On show Esiri Erheriene-Essi / Peter Feiler /Ryan McGinness

NDSM-werf | Amsterdam-Noord

Amsterdam Drawing 2013 follows the first and very succesful 2012 edition.

ESIRI ERHERIENE-ESSI new series ‘Violent Femmes’
"A huge part of my practice entails collecting and creating an archive of material, which could potentially become incorporated into my work. I am interested a great deal by history – in particularly images, objects, and documents which we can return to, in order to examine both individual and shared memories and histories.  

 ‘Violent Femmes’ is a series of charcoal drawings based on official police mug shots of women in America during the period of 1870-1970. Sourced from the book ‘Least Wanted: A Century of American Mugshots’ by Mark Michaelson (2006), which has over 300 pages worth of mug shots of a variety of people collected together. I have always been fascinated in the process of mug shots considering it was one of the earliest forms of photography, as well as the function it carried – to provide law enforcements a visual record of the arrested individual that in turn could be used for identification by victims and investigators alike. The book contains mug shots of both men and women although I was drawn to the women specifically for this series. At first it had to do mainly with aesthetics – the expressions on their faces, the hairstyles, the clothes, the eyewear and so forth. Then, the longer I spent looking at them I became more interested in their individual background - the crime or misdemeanour that was committed, whether or not they were guilty or innocent, as well any other personal information which (in some cases) were not provided." Esiri Erheriene-Essi will have a solo exhibition at Museum voor Moderne Kunst Arnhem April 2014.

PETER FEILER new works
The drawings of Peter Feiler are known for their controversial subject matter. He presents dark scenes that incorporate simple narrative elements. These scenes explore the border between the visual world and fantasy. The notable aggression and perversion exhibited by the figures in his drawings is balanced by his use of soft colouring and fragile lines. In wishing to explore the intricacies of his hand, the viewer is sucked into the drawing upon which the macabre aspect of the work comes to the fore. Peter Feiler’s work is included in esteemed collections such as that of Museum Boijmans van Beuningen in Rotterdam.

Together, with VOUS ETES ICI, we will showcase works by

“I’m trying to communicate complex and poetic concepts with a cold, graphic, and authoritative visual vocabulary. I concentrate on shape, line, color, and composition to communicate within simplified picture planes. As such, the work resides somewhere between abstraction and representation.At the essence of our being is the need to know and the need to understand. I am interested in our need to read into and interpret—to make sense of chaos and give meaning to seemingly abstract forms. This interpretation involves an egocentric faith in the fact that there must be a meaning for us to understand. We surrender our logic to the belief that answers do indeed exist, and so, by default, we invent them. With my work, interpretations are not absolute, but guided, to allow for multiple reads. This allows the viewer to bring to the work his own history, memories, and knowledge to find a personalized meaning.” — Ryan McGinness, 2005

Amsterdam Drawing
NDSM-werf, Amsterdam-Noord 
There is free parking space in the NDSM area.
Every 30 minutes a ferry (free of charge) leaves at the backside of Amsterdam Central Station: direction NDSM-werf.
It's a one minute walk from ferry to fair.

Thursday 19 - Saturday 21 September:
11 AM - 7 PM
Sunday 22 September:
11 AM - 5 PM

Fair-pictures by www.beeldberkmedia.nl




ABOUT Esiri Erheriene-Essi

Esiri Erheriene- Essi lives and works in Amsterdam, the Netherlands.

"The John Baldessari’s quote: ‘Historical mispronounced sounds like hysterical’ can best describe the theme and concern of my paintings. With this as a basis, I am constantly attempting to disrupt the confidence and assumptions of a reader who is familiar with history, thus, confusing their sense of logical sequence. I do this by challenging, displacing, appropriating and, in some cases, playing with the order of both collective and intimate strands of history, memory, myths, and culture of the past and present. In my alternate universe, I pit the musical 1960s group ‘Diana Ross and the Supremes’ against a repeated backdrop of Baader Meinhof/RAF member Brigitte Mohnhaupt, even though there is no evidence to suggest a connection. I paint figures who were lynched in late 19th and early 20th century America and Europe, but on my canvases, they are liberated through the simple act of eradicating the instrument of the noose and the faces of their tormentors. I remove Warhol superstar Joe Dallesandro out of film sequences and place him in an edited solitary setting on canvas. I continuously hinder former president John F Kennedy and Jacqueline Kennedy moments before the shots in 1963 - so in my narrative time is frozen and the assassination never actually takes place.

