes of the Self addresses the philosophical — and often poetic — illusion of a knowable and rational self. His photographs, spaceless and placeless, appear in and out of focus like tangible reminders of a dream-like state. Sporre combines analogue methods with digital to abstract the known reality and stretches the borders of what’s visually possible. He investigates reality not as experienced through senses, but as that which transcends matter; a world of timeless and everlasting ideas and forms.

Alexander Sporre, Parallel Universes of the self (4), 2020 | Archival pigment print on Photorag | 60 x 40 cm



Art Fairs — May 7, 2021

Ballroom Project #3 — 13-16 May, 2021

Galerie Caroline O’Breen will attend the fair with the works of Anne Geene and Antoinette Nausikaä

Antoinette Nausikaä

Antoinette Nausikaä, From the series Spring equinox figurines, 2021 | Earthware, golden glazed 12%, 24 carats | approx. 10 x 10 cm | Unique


Antoinette Nausikaä (NL, 1973) creates site-specific investigative projects in places where nature and culture coincide. It is the balance between the two that fascinates her. For her presentation at Balroom Project #3, Nausikaä selected works from her Mountains and Rivers projects and assembled a new installation.

In her installation, Nausikaä plays with the relation between the human abstract and the natural organic, the mundane and the transcendent. She is fascinated by the balance between nature and culture and the thought that nature can be seen as an integral part of our everyday life and ourselves. Golden-glazed Spring equinox figurines were created in her studio in Amsterdam at the time of the last spring equinox on March 20th, 2021 – a kind of a personal ode to the light. Blanc de Chines figurines, the fragile white sculptures, were made on location in the traditional Chinese porcelain town of Dehua, for her project Breathing Mountains. Dehua is known for the production of the famous “Blanc de Chine” which has been produced from the Ming dynasty. Until today Buddhist and Taoist figurines are the most famous products of Blanc de Chine. The photograph Isle, Paris finishes the installation, showing a small scene, resembling an island in the sea, on a chipped wall.

Find out more about the project here

Anne Geene

Anne Geene, Portrait of a garden, 2021 | Print on archival matte, inkjet | 90 x 175 | Ed. 5 + 1 AP


With the help of photography, Anne Geene (NL, 1983) captures the hidden beauty of the natural world – she investigates, collects and organises it according to a distinct logic. The camera objectively records the materials in which Geene is looking for visual similarities, patterns and phenomena. Her interpretation of the data is strictly personal and refers to our urge to regulate and understand the world around us. Geene’s project presented at Ballroom #3 is a site-specific work, created during her artist in residency in Portugal this year.

The artistic method of the exhibited works lies on the border between scientific and poetic investigation. To make these works, Anne Geene engages in the enduring on-site collecting processes, selecting materials for the project. It can be months of accumulation, scanning and sorting of the plant material. ‘Portrait of a garden’, for instance, consists of plant material collected in a single garden. The works belong to ‘Museum of the Plant’ – a slightly absurd, or even ironic, “museum” that focuses on all aspects of the plants that other museums do not discuss. Coincidence, hierarchy, destiny, social status, ownership, the norm and deviation from it. Does application of the human logic and standards to the plant life benefit to a better understanding of the natural world? Or bring us closer to objectivity? Geene’s interpretation of the collected data is self-evident within her compositions.

Find out more about the project here


13 — 16 May, 2021
Press & preview: 12 May
During Antwerp Art Weekend
Turnhoutsebaan 92
2140 Antwerp, Belgium

Opening hours:
Thursday, 13 May: 11-21 hrs
Friday, 14 May: 11-18 hrs
Saturday, 15 May: 11-18 hrs
Sunday, 16 May: 11-18 hrs

Exhibitions — April 17, 2021

Sarah Mei Herman at Museum Technische Sammlungen in Dresden

Hundreds of photographers from 47 countries submitted works on the subject of “TOGETHERNESS” for The PORTRAITS – Hellerau Photography Award. The 2021 exhibition with the works of the finalists, including Sarah Mei Herman, will open at Technische Sammlungen Dresden.

The opening of the exhibition is tied to the reopening of the museum and will be announced at a later date.

“My most extensive body of work is Julian and Jonathan: A series portraying the relationship between my father and my twenty-one years younger half brother. Since 2005 I have been photographing Jonathan alone or together with our father Julian. I am interested in the triangular relationship between the three of us, ” — says Sarah Mei about the nominated work.

Julian and Jonathan, February 2010

“The memories from my childhood of the relationship with my father, are now in a way mirrored in Jonathan.”

Jonathan, February 2010

“This work is very much about me, and this part of my family, as well as the relationship between a relatively older father and his son.”

“Jonathan is nineteen years old now and is going through a very difficult time since his mother passed away last year. He shows even less of himself than he did before and seems to detach himself from everything and everyone, even from Julian.”

Julian & Jonathan, November 2020

Technische Sammlungen Dresden – Museum of Science and Technology,
Junghansstraße 1-3, 01277 Dresden
www.tsd.de

 

Exhibitions — March 25, 2021

Elsa Leydier’s Plátanos con platino at La Vivette in Paris

100% l’EXPO – SORTIES D’ÉCOLES

31 March 2021 – 16 May 2021

This show in Paris at La Vilette comprises the works of more than 100 former French art school students. The work of Elsa Leydier is included in the presentation with her series Plátanos con platino. The series investigates Chocó, the region known and spoken of only as of the poorest and most violent in Colombia. However, it also happens to be one of the richest regions in the world in terms of its biodiversity, but the news doesn’t talk about that. Elsa Leydier is revealing Chocó’s luxuriance, a side less visible and often neglected. By doing so, she aims for breaking the consensual image of the Amazon region and, by the means of photography, gives it back the values it has lost.


Leydier’s prints have been produced especially for the show as large canvases to be exhibited in the park of La Vilette — to extend the show to the outside space of La Vilette while the museum visits in France are allowed only for those working in the cultural sector. “I see the opportunity of showing 3 of my pictures outside the exhibition venue as a beautiful way to adapt to the new situation, and to keep art accessible for all. It can almost be seen as an act of resistance,” comments Elsa.

With the 5th edition of its 100% L’EXPO – SORTIES D’ÉCOLES event, La Villette continues to offer a faithful and demanding panorama of the best talents of young French and international artistic creation who have recently graduated.

 

La Vilette

at Grande Halle and in the park around it

Exhibitions — March 12, 2021

Video: studio visit with Jaya Pelupessy

This video is a part of our series of artist studio visits — to get updates on their newest work and insights into the creative process. We’ve teamed up with our artists to make these short films and show the ‘behind-the-scenes’ of their practice.

 

Jaya Pelupessy shows us around his studio and talks about the latest work-in-progress Manufactured Manual. This series hasn’t been shown before, and the technique used is Pelupessy’s own invention — a four-colour exposure on the aluminium silkscreen.

Jaya’s work evolves around the research into reproduction processes and techniques. He tries to slow down our visual consumption by making the process of reproduction visible within the work. For Manufactured Manual, Jaya is creating colour emulsions, exposed on top of each other to create multi-layered collages on the silkscreen.

On these silkscreens, he exposes collages made out of old photography instruction manuals that Pelupessy has been collecting for years. «I find it very interesting that in these books when you see example images that they use, it’s almost photography trying to explain itself.»

In this project, the silkscreen is not used to produce prints. Jaya Pelupessy transforms it into the medium of the artwork and uses it as an end result. Similar to how a photographer would use light-sensitive paper in the darkroom, Pelupessy uses aluminium silkscreens as canvases to make his work.

Just recently, in 2020, Jaya Pelupessy has been awarded K.F. Hein Stipendium, and later this year (2021) his work will be shown in a solo exhibition at the Centraal Museum in Utrecht.

