Booth 7 + 8 (SOLO) + BEELD 2

Museumplein, Amsterdam

During the fair the gallery is open from 10 am – 18 pm (Wednesday – Saturday)

BOOTH 7 | Group presentation

ALDO VAN DEN BROEK (NL, 1985). A combination of the themes in which Aldo van den Broek worked in for the past years are history, underground, punk and romanticism. Architecture and people meet in his works. He is fascinated by the urge of people to strive for safety and freedom simultaneously and the deconstruction that usually follows. Therefore Aldo travelled to the suburbs of the post-communistic Belgrade and Tbilisi. In 2015 He got invited to the artist in residence ‘Beautiful Distress’ to stay for four months at the psychiatric department of ‘Kings County Hospital', the only mental institution in New York with a government-sponsored health insurance. By living so intensively between mostly poor and mentally ill people Aldo was confronted with his own way of living, working and surviving. His work tells the story about his interpretation of the pureness and beauty in the ugliness. Therefore Aldo choses to work with wasted materials without any value, used and re-used by himself, or found on the streets and abandoned places. By literally using his own past failures as a beginning for his new works, these different themes are constantly transforming and melting together. 

RENIE SPOELSTRA (NL, 1974), strives for intentional apathy with her grand charcoal drawings; hours and days pass in a flash, every moment frozen in time and every moment the same. The last six months Spoelstra has worked on her new series Stretching Universe, part…, for which she connects cinematic characteristics with “authentic” landscapes of breathtaking nature. Stretching Universe refers to the scientific fact that our universe is expanding, while at the same time people on earth have become less tolerant towards each other and in this respect the world thus seems to be shrinking due to narrow-mindedness. Spoelstra’s work was a.o. shown at Boijmans van Beuningen in Rotterdam,Centre Pompidou in Paris, ARCO in Madrid, Louis Dreyfus Family Collection,Witte de With in Rotterdam and the Teylers Museum in Haarlem. 

SEBASTIAAN BREMER (NL, 1970) was born in Amsterdam but works and lives in New York since 1992. He always works with photography but developed an unusual style in which he uses different techniques to add an extra layer on the image. By doing so he continuously stretches the limits of photography and explores its endless possibilities. Painting, drawing, carving, always used in combination with photography, which he randomly finds, knowingly selects or happens to own. In the current digital times, where everyone seems to be a professional photographer, Bremer brings back the artistic signature in photography by manually adjusting the image with paint, pen and encryptions. Bremer’s work is part of several collections, including the Victoria & Albert Museum, Museum of Modern Art in New York, Los Angeles County Museum of Art, AKZO Nobel collection and the Burger Collection. His artworks have been exhibited a.o. at the Tate Modern, London, the Brooklyn Museum of Art, MoMA PS1 in New York and at Het Gemeentemuseum in The Hague.

COEN VUNDERINK (NL, 1979) His paintings and sculptures are closely connected within his studio practice. His sculptural works function as a motif in his paintings, while he also takes on a painterly approach towards many of his sculptures. The impetus for this cross-pollination is Vunderink’s interest in the genesis, the creation of the work of art, and the interplay of forces that come into effect in order to enable this process. His most recent paintings which will be presented at Amsterdam Art Fair, are variations on the ‘painting as a window’ theme. While using different ways of applying paint - airbrush, casting, scraping, splashing and using expressive brushstrokes- the artist aims to suggest space. Some paintings seem to give a view of what could be a landscape. However, most paintings have closed the curtains. The blinds will be the subject. Patterns, color, folding of the fabric and the sharp lines of Luxaflex create abstract worlds of light, color and suspense. Vunderink straddles the line between material and image, figuration and abstraction, tradition and modernity. His work was shown  a.o. at the Kunstverein Mischpoke e.V. in Mönchengladbach, Germany, the W139 in Amsterdam, Paradise Row Gallery in London and at De Ateliers in Amsterdam. Vunderink participated in The Royal Prize for Painting exhibition in 2007 at The Gemeentemuseum Den Haag and in 2012 and 2013 in the Royal Palace Amsterdam. Vunderink lives and works in Groningen, Netherlands 

BOOTH 8: winners of the Ron Mandos Young Blood Award 2015 Juan de Porras-Isla & Wouter Paijmans At the Double Booth of Amsterdam Art Fair, Galerie Ron Mandos presents Curtains and Calls with wotks by the winners of the Ron Mandos Young Blood Award 2015. Juan de Porras-Isla (ES, 1991) and Wouter Paijmans (NL, 1991) deal with various contradictions within their work; it’s both flat as three-dimensional, sculptural as well as digital. At Amsterdam Art Fair, the duo will present a diverse set of latest pieces, in which they explore the pictorial-historical tradition, and the intersection of industrial production, content economy and the dislocated materiality of our current times. An important departure for their works can be found in a conversation about the publication: Mind Over Machine, written in 1986 by the American philosopher Hubert Dreyfus. The publication discusses how intuition and perception will never be replicated by computers, as they’re processes that only belong in the human psyche. The result is a material investigation that brings together handcrafted and computer processes in a large scale installation.

