{"id":27,"date":"2017-03-17T07:45:57","date_gmt":"2017-03-17T07:45:57","guid":{"rendered":"http:\/\/nlisus.com\/?page_id=27"},"modified":"2018-03-30T16:16:08","modified_gmt":"2018-03-30T16:16:08","slug":"exhibitions","status":"publish","type":"page","link":"http:\/\/nlisus.com\/?page_id=27","title":{"rendered":"Exhibitions"},"content":{"rendered":"

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SNOW GOOSE
\nA SOLO EXHIBITION OF DRE WAPENAAR<\/h1>\n

Opening Friday April 6, from 7:00 \u2013 9:00 PM.
\nThe exhibition will continue through May 12, 2018.<\/p>\n

SNOW GOOSE
\n(waiting for the return of the snow goose)<\/p>\n

\u2022 inspired by Paul Gallico’s novella: The Snow Goose (1940\/41)
\n\u2022 inspired by Camel’s lp with the same title (1975)
\n\u2022 the long wait of the loner, a powerful being,\u00a0(or at its strongest moment)\u00a0translated into a monumental perspective.
\n\u2022 Atelier Dr\u00e9 Wapenaar’s relationship with Design;\u00a0the clich\u00e9 idea of the tent, here triangular in shape,\u2018translated\u2019 into a monumental sculpture.<\/p>\n

The work I make is on the borderline: between architecture, design and sculpture. Sculpting is the basis.
\nI have always been interested in the movement of man in and around the work and the relationship one has with it.
\nWith 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.<\/p>\n

Dr\u00e9 Wapenaar<\/p>\n<\/div><\/section><\/div>

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\"Alexandra<\/a><\/p>\n<\/div><\/section><\/div><\/p>\n

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VOLTA NY
\nArt fair (USA)
\nAlexandra Roozen<\/h1>\n

www.ny.voltashow.com<\/a><\/p>\n

March 7 – 11
\nBooth E10, Pier 90, 12th Avenue (at West 50th Street), New York, NY 1 0019, US<\/p>\n<\/div><\/section><\/div>\n

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Scope NY
\nArt fair (USA)
\nPim Palsgraaf<\/h1>\n

www.scope-art.com<\/p>\n

March 8 – 11
\nBooth 012,\u00a0Metropolitan Pavilion 125 W 18th St, New York, NY 10011<\/p>\n<\/div><\/section><\/div>\n

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IMPERIAL STACKS
\nA SOLO EXHIBITION OF HANS VAN BENTEM<\/h1>\n

Saturday February 3 from 3:00 \u2013 7:00 PM.
\nThe exhibition will continue through March 25 2018.<\/p>\n

Hans van Bentem and NL = US Art have been working together since NL=US Art Consultancy\u2019 s founding in 2009. They have collaborated on two previous shows, namely ‘Hans & Hans: Dutch Invasion<\/em>‘ in Asbury Park, NJ and ‘Mirror Mirror<\/em>‘ in Rotterdam. Hans van Bentem is known for displaying monumental art pieces in public spaces, his sculptural installations, for example \u2018Keep on Dreaming\u2019 at Gemeentemuseum, The Hague and his dazzling chandeliers in \u2018Escher in the Palace\u2019, The Hague.<\/p>\n

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.<\/p>\n

For his current show, IMPERIAL STACKS will take center stage. The IMPERIAL STACKS are Hans van Bentem\u2019s 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\u2019s 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.<\/p>\n

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.<\/p>\n

In this exhibition Hans van Bentem will also show new \u2018SELFPORTRAITS\u2019 and new glasswork. This exhibition was supported by the \u2018Kaleidoscope Links Stipend\u2019 of NL = US Art.<\/p>\n<\/div><\/section><\/div>\n

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Violence Silencieuse<\/h1>\n

Duo exhibition Joris Link and Kumi Oguro
\nDecember 8, 2017 – January 28, 2018<\/p>\n

Curator: Renee Pijpers<\/p>\n

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.<\/p>\n

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.<\/p>\n<\/div><\/section><\/div>\n

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PULSE MIAMI (US)
\nNORTH TENT BOOTH 304, DECEMBER \u00a07 \u2013 10, 2017
\nWE WILL PRESENT AUGUSTE GARUFI, PIM PALSGRAAF AND ALEXANDRA ROOZEN<\/h1>\n

Indian Beach Park
\n4601 Collins Avenue, Miami Beach, FL 33140<\/p>\n

NL=US Art at PULSE Miami Beach 2017 featured on Widewalls<\/a><\/p>\n<\/div><\/section><\/div>\n

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Duo exhibition by Bas van Beek and Jin Kim<\/h1>\n

Pulchri Studio Lange Voorhout 15 2514 EA Den Haag
\nThe exhibition will continue until November 8, 2017<\/p>\n

In this exhibition, NL = US brought together two opinionated artists who don\u2019t shy away from social criticism.<\/p>\n

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 \u2018stealing\u2019 and \u2018cheating\u2019. 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.<\/p>\n

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.
\nA 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.<\/p>\n<\/div><\/section><\/div>\n

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HOLLAND
\nMark Lotterman and others
\nOctober 20 –\u00a0December 3, 2017<\/h1>\n

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.<\/p>\n

Mark Lotterman<\/p>\n

This exhibition is curated by Piet de Jonge.<\/p>\n

Mark Lotterman will have exhibitions at Tent and our gallery simultaneously.\u2028 The artists exhibiting in our gallery are:<\/h2>\n