Exhibitions — February 10, 2021

Prolonged until April: FloodZone by Anastasia Samoylova at the Kunst Haus Wien

Nach uns die Sintflut (After Us, the Flood)

16 September 2020 – 05 April 2021

Dwindling glaciers and polar caps, rising sea levels and entire land areas reduced to steppes: the repercussions of man-made climate change have long become visible for us all to see. The 21 Austrian and international artists featured at the exhibition illustrate through photography and video the ecological consequences of our growth-orientated economic system at the global level. Often produced during years of research and collaboration with scientists, their works lend a visual form to the abstract processes and complex correlations of the climate crisis. They move us at an emotional level. Nach uns die Sintflut (After Us, the Flood) uses the resources of art to highlight the urgency of the need for sustainable action.

 

 

The programme of the exhibition reflects the concerns and key issues that KUNST HAUS WIEN is pursuing as a Green Museum: the environment and sustainability as well as artistic photography.

Artists: Benoit Aquin, Ursula Biemann, Axel Braun, Solmaz Daryani, Verena Dengler, Michael Goldgruber, Justin Brice Guariglia, Stephan Huber, Genoveva Kriechbaum, Anouk Kruithof, Bénédicte Kurzen, Douglas Mandry, Benedikt Partenheimer, Sarker Protick, Gabriele Rothemann, Anastasia Samoylova, Christina Seely, Nicole Six & Paul Petritsch, Frank Thiel, Angela Tiatia

For more information about the show, click here

 

KUNST HAUS WIEN

Exhibitions — February 4, 2021

Anastasia Samoylova on view at Museum Helmond in 2021

The ‘Walker Evans Revisited‘ exhibition in Kunsthal Helmond features work by Walker Evans and 19 contemporary photographers from countries around the globe, including the United States, Australia, France and Germany who elaborate on Walker Evans’ style, his choice of subject or “play” with his iconic images. Work by Sherrie Levine, Justine Kurland, Anastasia Samoylova, Ute Mahler & Werner Mahler, Stephen Shore, RaMell Ross and Bryan Schutmaat, among others, is juxtaposed with that of their source of inspiration and a great example. This provides an exciting and versatile presentation about photography and American society then and now.

David Campany is guest curator of the exhibition, which was previously shown in Museum Mannheim during the “Biennale für Aktuelle Fotografie 2020.”

Great Depression in pictures

American photographer Walker Evans (1903–1975) focused on the themes of the everyday. Evans became especially famous for his photographs depicting American life during the Great Depression in the 1930s. Evans’ appreciation for the visual possibilities of everyday life pioneered art photography and made him a pioneer in street photography. Evans’ work shows his idiosyncratic style in both the choice of subject and his way of working. For example, he had never joined a photo agency. In his commercial work for magazines, he also insisted on selecting his photos himself and co-designing the magazine versions. This kept him in control of his works and their reception to the public.

Exhibitions — January 29, 2021

Video: studio visit with Satijn Panyigay

With this video, we’re launching a series of artist studio visits — to get updates on their newest work and insights into the creative process. We’ve teamed up with our artists to make these short films and show the ‘behind-the-scenes’ of their practice.

 

 

Satijn Panyigay talks about her artistic motivation and style, bridging together her older and newer work. Satijn gives a glimpse of her overall aesthetic tone and upcoming series from the larger project Twilight Zone.

Panyigay’s work has a clear approach and specific themes: transience, emptiness, solitude. She is fascinated by the human mind and with her aesthetic eye, she shows the beauty of both the light and the dark. Her photographs are mysterious, sometimes eerie, melancholic, and subtle. The work-in-progress Twilight Zone is focused on capturing the character of the empty exhibition spaces of leading Dutch museums that display contemporary art by photographing them between the shows. Satijn has already photographed the Museum Boijmans Van Beuningen – the series was presented at our gallery this autumn. The next museum in this project is the Kröller-Müller Museum, and the series has not been released yet.

Exhibitions — January 20, 2021

Anne Geene at Kröller-Müller Museum: new opening date, September 2021

The vernissage of the solo exhibition of Anne Geene ‘Accumulation of Things’, originally planned on the 18th of April 2020 in Museum Kröller-Müller, is postponed until 2021.

Stay tuned, we will keep you updated!


Exhibitions — January 14, 2021

Jaya Pelupessy won K.F. Hein Stipendium 2020 & solo in Centraal Museum

Jaya Pelupessy has presented the K.F. with his research proposal “Manufactured Manual” and won Hein Stipendium 2020. The K.F. Hein Stipendium not only consists of a grant but also of a solo-exhibition in the Centraal Museum in Utrecht in a year.

The K.F. Hein Stipendium gives him the opportunity to develop a new photographic technique, approaching the traditional technique of screen printing in his own unique way. The screen printing frame, which is usually the tool for printing an image, becomes the work in the hands of Pelupessy. With different color layers, he creates images directly on the screen printing frame. The creation of the image thus becomes the subject.

This project is a build-up on Jaya’s previous works such as “Traces of the Familiar”, “The Studio Sculptures” and “Flatten Image”, in which he focuses on the process of reproduction of photography. For “Manufactured Manual”, he will use found images from the photo archive of the Centraal Museum –  images of the construction of exhibitions.

Exhibitions — November 25, 2020

Diana Scherer at Capital C for the first KunstKoop exhibition

Koop dit of dit of dit

25 November 2020 — 15 January 2021

 

During the Amsterdam Art Gallery Weekend, a KunstKoop exhibition has opened its doors at Capital C for the first time. Called ‘Koop dit of dit of dit’ (‘Buy this it this or this’), it presents a versatile range of works of art that can be purchased at a democratic monthly cost through a loan with no interest with the KunstKoop scheme of the Mondriaan Fund. The works have been selected by curator Ellis Kat from galleries that participate in both Amsterdam Art and KunstKoop.

Diana Scherer, Hyper Rhizome #8 from the series Excercises in Rootsystem Domestication, 2020. Plantroot growing textile in perspex frame, 50 x 40 cm

In her artistic practice, Diana Scherer depicts the will of man to cherish nature and at the same time the tendency to manipulate nature. She is fascinated by the roots of plants and her work brings underground growth processes to the surface. Scherer has developed a technique with which the root structure of a plant can be influenced. The natural network of plant roots appears to change into artificial textile yarn in Exercises in Root System Domestication.


Capital C

Opening hours:
During Gallery Weekend
Thursday & Friday 9 am-6 pm
Saturday & Sunday 12 pm-5 pm
After Gallery Weekend
Monday – Friday 8.30 am – 5.30 pm
Art Fairs — November 10, 2020

Amsterdam Art Gallery Weekend 2020

Opening hours of the gallery during Amsterdam Art Gallery Weekend 2020:

Wednesday 25 November, 12 – 6 pm
Thursday
 26 November, 2 – 8 pm (2 – 5 VIP only)
Friday 27 November, 12 – 6 pm
Saturday 28 November, 12 – 6 pm
Sunday 29 November, 12 – 5 pm

 

Amsterdam Art is launching its very first Amsterdam Art Gallery Weekend, a weekend of contemporary art with Amsterdam galleries as its main focus — with a high-quality curated program that includes exhibitions, editions, and an online program of talks, tours, and performances.

Galerie Caroline O’Breen is a part of Amsterdam Art Gallery Weekend 2020 with the exhibition of Laurence Aëgerter – La main et l’oeil

Laurence Aëgerter, The Sea monster (Dürer), 2020, from the series Compositions synesthétiques. Silkscreened ultrachrome print, 24.8×18.9 cm, ed. 6+2 AP

For the exhibition La main et l’oeil, Laurence Aëgerter presents her latest project Louvre Plage (2020) for the first time, in addition to the complete series of the already known Compositions synesthétiques (2016-2020).

Both series are based on masterpieces — sculpture, painting, and engraving — from ancient times up to the 16th century. Aëgerter’s fascination with the original artworks drives her to further engage with the works by adding a play of lines and objects. In these series, each image is a product of a continued search of seemingly endless possibilities, where every millimeter reveals itself as a surprising turn in the hunt for a form of naturalness.

Laurence Aëgerter, Tête Salt (visage), 2020, from the series Louvre Plage. Hahnemühle Fine Art print, 80×66 cm, maple tray frame, ed. 6+2 AP

Louvre Plage is a series of images that on the one hand demystify the iconic masterpieces and on the other hand transform the everyday into a wonder. Compositions synesthétiques is a subjective reinterpretation of the engravings by Albrecht Dürer (1471-1528) in a game between intuition and reason. The compositions, printed in the true format of the originals, are meticulously screen printed with colorful and tangible lines in gravel, braille, and rubber.