This logic is based on reading encyclopedias and referential yearbooks and seeing the historical narrative transcribed and sequenced in chronological order. Meaning, situations, events and images of the past that have no other relation than the fact that they are historical references of the same time, are being connected and placed side by side. So in my painting universe RAF members were inspired by the music of the Supremes, and the Supremes number-one hit song ‘You keep me hangin’ on’ was triggered by atrocities committed by the RAF. I don't know for sure, but these 'almost connections' and new possibilities of readings of the past is what I'm concerned with and what intrigues me the most.

Above all I am fascinated by a continued investigation of mass media, pop cultural iconography, appropriation, and mythology, as well as repetition of imagery. I am obsessed by the gaps, the silences, the disturbances and the assault in the historical narrative. As I am curious about the infinite possibilities of new readings. Thus, history is imperative to my practice but I am taking these references and facts and rewriting things just a bit." Esiri Erheriene-Essi recently graduated from the prestigious post graduate residency De Ateliers in Amsterdam. In 2006 she finished a master in Fine Arts at the University of East London, after completing her bachelor in Media Studies at the same university. Her work was exhibited in several galleries in London and Amsterdam.


ABOUT Anthony Goicolea

Born in 1971 in Atlanta, Georgia, USA
Lives and works in New York

Anthony Goicolea (USA, 1971) is a first-generation Cuban American artist. He grew up in the Deep South of the United States of America, in the midst of the Cuban refugee crises, coupled with the advent of the AIDS crises, and the rise of the religious right. Goicolea was socially stigmatised for being Cuban, gay, and Catholic. These circumstances brought about a heightened awareness of social constructs, and the changing nature of identity in politics – a theme that continually influences his work. Goicolea explores themes ranging from personal history and identity, cultural tradition and heritage, to alienation and displacement.

His diverse oeuvre encompasses digitally manipulated self-portraits, landscapes, and narrative tableaux executed in a variety of media, including black-and-white and color photography, sculpture and video installations, and multi-layered drawings on Mylar. Best known for his powerful, and often unsettling, staged photographic and video works, Goicolea made his artistic debut in the late 1990s with a series of provocative multiple self-portrait images. These early works featured groups of young boys on the threshold of adolescence, acting out childhood fantasies and bizarre rituals of revelry and social taboo in highly staged domestic or institutional settings or dense, fairy-tale forests. Revealing a playful self-consciousness, they often consisted of complex composites of the artist himself, in all manner of poses and guises. Soon thereafter, Goicolea garnered international attention with his ambiguous, yet strangely compelling, landscapes, ranging from dream-like woodland environments to vast, unforgiving urban and industrial wastelands. The artist has created several series of digitally composited, and heretofore uncharted, topographies, often populated by bands of masked and uniformed figures.

In recent series, many of the images are devoid of humans, although the landscape reflects an anonymous and increasingly tenuous human presence. In these works, primitive lean-tos and crudely constructed shanties coexist in an uneasy union with the technological vestiges of an industrialized society. Suggesting a world on the brink of obsolescence, these chilling images further cement the pervasive undercurrent of human alienation—from one another as well as the natural environment—that can be traced throughout the artist’s work.

Anthony Goicolea has exhibited widely, notably at the Museum of Contemporary Photography, Chicago, Illinois; the International Center of Photography, New York and Museo Reina Sofia, Madrid. Goicolea’s art is held in many public collections, including the Whitney Museum of American Art, New York, NY; The Museum of Modern Art, New York, NY; The Guggenheim Museum of Art, New York, NY; The Brooklyn Museum of Art, Brooklyn, NY; Yale University Art Collection, Photography, CT; the Museum of Contemporary Art of Castile and Leon, Spain;  21c Museum, Louisville, KY, the Akzo Nobel Art Foundation, Amsterdam, and Cobra to Contemporary/The Brown Family Collection, among others.