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 (indiegangers.nl), 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 \u00a0Reijt, Clay Routledge, Roel Rozenburg, Jaap Seidell, Krzysztof Soroka, Jay Sunsmith, Lars Svendsen, Frans van Tartwijk,\u00a0 Thomas Triesschijn, Bloony Twisterman, Hans Vandenburg, Annemiek Vera, Philippe Vergoz, Patrick van Vliet, Walter und Gerda, \u00a0Ralph Zabel and Luuk van Zon<\/p>\n

\u2028\u2028Events related to HOLLAND in our gallery:<\/h2>\n

Sunday November\u00a05, 2 – 5 PM: The three poets\u00a0Tsead Bruinja, Daniel Dee and\u00a0Philip Hoorne\u00a0will read from their own work.\u00a0With Music of Mark Lotterman
\nFriday December 1, 7 – 9 PM: Finissage. Music performance with Hans Vandenburg (Gruppo Sportivo) and\u00a0Harry Merry.<\/p>\n<\/div><\/section><\/div>\n

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Art The Hague
\nBooth 22, October 4 – 8, 2017
\nMargriet van Breevoort, Arnout Killian, Yisu Kim, Michael Mapes and Krystyna Ziach<\/h1>\n

Fokker Terminal
\nBinckhorstlaan 249
\n2516 BB Den Haag<\/p>\n

Please use this link<\/a><\/span> for your complimentary ticket(s):<\/p>\n<\/div><\/section><\/div>\n

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‘What remains, needs to be seen’
\nOn Spam, Comment Spam #33
\nNiels Post<\/h1>\n

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.<\/p>\n<\/div><\/section><\/div>\n

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\u2018Into the Void\u2019
\nMargriet van Breevoort and Krystyna Ziach
\nSeptember 1 –\u00a0October 15, 2017<\/h1>\n

In this exhibition \u2018Into the Void\u2019 the artists Margriet van Breevoort and Krystyna Ziach express their fascination with reality, time and space.<\/p>\n

For her series Into the Void Krystyna Ziach\u2019 starting point was the concept of \u2018voidness\u2019 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.<\/p>\n

Margriet van Breevoort \u2018s sculptures hold a certain beauty and have a hyperrealistic likeness, but always keep something surrealistic. Van Breevoort\u2019s 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\u2019s 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.<\/p>\n<\/div><\/section><\/div>\n

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‘New Abstractions, New Experiments’
\nEdwin Ardon, Tim Mastik and Leslie Nagel
\nJune 23 – August 27, 2017<\/h1>\n

Curated by Piet de Jonge and Piet van Wijngaarden<\/p>\n

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.<\/p>\n

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.<\/p>\n

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\u2019s inner “movements” and tendencies.<\/p>\n<\/div><\/section><\/div>\n

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‘What remains, needs to be seen’
\nWillem Besselink<\/h1>\n

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\u00a0iteration represented by two important\u00a0characteristics: \u00a0elements\u00a0and time. All changes will be\u00a0carefully captured in real time \u00a0by a camera to showcase the\u00a0metamorphosis.<\/p>\n<\/div><\/section><\/div>\n

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‘TRACES OF EXISTENCE’
\nDriessens & Van den Baar WANDSCHAPPEN
\nJUNE 9 – JULY 16\u00a02017<\/h1>\n

Curated by Gemma van Bekkum & Olivier Scheffer<\/p>\n

Nicole Driessens and Ivo van den Baar founded their art and design studio in 1999.\u00a0They live and work in Rotterdam Charlois. From this neighborhood they extract most of\u00a0their art and design concepts. As visual artists they concentrate on being part of and\u00a0assimilating in their environment by collecting, selecting, creating and showing works as\u00a0parts of this environment that reveals how they and other people are connected with it.\u00a0The concepts can either be transformed into autonomous artworks or into design items.<\/p>\n<\/div><\/section><\/div>\n

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\"Ruth<\/p>\n<\/div><\/section><\/div>\n

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‘IN DISGUISE’
\nRuth Borgenicht & Arnout Killian
\nJune 10 – July 5 2017<\/h1>\n

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.
\nNL=US @ Pulchri Studio, Lange Voorhout 15\u2028, Den Haag<\/p>\n<\/div><\/section><\/div>\n

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Kunst RAI Art Amsterdam
\nNL=US presents Esther Jiskoot and Arnout Killian<\/h1>\n

Opening: 2017 Wednesday May 31, 6.00 P.M. \u2013 10.00 P.M.
\nAddress: RAI Amsterdam, Hal 7, entree R, www.kunstrai.nl<\/a><\/p>\n<\/div><\/section><\/div>\n

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‘Nothing is what it is and everything is, as it seems’
\nArnout Killian &\u00a0Andre Kruijsen
\nAPRIL 14 – JUNE 4 2017<\/h1>\n

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.
\nAre 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
\nThe 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\u2019s and Kruysen\u2019s work, is the common and fundamental aspect of both of their artisthoods.<\/p>\n<\/div><\/section><\/div>\n

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‘Hyperdensity’
\nSolo Show PIM PALSGRAAF
\nFEBRUARY 17 – APRIL 9 2017<\/h1>\n

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.<\/p>\n

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.<\/p>\n

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.<\/p>\n

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<\/p>\n

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‘MUMMIFIED’
\nSolo Show JIN KIM
\nJANUARY 6 \u2013 FEBRUARY 10 2017<\/h1>\n

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 \u2018mummified\u2019 palaces and their inhabitants were symbols of authority and oppression in the past. They are strangely similar though to the \u2018power houses\u2019 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.<\/p>\n

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.<\/p>\n

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 \u2018mummified\u2019 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.<\/p>\n

\u2018The 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.\u2019 Jin Kim<\/p>\n<\/div><\/section>
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