During the Amsterdam Art Gallery Weekend, two special events will be held: a conversation between Huigen Leeflang, the curator print department of the Rijksmuseum and Laurence Aëgerter — on Saturday at 4 pm, and an artist talk by Laurence — on Sunday at 3 pm. Reservation is obligatory at caroline@carolineobreen.com.

 

A new initiative by Amsterdam Art is the release of the Special Editions

The artworks are on show in every gallery and together they form an exhibition throughout the city. Artists were inspired by the overarching theme: Infra-Ordinary, which describes the phenomenon when the banality of everyday life suddenly gets a special meaning. Galerie Caroline O’Breen presents:

Healing Plants for Hurt Landscapes – Digitalis ambigua i.a. – Normandy, France
Print + book

By Laurence Aëgerter (FR, 1972)
Edition of 30 (print), edition of 1.000 (book)
Price print & book: €275 (including VAT)
Size: 24,5 x 20 cm

ORDER HERE

More about Amsterdam Art Gallery weekend read here.

Exhibitions — October 10, 2020

Antoinette Nausikaä at the Nederlands Fotomuseum

GIMME SHELTER

The Nederlands Fotomuseum presents the Somfy Photography Award 2020 with new work by the nine nominated photographers

Installation shot of the presentation A River Runs Through Me by Antoinette Nausikaä

 

About the theme ‘Gimme Shelter’
The theme of the Somfy Photography Award 2020 is ‘Gimme Shelter’: ‘Shelter’ is an overarching, all-embracing, basic need for people and animals: protection, shelter, safety, and comfort. ‘Shelter’ is not just manifested in factories, offices, schools, houses, and hospitals, but also in the cardboard box of a homeless person, in a lovers’ embrace, in the mother who cherishes her child. Comfort, well-being, and sustainability are the three most important qualities that Somfy contributes to buildings. These terms represent both ‘The Art of Somfy’ and the most important requirements in Maslow’s hierarchy of needs.

See the review of the show by Het Financieele Dagblad here.

 

Antoinette Nausikaä
Antoinette Nausikaä has chosen the river Seine near Paris as her working space for the project A River Runs Through Me. She wants to visually evoke a sense of shelter and the connection with nature that the Seine once offered the city.

 

Full list of the presented artists: Roderik Henderson (NL), Géraldine Jeanjean (NL), Stephan Keppel (NL), Matthieu Litt (BE), Antoinette Nausikaä (NL), Martine Stig (BE), Dustin Thierry (NL), Maarten Tromp (NL), and Jordi Ruiz Cirera (ES).

The Somfy Photography Award (SPA) is a biennial international photography award that offers professional photographers the opportunity to create new work inspired by a predetermined theme.

 

Exhibitions — October 10, 2020

Matthieu Litt at the Nederlands Fotomuseum

GIMME SHELTER

The Nederlands Fotomuseum presents the Somfy Photography Award 2020 with new work by the nine nominated photographers

Installation shot of the presentation Oasis by Matthieu Litt

 

About the theme ‘Gimme Shelter’
The theme of the Somfy Photography Award 2020 is ‘Gimme Shelter’: ‘Shelter’ is an overarching, all-embracing, basic need for people and animals: protection, shelter, safety, and comfort. ‘Shelter’ is not just manifested in factories, offices, schools, houses, and hospitals, but also in the cardboard box of a homeless person, in a lovers’ embrace, in the mother who cherishes her child. Comfort, well-being, and sustainability are the three most important qualities that Somfy contributes to buildings. These terms represent both ‘The Art of Somfy’ and the most important requirements in Maslow’s hierarchy of needs.

See the review of the show by Het Financieele Dagblad here.

 

Matthieu Litt
In the presented series Oasis, Matthieu Litt explores Ry-Ponet, a green space located around a stream running through the metropolitan area of the Belgian city of Liège. This green lung is a symbol of resistance and a place of refuge for both people and animals.

 

Full list of the presented artists: Roderik Henderson (NL), Géraldine Jeanjean (NL), Stephan Keppel (NL), Matthieu Litt (BE), Antoinette Nausikaä (NL), Martine Stig (BE), Dustin Thierry (NL), Maarten Tromp (NL), and Jordi Ruiz Cirera (ES).

The Somfy Photography Award (SPA) is a biennial international photography award that offers professional photographers the opportunity to create new work inspired by a predetermined theme.

 

Exhibitions — September 11, 2020

Margaret Lansink at Droog

ONWARD&UPWARD — Art in the Garden of Life

02.10.20 – 17.01.21

Collages of Margaret Lansink will be presented at ONWARD&UPWARD – a group exhibition with an international selection of artists at @droog which shows art as inspiration, guidance and solace in a life full of uncertainties.

The immediate cause for the exhibition ONWARD&UPWARD, which is curated by Renny Ramakers and fashion designer Liselore Frowijn, is the unpredictable present we find ourselves in. However, have there ever been times full of certainty and security? The concept of ONWARD&UPWARD looks beyond COVID-19 to reflect on the insecurities and pitfalls of life, on the strength and power of life. Whatever happens, we must carry on moving ‘onward’ and ‘upward’ using all the means at our disposal.

Margaret Lansink, Believe, 2019 | collage printed on Kizuki handmade Washi paper, mended with 23Kt goldleaf | 34 x 30,5 cm | ed. 3 + 2 AP

The scenography of the exhibition is a surreal garden. A garden is continuously evolving and is in need of constant care. It’s a visual feast, but it can also contain poisonous plants and roses with mean thorns. Yet it is the place that moves you, gives you comfort and joy, a place that both gives peace of mind and puts you to work.

The art that appears in this scenography leaves aside the major social issues. First comes the visual power of art, poetic art, art that moves us, art that comforts us, art that gives hope and love, art that makes us happy, art that embraces us, evokes emotion, art that inspires and stimulates us… art that is close to our skin, art on a human scale. But also, art that in this context astonishes, scrapes, stings and offers unexpected points of view. In short, art that guides us to deal with uncertainty.

Anya Janssen, 2020

Artists: Margaret Lansink (1961, NL), Anthony Goicolea (1971, US), Anya Janssen (1962, NL), Charlotta Östlund (1973, FI) , (Elspeth Diederix (1971, NL), Emily Bates (1970, NL) , Emma Prempeh (1996, UK), George Stamenov (1988, BG), Hugo Rocci, (1989, FR), Joana Choumali (1974, CI), Jorge Mañes Rubio (1984, ES), , Margriet van Breevoort (1990, NL), Mike Pelletier (1978, CA), Niek Hendrix (1985, NL), Sethembile Msezane (1991, ZA) and Sophie Ruigrok (1992, UK), with more to be announced soon.


DROOG

Daily 11 am – 7 pm

Staalstraat 7A, Amsterdam

Exhibitions — September 10, 2020

Alle Jong at Bonnefanten Museum

Say It Loud

29.09.20 – 18.04.21

SAY IT LOUD is an international group exhibition at Bonnefanten Museum with contemporary artists who relate in their work to subjects such as diversity, migration, the colonial past, slavery, women’s emancipation, structural economic and social exploitation, religion and war, as well as the image formation or the interpretation thereof.

For this exhibition, the artists look back, often from a personal perspective, on how colonial history has shaped them and the world around them. They link their personal experiences to larger events and processes, such as slavery, institutional racism and sexism, and image building. They investigate how identity is formed and broaden the canon with a rich visual language and range of (underexposed) stories.

Alle Jong, The Slave Bill, 2016

Artists: Alle Jong, Kent Chan, Brian Elstak, Quinsy Gario, Ni Haifeng, Raquel van Haver, Hans van Houwelingen, Kahlil Joseph, Patricia Kaersenhout, Kerry James Marshall, Tuan Andrew Nguyen, Otobong Nkanga, Alison Saar, Betye Saar, Juul Sadee, Henry Taylor, Kim Black.