CHRISTIAAN ZWANIKKEN (NL 1967) Besides our participation at the main Amsterdam Art Fair, Galerie Ron Mandos also joins the exhibition BEELD 2, about contemporary sculpture in its various forms of expression. At Beeld 2 we present Dutch artist Christiaan Zwanniken’s latest project Nose Patrol (2015). Zwanniken has received international recognition through his kinetic and mechanical sculptures, sound works, performative and responsive installations. Using a variety of sculptural media, robotics, biology, micro-controllers, and sound— his work is both an artistic and technological experiment in which innovation and invention plays an important role. Nose Patrol is an interactive kinetic sculpture, which diffuses a certain scent. Zwanniken’s ‘scent canon’ transcends the boundaries of a traditional sculpture and shows us an exhilarating contemporary alternative. His work has been presented a.o. in solo and group exhibitions at the Museum of Natural History (NYC), Exit 2011 (Paris), ISEA2012 (Albuquerque), Kinetica Museum (London), Museum Tingeuly (Basel), Kunsthaus Graz (Austria), ICC Centre (Tokyo), National Galerie (Prague), Taipei Fine Arts Museum (Taiwan), Museu del Chopo (Mexico-City), and Stedelijk Museum Amsterdam (Netherlands). His work can be found in numerous public and private collections and in 2014 he had a major retrospective show at Museum Het Valkhof (Netherlands).

Beeld 2 can be visited at the Johannes Vermeerstraat, the former Joop van den Ende building, which is now beautifully restored by the recent owner. The exhibition is only 100 m. away from the fair and your entrance ticket will give you free entrance to the show.

AMSTERDAM ART FAIR 2016 After the unexpected success of the Amsterdam Art Fair 2015 in the former Citroën garage in Amsterdam, the second edition will take place at the Amsterdam Museumplein - the very heart of Dutch culture – from 25 till 29 of May. For this edition the selection of 45 leading Dutch Galleries will be extended with 15 foreign galleries and will take place in a temporarily pavilion surrounded by the Rijksmuseum, the Van Gogh Museum and the Stedelijk Museum Amsterdam. Amsterdam Art Fair focuses at private collectors and art lovers. Especially for this occasion several galleries will make a solo presentation and take the opportunity to show surprising debutants.

Fair images


ABOUT Sebastiaan Bremer

Sebastiaan Bremer’s artistic career spans across disciplines and media, but he has become particularly renowned for his ability to transform pre-existing images into ornate, dreamlike tableaux through a careful process of enlargement and intricate hand painting that results in completely unique works.

The use of found imagery as a basis to explore ideas about time and memory has long been central to Bremer’s practice, and in the late 1990s he began experimenting with drawing directly onto the surface of photographs. Initially working with snapshots of family members or familiar places, Bremer developed his signature technique of printing the pictures in an enlarged format—well beyond conventional dimensions—and then altering and embellishing the underlying scene with delicate patterns of dots and strokes using India ink and photographic dye, or applying splashes of paint.

Over the past decades, Bremer has used this approach to create a progression of distinct bodies of work, expanding the scope of his source materials from purely personal moments to an array of images that have captured his imagination or held significance in his life. These range from adaptations of Rembrandt etchings to Brassaï’s photographs of Picasso’s studio and Bill Brandt’s series of close-up images of his famous subjects’ eyes, as well as the vintage lithographic flower prints used in Bremer’s Bloemen series.

Whether starting from the work of an iconic artist or revisiting his own family albums, as in his series Veronica, 2018, silver gelatin prints he produced from long forgotten negatives of candid shots his father took of his mother in her mid thirties, Bremer’s choice of visual documents is rooted in his biography. Hints of his native Holland permeate his work, from his appreciation of the way light falls across a room reminiscent of a Vermeer interior to the exquisitely painted addition of a pointillist feather or flowers to a contemporary photograph that transports the viewer to the world of Dutch Old Master paintings. In engaging with images of others, he is constantly investigating his own memories and thoughts, weaving a dialogue between the underlying photograph and the marks he uses to transform but never completely obscure it, thus creating a physical representation of the confluence of our inner and outer lives.

Sebastiaan Bremer studied at the Vrije Academie, The Hague and Skowhegan School of Art and Sculpture, Maine. The artist currently lives and works in Brooklyn, New York. His work has been the subject of three major catalogs: Monkey Brain (2003), Avila (2006), and To Joy (2015), and has been exhibited in such venues as the Tate Gallery, London; the Brooklyn Museum of Art, New York; The Gemeentemuseum, The Hague; and the Aldrich Museum, Connecticut. Bremer’s work is in the permanent collections of institutions including the Museum of Modern Art, New York, the Los Angeles County Museum of Art, Los Angeles, the Albright Knox Art Gallery in Buffalo, and the Victoria and Albert Museum, London.


ABOUT Renie Spoelstra



ABOUT Christiaan Zwanikken

Dutch artist Christiaan Zwanikken creates kinetic works of remarkable ingenuity from found animal skulls and bones. He transforms these parts into moving mechanical sculptures and installations. Their composite natural and mechanical make-up gives these figures their own unique character. He breeds these new species in a 400-year-old monastery located in a remote village in Portugal. He also works in Amsterdam and New York.

His work has been widely exhibited nationally and internationally and can be found in the collection of the Stedelijk Museum Amsterdam, Gasunie collection, Netherlands Media Art Institute and numerous other public and private collections.

Zwanikken’s installations are like interactive Wunderkammers, configurations of hybrid, techno-animalistic figures, that come to ‘life’, responding to the viewer and to each other. Zwanikken plays nature – against artificial – against viewer removing any authoritative role: his hierarchy is governed by a different order. Due to the unpredictability of the computer-aided elements, it is not certain who responds to whom, and who is looking or being looked at.

By making technology seem to be ‘out of control’, Zwanikken ironizes the hype around interaction in media art and the illusion of smooth-running communications. As a rule his installations demonstrate human or animal conduct and thus serve as a handle for investigating and critiquing nature and behavior. His fusion of organic and inorganic materials mashed with interactive technology demonstrates the evolution and de-evolution of sculpture in the twenty-first century.