Opening Friday April 6, from 7:00 – 9:00 PM.
The exhibition will continue through May 12, 2018.

(waiting for the return of the snow goose)

• inspired by Paul Gallico’s novella: The Snow Goose (1940/41)
• inspired by Camel’s lp with the same title (1975)
• the long wait of the loner, a powerful being, (or at its strongest moment) translated into a monumental perspective.
• Atelier Dré Wapenaar’s relationship with Design; the cliché idea of the tent, here triangular in shape,‘translated’ into a monumental sculpture.

The work I make is on the borderline: between architecture, design and sculpture. Sculpting is the basis.
I have always been interested in the movement of man in and around the work and the relationship one has with it.
With the introduction of canvas, and the theme tent that I have linked to it, this movement has been extended to people who revolve around each other. Tents, with the universal language they speak, give an excellent opportunity to shape the relationship between individuals and groups of people in different ways.

Dré Wapenaar

Alexandra Roozen

Art fair (USA)
Alexandra Roozen

March 7 – 11
Booth E10, Pier 90, 12th Avenue (at West 50th Street), New York, NY 1 0019, US

Scope NY
Art fair (USA)
Pim Palsgraaf

March 8 – 11
Booth 012, Metropolitan Pavilion 125 W 18th St, New York, NY 10011


Saturday February 3 from 3:00 – 7:00 PM.
The exhibition will continue through March 25 2018.

Hans van Bentem and NL = US Art have been working together since NL=US Art Consultancy’ s founding in 2009. They have collaborated on two previous shows, namely ‘Hans & Hans: Dutch Invasion‘ in Asbury Park, NJ and ‘Mirror Mirror‘ in Rotterdam. Hans van Bentem is known for displaying monumental art pieces in public spaces, his sculptural installations, for example ‘Keep on Dreaming’ at Gemeentemuseum, The Hague and his dazzling chandeliers in ‘Escher in the Palace’, The Hague.

His search for traditional materials and techniques has become like a search for endangered species. To make his iconic sculptures, his search leads him to places all over the world: from finding crystal in the Czech Republic to bronze in India to Lacquer in Vietnam.

For his current show, IMPERIAL STACKS will take center stage. The IMPERIAL STACKS are Hans van Bentem’s latest series of stackable images, which can be combined in endless variations. Van Bentem made these stacks in Jingdezhen, China, inspired by the expressions in porcelain during China’s different Dynasties. Like most works by Van Bentem they have a tongue-in-cheek quality, created with great artistic freedom and a deeply personal interpretation.

The stacks consist of five bottom sections, five middle sections, and five top sections. Each section is executed in multiple variations: in hand painted decorative patterns, in glazes, or in metal. The sky is the limit: while one stack consists minimally of three parts, they can easily be stacked higher and higher. A small number of these works were made earlier and shown in the exhibition ‘Forbidden Porcelain’ in Prinsenhof, Delft.

In this exhibition Hans van Bentem will also show new ‘SELFPORTRAITS’ and new glasswork. This exhibition was supported by the ‘Kaleidoscope Links Stipend’ of NL = US Art.

Violence Silencieuse

Duo exhibition Joris Link and Kumi Oguro
December 8, 2017 – January 28, 2018

Curator: Renee Pijpers

In the ceramic work of Joris Link forms, structures, contrasts and repetition take center stage. He draws inspiration from mathematical forms, atoms, molecules, landscapes and nature.

The female models of Kumi Oguro on the other hand seem to be frozen in an indefinable space. The models look like dolls, but they are people who breathe and feel inner pain.

NORTH TENT BOOTH 304, DECEMBER  7 – 10, 2017

Indian Beach Park
4601 Collins Avenue, Miami Beach, FL 33140

NL=US Art at PULSE Miami Beach 2017 featured on Widewalls

Duo exhibition by Bas van Beek and Jin Kim

Pulchri Studio Lange Voorhout 15 2514 EA Den Haag
The exhibition will continue until November 8, 2017

In this exhibition, NL = US brought together two opinionated artists who don’t shy away from social criticism.

Bas van Beek shows his Royal Rip-Off series. Van Beek plays with the term ‘rip-offs’, which has two meanings: on the one hand ‘cutting’, or ‘sawing’ representing a type of craft, and on the other hand, ‘rip-offs’ referring to ‘stealing’ and ‘cheating’. The series ‘Rip-offs’ depicts cheap reproductions of well-known and less well-known designers. Van Beek has made use of existing templates at Royal Leerdam, providing his interpretation by disturbing the process and creating completely new shapes.

In the series ‘Mummified’, Jin Kim draws a comparison between the ancient feudal powers depicted in the weathered castles of remote glory and the powers that has the world in their grip now: politics, economics and the media. Both are symbols of authority and oppression, in the past, but certainly also in today’s world.
A recent political scandal in his country of South Korea has brought him to this series. The underlying thought is that capitalism has a devastating power that does not recognize the true needs and wishes of the people.