 

BONNEFANTEN

Tuesday – Sunday 11 am – 5 pm

Avenue Ceramique 250, Maastricht

Exhibitions — September 2, 2020

Anastasia Samoylova at KUNST HAUS WIEN

After Us, The Flood

16.09.20-14.02.21

Dwindling glaciers and polar caps, rising sea levels and entire land areas reduced to steppes: the repercussions of man-made climate change have long become visible for us all to see. The 21 Austrian and international artists featured at the exhibition illustrate through photography and video the ecological consequences of our growth-orientated economic system at the global level. Often produced during years of research and collaboration with scientists, their works lend a visual form to the abstract processes and complex correlations of the climate crisis. They move us at an emotional level. Nach uns die Sintflut (After Us, the Flood) uses the resources of art to highlight the urgency of the need for sustainable action.

Anastasia Samoylova, Roots, 2018 | From the series FloodZone | Archival Pigment Print or Dye-Sublimation Print on Metal | 100 x 80 cm and 127 x 100 cm | ed. 5 + AP

The programme of the exhibition reflects the concerns and key issues that KUNST HAUS WIEN is pursuing as a Green Museum: the environment and sustainability as well as artistic photography.

Artists: Benoit Aquin, Ursula Biemann, Axel Braun, Solmaz Daryani, Verena Dengler, Michael Goldgruber, Justin Brice Guariglia, Stephan Huber, Genoveva Kriechbaum, Anouk Kruithof, Bénédicte Kurzen, Douglas Mandry, Benedikt Partenheimer, Sarker Protick, Gabriele Rothemann, Anastasia Samoylova, Christina Seely, Nicole Six & Paul Petritsch, Frank Thiel, Angela Tiatia

 

 

16 September 2020 – 14 February 2021

Everyday 10am-6pm

Exhibitions — August 29, 2020

Solo show of Laurence Aëgerter at Petit Palais

Ici mieux qu’en face (Here better than across)

6 October 2020 – 9 May 2021

 

Since her childhood, Laurence Aëgerter has cultivated a passion for paintings and antiques, encyclopedias and practical manuals, museum catalogs, and images. In 1993, she left France for the Netherlands, where she has lived and worked ever since, to pursue studies in art history and later, the visual arts. Fascinated by masterpieces, as well as the smallest everyday objects, she relentlessly marvels at the beauty of things and the infinity of their perceptions.

Aëgerter has made a proposal to Petit Palais that reflects her insatiable curiosity for space with which she has maintained a visual, sensitive and poetic correspondence for over two years. Ici mieux qu’en face is an exhibition highlighting the different works of art in the museum’s rooms. The devices Laurence imagines are fuelled by the desire for escape. Photographs, tapestries, ceramics, installations… 50 artworks that fit the Petit Palais, resonating with other works of the museum’s collection and offering an exclusive getaway, between illusion and reality, as inspired by mirror or trompe-l’oeil. Aëgerter constructs stories and her scenarios provoke collisions and shifts, where chance and imagination invite themselves to the table of creation.

Laurence Aëgerter, Soleils couchants sur la Seine à Lavacourt, 2020. Jacquard tapestry in mixed yarn including mohair and lurex, 260 x 165 cm

Inspired by both its architecture and its collections, the exhibition weaves its way from room to room and into the garden, inventing disturbing and stimulating resonances with the works. Touched by their grace but also their fragility, Laurence Aëgerter attempts to take care of these sleeping objects and to offer them a new life.

The permanence of memory, the passage of time, and the precariousness of human lives recur throughout Laurence’s work. As if to better exorcise these themes, she devises a joyful promenade that plays with superimpositions, duplications, and metamorphoses. Another unmissable work is Confetti, made of 58,038 photographs she had on her phone, and each one of them reduced to the size of a piece of confetti. The photographs, sculptures, and textile works that she creates are proof that it is possible to play with the ghosts of our past. In this unexpected journey, Laurence Aëgerter accompanies us across several centuries of art history and reinvents the museum by infusing it with a breath of new life.

Curated by Fannie Escoulen (guest curator), Susana Gállego Cuesta, Christophe Leribault and Clara Roca (Petit Palais curators)

This exhibition was produced thanks to the Mondriaan Fund

Petit Palais

Museum of Fine Arts of the City of Paris

Tues – Sun, 10 am – 6 pm

Avenue Winston Churchill, Paris

Art Fairs — August 28, 2020

Paris Photo 2020

Paris Photo is the largest international art fair dedicated to the photographic medium and is held each November at the historic Grand Palais in Paris. Since 1997, the Fair’s mission is to promote and nurture photographic creation and the galleries, publishers and artists at its source.


We’re delighted to announce that our gallery will attend Paris Photo 2020 with a solo presentation of Anastasia Samoylova

Anastasia Samoylova, South Beach Reflection, 2017. Archival Pigment Print or Dye-Sublimation Print on Metal | 80 x 100 cm and 100 x 127 cm | ed. 5/5 (last one)

Paris Photo 2020

Times:

12 – 8 pm from Thursday, November 12th, to Saturday, November 14th

12 – 7 pm on Sunday, November 15th

Location:

Grand Palais, Paris

Exhibitions — July 3, 2020

Hans Bol at Museum IJsselstein

Empathie | Geen mens is een eiland

03.07.20 – 31.01.21

Empathie | Geen mens is een eiland is a photo-exhibition at Museum IJsselstein, executed in several phases on different (also outdoor) locations.

The first phase of this exhibition, featuring the work of Hans Bol, is an intimate photo exhibition –  on view from 3 July 2020 in the Castle Tower (IJsselsteinse Kasteeltoren). One of the Netherlands’ most famous portrait photographers, Koos Breukel, compiled this exhibition for Museum IJsselstein from the photography of six colleagues and from his own work.

In September the show extends to the museum itself and to the various outdoor locations. The exhibition can be seen in its entirety from the 19th of September.

Hans Bol for Empathie | Geen mens is een eiland, installation view

We live in a time of strong individualism. A time when the malleability of our human existence seems within our reach. Our society is focused on the development of ‘the self’ – think of the blessing of social media and self-help books that cannot be dragged around. Success is feasible and can mainly be found internally. Dig deep into yourself and you will get to know yourself. As Plato said, “The essence of all knowledge is self-knowledge.” We are convinced that the way to happiness is the way of self-development. The ‘us versus the other’ seems to be the basis of our existence.

But humans are social beings. We have the special ability to empathize with the emotions of others. We are also who we are through the presence of the other. We also need the other for our survival. ‘Social and selfless behavior is at least as important as’ the right of the fittest.’ (Frans de Waal, A Time for Empathy)


Artists: Hans Bol, Koos Breukel, Paul Cupido, Cuny Janssen, Hans de Kort, Annaleen Louwes, and Dustin Thierry.

 

MUSEUM IJSSELSTEIN

Wednesday – Sunday 1-5 pm

Walkade 2-4, IJsselstein

Exhibitions — April 1, 2020

Solo museum exhibition of Anastasia Samoylova

USF Contemporary Art Museum

Tampa, Florida, USA

Jan 17, 2020 – Mar 7, 2020

 

FloodZone, the first solo museum exhibition of Moscow-born, Miami-based artist Anastasia Samoylova, presents the installation of an ongoing photographic series, reflecting and responding to the immediate impacts of sea-level rise in South Florida.

Anchored by Samoylova’s focus on how photography obscures reality and crafts perception, FloodZone highlights the friction between natural and constructed landscapes by investigating the relationship between environmentalism, consumerism, and the picturesque. The FloodZone images capture the precarious psychological state of living in a paradise sinking towards catastrophe and reveal the role photography plays in generating collective memories and imagined geographies.

Left to right: Roots (2018), Camouflage (2017), Concrete Erosion (2019)

Left to right: Pink Sidewalk (2017), Painted Roots (2017), South Beach Reflection (2017), Green Mold (2019)

Samoylova’s images bring to the surface the seductive and destructive dissonance between the saturation of the real estate industry’s marketing images of a tropical paradise offering water views, while properties and streets are regularly flooded with storm and sewer water. This new iteration and installation of FloodZone provide Samoylova an opportunity to generate new work and expand her project to focus on coastal communities in Florida’s Gulf Coast region.

Exhibitions — March 26, 2020

Laurence Aëgerter at Machinery of Me

Night Hunt (Wilde Sau, Zahme Sau)

March 8 – July 26 2020

Solo exhibition at Machinery of Me, Arnhem (NL)
Curated by Rieke Righolt en Maarten Verweij

 

For Night Hunt (Wilde Sau, Zahme Sau), Laurence Aëgerter had conducted a research on young German women who lived and worked at the airbase during World War II, where Machinery of Me is located now. She made two spatial installations based on her research. One part of the exhibition is a space-filling installation that transforms the former boiler room and creates a penetrating experience for the visitor. A large-sized tapestry that reacts to light was created using a complex and barely used nowadays weaving technique and was carried out in the Textiellab of Textielmuseum Tilburg.
Machinery of Me also organized a multidisciplinary public program at the exhibition in which history and current events come together.

The work Diogenes is a monumental (450 x 600 cm) semi-transparent jacquard woven tapestry that includes monofil and phosphorescent yarns. The tapetry changes in colour according to the brightness of the space. Colours in the tapestry change from grey, to blue to fluorescent pink.

The history of the ‘Diogenes’ bunker in Arnhem (NL) and the many young German women who worked in it during the Second World War is at the starting point of this work. Aëgerter researched a large amount of local archive footage about the bunker and the life and work of the so-called ‘Blitzmädel’.

In the dark bunker these young women worked day and night to hunt down allied planes and bombers. In the middle of the bunker was hanging a huge transparent map defining the operational area with country contours and a grid with letter codes. The young ‘Blitzmädchen’ indicated the position of the enemy planes from a grandstand by shining spotlights on the transparent map. On the other side of the map the officers could make strategic decisions and organise the 24/7 hunt for the Allied aircraft.

This extraordinary historical setting gave rise to the monumental, semi-transparent tapestry Diogenes. One experiences how the exploded metallic carcass of the bunker’s twisted stand and the superimposed grid with numbers and letter codes reacts in layers to different lightings. During a short interval a ballet of searching spotlights extinguishes to finally blend into a hypnotic starry sky.

The work however raises also more universal questions than just the reference to this historical story.

It’s quality lied in the strong image analysis and the ability to give (historical) photographic material renewed relevance. The result is a layered image with a strong visual and substantive eloquence. 

Exhibitions — March 10, 2020

Anastasia Samoylova at BIENNALE FÜR AKTUELLE FOTOGRAFIE at Kunsthalle Mannheim

Walker Evans Revisited brings together two kinds of responses from contemporary artists and photographers. Firstly, there is the continuation and extension of Evans’ ways of photographing everyday life. Secondly, the exhibition presents a variety of projects by artists responding very directly to particular images and projects by Evans. These range from appropriation and collage, to re-imaginings and homage.

With works by: Julia Curtin, Walker Evans, Camille Fallet, George Georgiou, Darren Harvey-Regan, Lisa Kereszi, Justine Kurland, Sherrie Levine, Ute Mahler & Werner Mahler, Michael Mandiberg, James Nares, Jessica Potter, Patrick Pound, RaMell Ross, Mark Ruwedel, Anastasia Samoylova, Bryan Schutmaat, Stephen Shore, Vanessa Winship

Art Fairs — February 22, 2020

Paris Photo New York

Paris Photo New York with solo presentation at Emerging Sector with Anastasia Samoylova

Stairs from the series FloodZone | Archival pigment print on paper, framed with museum glass | ed. 1/5

Paris Photo New York is taking place at Pier 94 New York

April 2-5, 2020, New York

 

Art Fairs — December 30, 2019

HAUTE Photographie

Hans Bol

Matthieu Litt

 

 

Jitske Schols

HAUTE Photographie

LP2, Wilhelminakade 326, Rotterdam

Art Fairs — December 9, 2019

Art Rotterdam

 

Witho Worms, When you look at a landscape, 2019, 34 x 54,5, framed in museum glass, ed 5 + AP 

 

 

Diana Scherer, Hyper Rhizome 2019, plantroot weaving, framed, 40 x 50 cm

 

Art Rotterdam is taking place in the Van Nellefabriek in Rotterdam.

Exhibitions, Projects — December 6, 2019

Diana Scherer exhibits at TASIES 2019, Beijing, China

The 5th Arts and Science International Exhibition and Symposium (TASIES 2019) from Academy of Arts & Design, Tsinghua University took place in Beijing at the National Museum of China and Tsinghua University and was founded in the hope of expanding and deepening artistic and scientific studies, improving innovation level, as well as facilitating harmonious development in both fields.

During this event at the National Museum of China & Tsinghua University Beijing, Diana Scherer showed her work: Hyper Rhizome #1.

Info: http://dianascherer.nl/category/news/

Hyper Rhizome #1

 

Exhibitions — December 5, 2019

Witho Worms exhibits in New York at L. Parker Stephenson

When you’re looking at a landscape, you change it, when you’ve photographed it, you have changed it.”

The impressive Norway series of Witho Worms are hosted by L.Parker Stephenson Photographs New York, in between December 5 2019 – February 8 2020.

More info on the current exhibition in NY: https://lparkerstephenson.nyc/

The artist will also be represented by Caroline O’Breen Gallery during Art Rotterdam, February 5 2020 – February 9 2020.

Norway 090, 2016-2019

Exhibitions — December 2, 2019

Alle Jong exhibits at Drents Museum

The solo exhibition “Mijne Kinderlijke Traanen” – Installations and drawings – shows the work of Alle Jong, at Kink in the Drents Museum, from 24 September 2019 to 5 January 2020

In this mysterious, remarkable space, Alle Jong brings together 17th, 18th and 19th century prints of historical representations or mythological scenes. Following his passion for collecting old artefacts, documents, engravings or etches he brings back to life and into the present old subjects and characters such as Theo van Gogh’s wife.

Anna Dirks-Veth 260x160cm – authentic painting by Jan Veth of his wife Anna (ca. 1880-1900), who was an good friend of Jo Bonger, wife of Theo Van Gogh. Anna insisted Johanna Bonger moved to Bussum after Van Gogh died. From there Johanna could start promoting the hundreds of works by Van Gogh. In this artwork the painting by Veth is integrated within an large contemporary charcoal drawing Cartouche.

More information: https://drentsmuseum.nl/nl/kink/mijne-kinderlijke-traanen-installaties-en-tekeningen

Art Fairs, Exhibitions, Projects — November 6, 2019

Amsterdam Art Weekend 2019


November 21 – November 24

Galerie Caroline O’Breen is a part of Amsterdam Art Weekend 2019 with the exhibition of Alle Jong – De Gegroeide Plek (The Grown Place)

De Gegroeide Plek shows a series of drawings and authentic artifacts with which the Dutch visual artist Alle Jong (1988) brings history and imagination together in a very special way. The exhibition features a gigantic 17th-century Bible, which has been rediscovered after lying in a well for many centuries and has been drying for years. With this object, Jong tries to create a Historical Sensation (a concept derived from the well-known Dutch cultural historian Huizinga).

De Brief (The Letter) 2019, ink, charcoal and aquarelle on paper, 58 × 100 cm

 

Opening hours of the gallery during Amsterdam Art Weekend:
Friday 22 Nov 10am-7pm,
Saturday 23 Nov 12-7pm,
Sunday 24 Nov 12-5pm

For the complete Amsterdam Art Weekend program click here

Art Fairs — November 6, 2019

PAN Amsterdam, November 24 – December 1, 2019

This year Galerie Caroline O’Breen will attend PAN Amsterdam 2019 with works by Sofie Knijff, Laurence Aëgerter, Satijn Panyigay, Maura Biava, and Anastasia Samoylova.