Mark Lotterman and others
October 20 – December 3, 2017

I would like to invite you to the presentation of the HOLLAND book, October 20th in the NL=US Art gallery. Over 100 artists and scientists were inspired by one of the nine songs of my HOLLAND album. In a beautiful design by Auke Triesschijn, 130 contributions are brought together in a 272-page book.

Mark Lotterman

This exhibition is curated by Piet de Jonge.

Mark Lotterman will have exhibitions at Tent and our gallery simultaneously.
 The artists exhibiting in our gallery are:

Wolf Aartsen, Paul Armfield, Bram Bakker, Vincent de Boer, Matthijs Booij, Paul Borchers, Leo Bormans, Tsead Bruinja, Iris Deppe, Piet Dieleman, Johnny Dowd, David Galjaard, Ineke van Geest, Jaap van Ginneken, Jan Gort (, Hugo Goudswaard, David Robert Grimes, Philip Hoorne, Wayne Horse, Rik van Iersel, Jim Impelmans, Matijs van de Kerkhof, Max Kisman, Philip Lindeman, Bob Mollema, Levi Olthof, Bobbi Oskam, Wiesje Peels, Vic van de  Reijt, Clay Routledge, Roel Rozenburg, Jaap Seidell, Krzysztof Soroka, Jay Sunsmith, Lars Svendsen, Frans van Tartwijk,  Thomas Triesschijn, Bloony Twisterman, Hans Vandenburg, Annemiek Vera, Philippe Vergoz, Patrick van Vliet, Walter und Gerda,  Ralph Zabel and Luuk van Zon

Events related to HOLLAND in our gallery:

Sunday November 5, 2 – 5 PM: The three poets Tsead Bruinja, Daniel Dee and Philip Hoorne will read from their own work. With Music of Mark Lotterman
Friday December 1, 7 – 9 PM: Finissage. Music performance with Hans Vandenburg (Gruppo Sportivo) and Harry Merry.

Art The Hague
Booth 22, October 4 – 8, 2017
Margriet van Breevoort, Arnout Killian, Yisu Kim, Michael Mapes and Krystyna Ziach

Fokker Terminal
Binckhorstlaan 249
2516 BB Den Haag

Please use this link for your complimentary ticket(s):

‘What remains, needs to be seen’
On Spam, Comment Spam #33
Niels Post

In the context of ‘What remains to be seen / De Tand des Tijds’ Niels Post has chosen a text that ironically refers to the Dutch Fall season. All letters are hand sawn, stained and mounted on a wooden frame. The sides of the letters are not lacquered and will be exposed to rainfall and other inconveniences for three months. The expectation is that the plate material will be under stress during the months; curl up and (a portion of) the letters will fall down.

‘Into the Void’
Margriet van Breevoort and Krystyna Ziach
September 1 – October 15, 2017

In this exhibition ‘Into the Void’ the artists Margriet van Breevoort and Krystyna Ziach express their fascination with reality, time and space.

For her series Into the Void Krystyna Ziach’ starting point was the concept of ‘voidness’ in the literal sense, as well as in the capacity of mental space perception. Thinking of vacuity, one is confronted with nothingness and the absence of the thing, the invisible and the intangible. In this series Ziach tries to represent emptyness, in particular the way it presents itself in the spaces of railway stations, deserted and anonymous. Although railway stations have a bold industrial look, they are above all human meeting places with a strong emotional radiance, sustained by the constant flow of people arriving and departing: although man is invisible, one does still feel a human presence. Autobiographical memories play a part in this work of Ziach.

Margriet van Breevoort ‘s sculptures hold a certain beauty and have a hyperrealistic likeness, but always keep something surrealistic. Van Breevoort’s fascination is with people and their emotions: how they come to terms with everyday life and how to deal with the constant shifting of their reality. Her figures all seem to be in a state of anticipation. They are in unkown spaces, entering a void, waiting for what will come next and while waiting, time is wearing them down. Similar to Ziach’s work the figures of Van Breevoort are a visual rendition of an emotion or feeling with a specific situation and can evoke references to stories or personal experiences and memories.

‘New Abstractions, New Experiments’
Edwin Ardon, Tim Mastik and Leslie Nagel
June 23 – August 27, 2017

Curated by Piet de Jonge and Piet van Wijngaarden

Edwin Ardon gets inspired by the material he is working on. With markers he follows the lines in the wood thus discovering fairytale like lansdscapes: dreamy abstractions. In his first gallery exhibition he shows work in different sizes, all works to get lost in.