Anastasia Samoylova, Fountain (series FloodZone), 2017, 100 x 127 cm, ed. 5 + 2 AP

 

Sofie Knijff, Girl in white, 2017, 120 x 84 cm, ed. 5 + 2 AP

 

Laurence Aëgerter, And the old wound too quickly bled afresh, Phaedra, Act I scene III (Stella), 2018, 100 x 200 cm, ed. 6 + 2 AP

 

Satijn Panyigay, Hope, 2019, 24 x 16 cm, ed. 5 + 2AP; 90 x 60 cm, ed. 5 + 2 AP

 

Maura Biava, Magic Heptagram of Thomas Bradwardine & Anguinea cubic curve of Christiaan Huygens #2, 2019, 142 x 50 x 30 cm, unique

 

Art Fairs — September 6, 2019

BIG ART

BIG ART

MORE THAN 70 OVERSIZED ARTWORKS ON SHOW

Presentation of

Diana Scherer 

Interwoven
Hyper Rhizome – Plantroot weaving 2019


12 – 15 SEPTEMBER 2019

OPEN:
11 am – 7 pm

LOCATION:
Hembrugterrein — De ProjectFabriek,
Middenweg 63  1505 RK Zaanstad

EASY ACCESSIBLE PER BIKE & FERRY AND OTHER PUBLIC TRANSPORT
FREE PARKING

Art Fairs — August 15, 2019

Unseen Amsterdam

Anne Geene & Arjan de Nooy, The Universal Photographer

Hans Bol, God’s Allies, silver gelatin print, toned, goldleaf.

 

Jaya Pelupessy – Flatten Image # 006

Exhibitions — July 5, 2019

Laurence Aëgerter at Rencontres d’Arles 2019

Opening on July 4, 1 pm followed by a book signing of the book Cathédrales 

Exhibition venue: Croisière, Arles (Fr)
July 1 – September 22

In her Cathédrales series, created in 2014, Laurence Aëgerter opened a book from the fifties (Cathédrales et églises de France) on the central double page which showed the gothic cathedral of Bourges. In her studio, every minute for two hours, she captured the movement of the sun and the projected shadow from the windows which was gradually obscuring the reproduction, until it became invisible. Cathédrales hermétiques is the follow up to this series. Moving away from the facades, she focuses on three church interiors, tackling ten centuries of architecture, from a Romanesque church (Saint-Benoît-sur-Loire) to a gothic church (Coutances) and an even more modern cathedral (Sainte-Jeanne-d’Arc in Nice). Later, she included in this series the three Provencal sisters of Cistercian architecture: Senanque, Silvacane and Le Thoronet, whose architectural design echoed her meditative quest.

Silkscreened with an ink reactive to the heat of the sun, the images emerge when exposed to sunlight. The heat penetrates each layer to better reveal it. Laurence Aëgerter invents a new method of photo development: the dark room exists in broad daylight. Through this juxtaposition of eras, Laurence Aëgerter pays tribute to the monumentality of these works of art. She shifts the history of architecture but also that of the photographic technique. Yesterday’s immutability meets today’s fleetingness. Laurence Aëgerter herself says that she builds “small monuments to Time.” But with this imperceptible temporal experience, she creates and invites us to a temple of meditation and contemplation.

The presentation is curated by Fannie Escoulen

 

12th century, 2019, Silkscreened ultrachrome print revealing when exposed to the sunlight, 118 x 90 cm and 85 x 65 cm, 6 + 2 AP

Art Fairs — June 5, 2019

Photo Basel June 9 – 16 Basel Switzerland

June 11 – 16, Basel, Switserland

Jitske Schols – Sora in Black

 

12th century, 2019, Silkscreened ultrachrome print revealing when exposed to the sunlight, 118 x 90 cm and 85 x 65 cm, 6 + 2 AP

BK0340 From the series: So it Goes, 2018, size 31 x 31 cm, edition 10 + AP

2018, From the series: Museum of the plant, 21 x 29,7 cm, edition 8 + 2 AP

 

The attendance at Photo Basel has been made possible by the generous support of the Mondriaan Fund

Exhibitions — May 28, 2019

VIENNA BIENNALE 2019

Diana Scherer and MAK – Austrian Museum of Applied Arts / Contemporary Art at Vienna Biennale 2019

The newly designed rooms of the MAK DESIGN LAB are dedicated to the questions and chances of a post-growth society. The exhibition shows how we can succeed in cooperating in a fair, sustainable, and meaningful way, what the commons can imply for the market economy and which digital education is needed to sustain work in the future.

Contemporary projects by designers, artists, architects, programmers and activists who react towards the challenges of the 21st century and raise awareness for problems, consider alternatives, or provide solutions, enter into a dialogue with historical positions from the MAK Collection.

Exhibitions — February 1, 2019

Jaya Pelupessy at the exhibition Back to the Future. The 19th Century in the 21st Century

The Mai Manó House hosted the exhibition Back to the Future. The 19th Century in the 21st Century which focused on the work of contemporary artists who employ techniques, methods, processes, and themes that resemble those of early nineteenth-century photographers.

The exhibition Back to the Future featured the work of the Dutch duo Jaya Pelupessy and Felix van Dam.

Jaya Pelupesssy & Felix van Dam, Filters – Traces of the Familiar, 2018

The work of the contemporary artists who took part in this exhibition is characterized by an appetite for experimentation, by cross-fertilization and by a multiplicity of hybrid forms. They pay a great deal of attention to the physical creative process and to the material qualities of their work, returning to the basic principles of photography: light, photosensitive materials, emulsion and chemical processes. By purposefully experimenting, they create radically new artworks that sometimes only distantly echo the photograph but also tend in the direction of drawings, sculptures and paintings.

This exhibition was an initiative of Foam in collaboration with C/O Berlin, Germany.
Foam Magazine #49 is devoted to ’Back to the Future’.

For more information about the exhibition, click here

Exhibitions, Projects — January 30, 2019

Diana Scherer in Victoria & Albert Museum, London

Fashioned from Nature exhibition at Victoria & Albert Museum highlights the role of campaigners in raising awareness of the negative impact of fashion, moreover it focuses on solutions and draws attention to the exciting interdisciplinary research taking place today which is driving the development of cleaner, less wasteful processes and materials.

This exhibition presented fashionable dress alongside natural history specimens, taxidermy and unprocessed plant and animal fibres, inviting visitors to think about the materials of fashion and the sources of their clothes.

The exhibition took place in between  21 April 2018 and 27 January 2019.


#4

More info: http://dianascherer.nl/category/news/page/2/

vam.ac.uk/FashionedfromNature

 

Art Fairs — January 5, 2019

Haute Photographie, February 7 – 10, 2019

February 7-10, 2019, Las Palmas Rotterdam

 

 

Jitste Schols, Mezza Voce 2018, Toyobo etching on Chine Colle, Hahnemuhle + Japanese Kitakata paper, framed in uncoated nut wood, museum glass, 37,5 x 30 cm, 5 + 2 AP, 57 x 47 cm, 5 + 2 AP.

 

Maarten van Schaik, From the series: Anonymous Contacts, 2017, print on Canson baryta, in brown wooden frame, 30 x 45 cm, ed. 6

 

HAUTE PHOTPGRAPHY
LP2

Wilhelminakade 326
3072 AR Rotterdam

Art Fairs — January 4, 2019

Art Rotterdam, February 7 – 10, 2019

Laurence Aëgerter, 2310-1710201033 (Saverij), 2017, ultrachrome print, 130 x 80 cm, edition 5 + 2 AP

Main section: solo presentation by Laurence Aëgerter

The gallery will present three recent projects by Laurence Aëgerter (FR, 1972). Her extensive oeuvre comprises of photographic series, artist’s books, multiples, site-specific installations, textile works, and community projects. Aëgerter makes inventive use of archives and existing images from illustrated books to museum collections, in a transcultural and transhistorical practice reflecting on the meaning of the image in relation to identity and collective memory.

In recent years she shifted her focus to the fragile edges of the human mind and applied her playful appropriation of images in collaborative projects involving, among others, patients dealing with mental health issues, neurologists, psychiatrists, and psychologists.

Three recent projects, Colorfield Phaedra (2014-2018) which was never shown before, Photographic Treatment © (2017-2018) and Compositions catalytiques (2017) deal with the potential of people struggling with illnesses such as dementia or psychosis and appeal to the use of their imagination, their power of calling up associations, and free interpretation. The resulting art works are both result from collaborations with patients and their attendants as well as reflective of the healing power of photography and other visual art forms.

 

Projections: video of Antoinette Nausikaä

At Projections, the video Tomorrow Flows Into Yesterday by Antoinette Nausikaä will be shown. It reflects Nausikaä’s personal quest for the unchangeable and is composed of her observations that were shot during a five-year journey in which she went looking for stillness along eight sacred mountains in Europe and Asia. She combines seemingly ordinary situations and scenes, revealing how humans and nature are casually intertwining. Thus Nausikaä explores and analyzes the relations between man, nature and time – the eternal and the transient, the sacred and the mundane.

Antoinette Nausikaä, Tomorrow Flows Into Yesterday, 2019, HD video, duration 6 minutes, with sound and subtitles.

 

Five years ago, Antoinette Nausikaä decided she wanted to observe mountains. In the middle of her frantic urban life she developed a need for stillness and solitude, and was convinced that mountains were the place to go. After all, throughout the centuries they have always been a refuge for man and an archetype for stability, calmness and tranquility. Concepts that seem so far removed from our modern everyday lives.

Soon however, she discovered that ‘pure’ silence and solitude were nowhere to be found. Looking for the timeless spirit of the mountains, she found fleeting traces of human existence everywhere and, almost casually, her project turned into an exploration of one of the most pressing philosophical themes of this moment: the Anthropocene.

The video work is part of the project Breathing Mountains, – a five-year quest for silence and balance between man and nature during which Nausikaä lived and worked around mount Fuji (JP), mount Olympus (GR), mount Ararat (TR), and the five great mountains of China, The Wuyué. Breathing Mountains resulted in the eponymous publication in 2018 (published by Art Paper Editions in Ghent), an exhibition at Gallery Caroline O’Breen and this video.

Art Rotterdam is taking place in the Van Nellefabriek in Rotterdam.

Exhibitions — January 1, 2019

Jaya Pelupessy selected as one of the Foam Talents 2019

The work of 20 outstanding young artists selected through the annual Foam Talent Call is featured in Foam Magazine #52, Talent Issue. Jaya Pelupessy got selected as one of the Foam Talents 2019.

After the presentation at Foam Next Door in Amsterdam, the Foam Talent exhibition with works from a new generation of visual artists toured to New York, London and Frankfurt.

Jaya Pelupessy, Tank Reel from the series The Studio Sculptures

The 20 selected photographers give insight as to the position of contemporary photography today. These upcoming photographers cross the borders of the photographic medium with striking ease. Object installations in which the experience of the work is just as important as the aesthetic value are as readily found as classic two-dimensional photographs, while archival materials continue to play an important role, together with multi-layered, long-term research.

FOAM TALENTS 2019
Florian Amoser (Switzerland), He Bo (China), Valentine Bo (Ukraine), Chen Zhe (China), Maisie Cousins (United Kingdom), Sylvain Couzinet-Jacques (France), Jalan&Jibril Durimel (France), Sophie Gabrielle (Australia), Eric Gyamfi (Ghana), Thomas Hauser (France), Gregory Eddi Jones (United States), Stelios Kallinikou (Cyprus), Takashi Kawashima (Japan), Dima Komarov (Russia), Lilly Lulay (Germany), Jaya Pelupessy (Netherlands), Daniel Shea (United States), Senta Simond (Switzerland), Salvatore Vitale (Italy) and Carmen Winant (United States).

Art Fairs, Exhibitions, Projects — November 7, 2018

We are participating at Amsterdam Art Weekend

Friday November 23 – Sunday November 25

Opening hours gallery:

Friday 10 am – 8 pm
Saturday 12 pm – 7 pm
Sunday 12 pm – 5 pm

Galerie Caroline O’Breen is participating at Amsterdam Art Weekend 2018 with the exhibition of Antoinette Nausikaä – Breathing Mountains and the event Exploring Silence on Sunday November 25, 12 – 13 pm. A talk with Zen philosopher Maurice Knegtel about silence and the working process of Antoinette Nausikaä prior to a short meditation. For the complete Amsterdam Art Program Amsterdamart.com

Geen automatische alt-tekst beschikbaar.

Exhibitions — October 17, 2018

Witho Worms part of group exhibition in C/O Berlin

Witho Worms is currently taking part in the exhibition Back to the Future in C/O Berlin Foundation.

Photogravures of the moon’s surface, botanical studies as blue cyanotypes, and Woodbury types of portraits: the exhibition showcases the work of contemporary artists who are using the techniques, methods, and pro­cesses of the 19th century photography. Taking inspiration from that early photography, the artists work with light, photosensitive material, photographic emul­sion, and chemical processes. These techniques are taken an often-surprising step further as the artists also incorporate new technologies such as computers and 3D printers. Actually, photography today finds itself in similar conditions to the nineteenth century, when the medium had not yet been concretised and as such remained open for experimentation. Astronomers, mathematicians, physicians, and chemists of the day had recognised the potential of photography and set about researching it with great curiosity and an open mind. Today’s desire to explore the possibilities of photography is in no way restricted with regard to technique, process, and material. The exhibition pairs these works with outstanding pieces from the nineteenth century, creating a dialogue that transcends the bare facts of parallels and correlations by focusing on meaningful associations. This open-minded approach reflects the spirit of visual freedom that unites the pioneers of the nineteenth century and their modern-day counterparts.

The exhibition Back to the Future: The 19th Century in the 21st Century is initiated by Foam Fotografiemuseum Amsterdam in collaboration with C/O Berlin and was curated by Kim Knoppers and Ann-Christin Bertrand.

The exhibition can be visited from 29 September to 2 December. Visit the website for more information, tickets and opening hours.

2006-2011, carbon print, 15 x 48 cm, 5 + 2 AP

Exhibitions — June 27, 2018

Works by Anne Geene and Laurence Aëgerter part of Into Nature Drenthe 2018

Into Nature is a biennial art route laid out in the ancient landscape of Drenthe showing works by eminent international artists. After the celebrated first edition of 2016 situated in the north of Drenthe, Into Nature returns in 2018. Works by Laurence Aëgerter and Anne Geene will be part of this expedition.

This summer’s theme is ‘Into Nature: Out of Darkness’. Visitors will hike and cycle along the border of the provinces of Fryslân, Overijssel and Drenthe and discover works of art set in various types of landscape, where humankind has been looking for its place in nature for thousands of years. The team of curators led by Hans den Hartog Jager has succeeded in attracting an international mix of twenty renowned artists, for instance Adrián Villar Rojas, Heather & Ivan Morison and Olafur Eliasson.

Into Nature can be visited from 1 July to 16 September. Visit the website for more information, tickets and opening hours.

Art Fairs — May 10, 2018

Photo Basel, June 12 – 17, 2018

Galerie Caroline O’Breen will attend Photo Basel 2018 with works by Witho Worms, Miho Kajioka, Laurence Aëgerter and Diana Scherer.

Photo Basel is located in the Volkshaus Basel, Switzerland.

The attendance at Photo Basel has been made possible by the generous support of:


Diana Scherer, Rootbound #4

 

Wiitho Worms, Setterich, Germany, 2006-2011, carbon print, 15 x 48 cm, 5 + 2 AP

 

Laurence Aëgerter, Cathedrale Hermetiques, Coutance ,2015, silkscreened ultrachrome print, which reveals when exposed to sunlight, 85 x 65 cm, 5/6 + 2 AP

Miho Kajioka, 2013, gelatin silver print, 12.7 x 12.7 cm, edition 10 + AP

 

Projects — March 21, 2018

Laurence Aëgerter part of exhibition Rendez-Vous met Frans Hals

To celebrate the opening of the renovated Frans Hals museum in Haarlem, the exhibition Rendez-Vous met Frans Hals is on show. This exhibition shows personal interpretations of contemporary artists and art connoisseurs on original and imaginary paintings of Frans Hals. Also the work Elasticity of Presence of Laurence Aëgerter is on display as part of a group show.