Experiments with printing techniques provide Tim Mastik with new shapes and structures. He researches the endless options of silkscreen, riso-print and stamping. The prints he makes are mostly one-offs, sometimes they come in a small edition.

Leslie Nagel’s installations and sculptures are sensory constructions of organic materials, metal and other found objects, and are constantly influenced by elements like wind, time and gravity. The core of Nagel’s work is the influence of external movements in the physical world on an individual’s inner “movements” and tendencies.

‘What remains, needs to be seen’
Willem Besselink

Each season NL=US invites a selected artist to make an object for presentation to be displayed in a specially curated spot outside on the gallery platform. This object will undergo several new and exciting transformations during the course of the season. The object will reconfigure with each iteration represented by two important characteristics:  elements and time. All changes will be carefully captured in real time  by a camera to showcase the metamorphosis.

Driessens & Van den Baar WANDSCHAPPEN
JUNE 9 – JULY 16 2017

Curated by Gemma van Bekkum & Olivier Scheffer

Nicole Driessens and Ivo van den Baar founded their art and design studio in 1999. They live and work in Rotterdam Charlois. From this neighborhood they extract most of their art and design concepts. As visual artists they concentrate on being part of and assimilating in their environment by collecting, selecting, creating and showing works as parts of this environment that reveals how they and other people are connected with it. The concepts can either be transformed into autonomous artworks or into design items.

Ruth Borgenicht

Ruth Borgenicht & Arnout Killian
June 10 – July 5 2017

Looks are deceiving. The works of both Ruth Borgenicht and Arnout Killian possess ambiguous traits. From a distance they conceal characteristics that only become visible when you approach the art works.
NL=US @ Pulchri Studio, Lange Voorhout 15
, Den Haag

Kunst RAI Art Amsterdam
NL=US presents Esther Jiskoot and Arnout Killian

Opening: 2017 Wednesday May 31, 6.00 P.M. – 10.00 P.M.
Address: RAI Amsterdam, Hal 7, entree R,

‘Nothing is what it is and everything is, as it seems’
Arnout Killian & Andre Kruijsen
APRIL 14 – JUNE 4 2017

Killian, a painter creates mostly two-dimensional work. Kruysen, on the other hand, is a sculptor and creates three-dimensional work. While their work is in different media, both oeuvres contain a certain ambiguity and are characterized by dualism.
Are the images of Kruysen autonomous works, real proposals for public space, or utopian models? His wall objects seem to refer to masks, but you cannot wear them. They remain facades, where vestiges of old architectural designs loom under the modeled impasto color planes
The patterns on the canvases of Kilian are meticulously painted abstractions but seem from a distance no more than a representation of pieces of carpet. This makes the interpretation of his work ambiguous. The constant questioning of meaning, perception and the contradicting forces that underlie Killian’s and Kruysen’s work, is the common and fundamental aspect of both of their artisthoods.

FEBRUARY 17 – APRIL 9 2017

Pim Palsgraaf takes his inspiration from the friction zones and the fringes of the city. The places that are forgotten and where nobody comes, sometimes concealed, waiting for a new destination.

It is in these places where culture and nature meet in a clash: the areas where erosion and nature have free reign in the once solid and indestructible structure of man and where opposites morph into one another.

This process creates, in its very own way, new landscapes and architectural elements: the fragile balance between these two different worlds becomes exposed in an idiosyncratic manner.

The sculpture ‘In the Absence of Light’ of Pim Palsgraaf is on view from September 21 to March 5 2017 in the Kunsthal in Rotterdam

Solo Show JIN KIM

His paintings of several palaces: Changdeokgung Palace in Korea, the Forbidden City in China, the Royal Palace of Amsterdam in the Netherlands, the Palace of Versailles in France, and Osaka Castle in Japan where power reigned, are central to this new series. Now maybe still alive in a snapshot from a passing tourist, these ‘mummified’ palaces and their inhabitants were symbols of authority and oppression in the past. They are strangely similar though to the ‘power houses’ of politics, economy and media in modern day life, where the need for capitalism is prevalent. By chasing this ideal, they forget the needs of the people they govern.

A recent political scandal in South Korea reinforces the thoughts that Jim Kim has on the corrupting nature of capitalism. It inspired him to create this series, giving it a more political narrative than previous work.

His new work gazes at the old glories of the past through a window. These withered palaces are synonym to the powers they beheld and sometimes still behold. The layer created by the window separates the work and the viewer. The rough brushstrokes enforce this quality, while the perceived light in the paintings make the space look like an organism. Through out the ‘mummified’ spaces in his paintings Kim would like to describe the people who are still not democratic and exist only for the benefits of a few specific groups with power.

‘The reason art touches our hearts or the reason we want to be touched by art must be, because we all believe that there is something special in art that can change our lives.’ Jin Kim