In Elasticity of Presence Laurence Aëgerter tells the story of the separation of two important pendant portraits by Frans Hals. In 1644, the year of their wedding, Frans Hals painted pendant portraits of Steven Geraerts and Isabella Coymans. Not only are these two paintings complementary, they also reinforce each other because of the portrayed strong mutual commitment. The two pieces were parted from each other. The portrait of Steven was sold to the Museum of Fine Arts in Antwerp, and that of Isabella to a private collector, Alphonse de Rothschild in France. Since that time, the two portraits have led separate lives.

In the Huis met de Hoofden in Amsterdam, where they have probably met more than 350 years ago, the history of Steven and Isabella is rewritten and the magnetic power of attraction existing between them is perceptible once again. Three in-situ installations are connected with each other at various levels. As you move through the house, a narrative unfolds that brings the past very close.

The exhibition is on display from 30 March until 16 September in Frans Hals Museum, and in De Hallen Haarlem until 30 September.

Galeotto (The Matchmaker). A page opening from The Embarrassment of Riches by Simon Schama with 23 horsehair strings in the centre, one for each year since the two last met at an exhibition in 1990.

 

Exhibitions, Projects — March 14, 2018

Anne Geene wint Volkskrant Beeldende Kunst Prijs 2018

Anne Geene wint Volkskrant Beeldende Kunst Prijs 2018

De Volkskrant Beeldende Kunst Prijs is dit jaar toegekend aan Anne Geene. De jury onder voorzitterschap van oud-minister Jet Bussemaker ziet de winnaar als ‘meest complete kandidaat’. Het werk van Geene dat zijn inspiratie vindt in de natuur ‘verbaast vanwege zijn gekte, getuigt van vakmanschap en viert schoonheid zonder dat boven alles te stellen’, aldus het juryrapport.

Beeld: Oud-minister en juryvoorzitter Jet Bussemaker overhandigt Anne Geene de cheque van € 10.000. Fotografie: Adriaan van der Ploeg

In4Art
De kunstenares kreeg de prijs van € 10.000 zondag in de uitzending van AVROTROS Kunstuur. Het prijzengeld is beschikbaar gesteld door In4Art, een organisatie voor talentontwikkeling in de kunst. De Volkskrant Beeldende Kunst Prijs wordt jaarlijks uitgereikt aan een kunstenaar onder de 36 jaar en gaat verzegeld van een tentoonstelling in het Stedelijk Museum Schiedam. Daar is tot en met 15 april het werk te zien van alle vijf genomineerden.

Optimistisch en open pleidooi
Dit jaar zijn voorgedragen, naast winnaar Geene: Kevin Osepa, Rosa Johanna, Feiko Beckers en Benjamin Li. Deze elfde editie van de Volkskrant Beeldende Kunstprijs verenigt volgens de jury vijf zeer uiteenlopende kandidaten, zowel in leeftijd, interesse als aanpak. ‘Er is grote urgentie maar geen fatalistische nood bij deze kunstenaars en dat leidt tot werk dat een optimistisch en open pleidooi is voor verschillende posities in de kunst en in de samenleving.’

Anekdotes, gedichten en soms een gehele familieroman
De keuze van de jury voor Anne Geene, voorgedragen door scout en oud-museumdirecteur Wim Pijbes, was eensluidend: ‘Deze kunstenaar richt met grote vanzelfsprekendheid onze blik naar de rijkdom en verscheidenheid van de natuur die zich zo achteloos onder onze ogen, handen en voeten bevindt. Bovendien laat het de toeschouwer lachen om fenomenen die niet in woorden te vatten zijn; dit zijn anekdotes, gedichten en soms een gehele familieroman in een beeld.

Jury
De jury van de Volkskrant Beeldende Kunst Prijs 2018 bestaat uit: Jet Bussemaker (oud minister van OCW), Lene ter Haar (artistiek directeur SCHUNCK*), Femmy Otten (winnaar de Volkskrant Beeldende Kunst Prijs 2013), Rodolfo Groenewoud van Vliet (oprichter In4Art) en Sacha Bronwasser (criticus de Volkskrant). De tentoonstelling met het werk van de vijf genomineerden is te zien tot en met 15 april in het Stedelijk Museum Schiedam. Publiek kan tot 25 maart stemmen voor de publieksfavoriet.

Bron: Persbericht Stedelijk Museum Schiedam

Projects — February 10, 2018

NATURE, DEMATERIALIZATION, DATA, COMPASSION, KINDNESS & DIGITAL LOVE

A performance by Joseph Marzolla

an experimental multimedia study of anticipation

Friday February 23rd
Start performance: 6 PM

You are welcome from 5 PM onwards in Galerie Caroline O’Breen

The performance is part of the exhibition
The Artist Mind: Eight Artists Photograph Themselves

 

 

Let’s try to imagine a future new world where the notion of creation would be dissolved in time, space and color. Any form of art would have disappeared, no more memory, nothing. This world would come closer to the idea that one can have of eternity, or of a form of eternal present. Then we will speak of a timeless world, close to the esoteric aspirations of spirituality. Everything we know is constantly lost in oblivion and needs to be constantly rediscovered. Everything is immediate and literally assimilated into a complete receptivity. No longer need to connect with each other, our senses would be our only pillars and would suffice for our own lives. Through this immersive environment, I propose to become what we see, ie color, light, space, time and movement.

Joseph Marzolla is an artist for whom travel and encounters with singular personalities and with communities of little-referenced cultural practices are the motor of his creativity. His artistic practice is enriched by numerous collaborations and the regions he has explored.Resolutely eclectic and productive, he exercises different disciplines according to the necessities of the project and the contexts of exhibition: film, photographs, digital art, performances, costumes, music, installations, etc. But beyond this interdisciplinarity, the coherence of his work is situated much more in the extraordinary nature of the adventures he undertakes than their formal resolutions.
Joseph Marzolla is also a founding member of ZaZaZoZo, a tribal and folk musical pop performance project, in collaboration with artist Melanie Bonajo.

Click here for the website of Joseph Marzolla.

Projects — February 7, 2018

Diana Scherer exhibits in New Orleans Museum of Art

A Queen Within: Adorned Archetypes
From February 21st until May 28th 2018, the New Orleans Museum of Art (NOMA) will show work by Diana Scherer during the exhibition A Queen Within: Adorned Archetypes.

A Queen Within: Adorned Archetypes will be NOMA’s first presentation of fashion design and brings together a wild array of more than one hundred gowns, headpieces, shoes, and jewelry by the most daring fashion designers of the past ten years. They investigate symbols of womanhood and challenge conventional notions of beauty.

Designers, artists and photographers represented in A Queen Within: Adorned Archetypes include 69, Adidas, Alexander McQueen, Anrealage/Kunihiko Morinaga, Antoine Peters, Arvida Byström & Maja Malou Lyse, Ashish, Bea Szenfeld, Bourgeois Boheme, Carcel, Chan Luu, Charlie Le Mindu, Chromat, Cindy Hsin-Liu Kao & Jimmy Day, Comme des Garçons, Cooper & Gorger, Cutecircuit, Daan Roosegaarde, David Lachapelle, Diana Scherer, Fantich & Young, Gianfranco Ferré, Gucci, Gypsy Sport, Hassan Hajjaj, Herdentier, Hideki Seo, Iris van Herpen, Jalila Essaïdi, Joanne Petit-Frère, Jordan Askill, June Canedo, Keta Gutmane, Louise Linderoth, Maison Martin Margiela, courtesy of Maison Margiela, Maja Gunn, Maiko Takeda, Maïmouna Guerresi, Michael Drummond, Minna Palmqvist, Muskin, Omar Victor Diop, Pam Hogg, Prada, Raúl De Nieves, Reformation, Rich Mnisi, Sandra Backlund, Serena Gili, Slow Factory, Tabitha Osler, This Is Sweden, Tommy Hilfiger, Viktor&Rolf, and Vivienne Westwood.

For more information on the exhibition, visit the website of NOMA.

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