ABOUT THE FAIR
Galerie Ron Mandos is excited to participate in the 2022 edition of Art Rotterdam. The artists featured in our booth are Atelier van Lieshout, Sebastiaan Bremer, Robert Devriendt, Kendell Geers, Katinka Lampe, Muntean/Rosenblum, Erwin Olaf, Hans Op de Beeck and Gilleam Trapenberg.
Atelier van Lieshout
Atelier Van Lieshout is the studio practice of Rotterdam-based artist Joep van Lieshout (NL, 1963). Since its founding in 1995 Van Lieshout has been working solely under the studio’s name as a methodology towards undermining the myth of the artistic genius. Over the past three decades AVL produced a multitude of works on the border of art, design, and architecture. These works share a number of recurring themes and obsessions, such as systems, power, autarky, sex and life and death. AVL is internationally renowned for sculptural installations which harbor a controversial, sinister and playful tone.
Sebastiaan Bremer’s (NL, 1970) 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. The works at Art Rotterdam 2022 look like out of focus landscapes, which provide a horizon for us at this strange time. Bremer’s project can be seen as a renewed attempt to create a future, a horizon, overseen by these living forms with long lifespans, the trees that surround and oversee us.
Robert Devriendt’s (BE, 1955) oeuvre mostly exists of small paintings. In these works, painted fragments are brought together in sequences. They generate an intimate story for the viewer and convey a feeling like stills of a film. The themes and the combinations of paintings are not chosen at random; they demonstrate Devriendt’s affinity with painting, cinematography, and the image.
A European by descent, an African by birth, the works of Kendell Geers (ZA, 1968) embody the contradictions of his identity. In his recent work, the artist embraces the still life tradition because he sees a direct link with his Dutch ancestors and history of Afrikaners in South Africa. He has returned to the still life tradition because it links the past and the future. The flowers are beautiful and their colors invite attention, the poetic expression of peace, love and joy. At the same time, the images dying flowers and the image of Matisse’s cut out of Icarus warn us against our vanity or hubris in relation to nature.
Katinka Lampe (NL, 1963) traverses the realms of figurative, expressionist, and abstract painting in her soft, yet uncanny, portraits. Her works, though imbued with a sense of realism, are not meant to represent those that they depict. Through the obvious use of light and shadow, perspective or crop, Lampe tries to bring alienation but above all space into the work. For her, craftsmanship, aesthetics, ornament and control are the tools to create a new image that contributes to a certain reset. Resetting our judgment of others, resetting our social relationships.
Muntean/Rosenblum’s (AT, 1962 / IL, 1962) works are painted in a unique technique that they developed over the last few years. It is a combination of oil and pastel chalks which allows them to create a maximum of luminosity. Like all their paintings it is based on appropriated material from the almost unlimited images provided by mass and social medias. On the other hand, they are inspired by the singular power of figurative painting. They make depictions of the sensual world and highly abstract symphonies of colors and brushstrokes at the same time.
Erwin Olaf (NL, 1959) explores our human condition through meticulously staged scenes. His distinctive aesthetic is highly stylized and perfectly polished, yet his work penetrates deep beneath a pretty facade. Olaf’s series Fall originated in his interest in portraits that are out-of-sync. For him, it became a new type of sexy to photograph a beautiful model blinking at the wrong moment, and using a camera angle that is slightly wrong. It is both disturbing and revealing to see this moment frozen in a photograph.
Hans Op de Beeck
Hans Op de Beeck (BE, 1969) produces large installations, sculptures, films, drawings, paintings, photographs, and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. The sculpture Dancer (2019) is based on Op de Beeck’s movie Sea of Tranquillity (2010), in which a most colorfully dressed Brazilian dancer is sitting on a chair, exhausted, as if sitting in a silent void. She is detached from the circus of spotlights and glamour, almost clumsily lost in a moment of reflection or doubt, in-between performances.
Gilleam Trapenberg’s (CW, 1991) creates portraits of acquaintances and friends, images of landscapes and residential areas in the Netherlands Antilles, and panoramas as found in travel brochures. Trapenberg raises a number of issues surrounding the representation of the Caribbean. In his photographs, warm memories of his youth on the island of Curaçao are alternated with traces of the colonial past and subtle undertones of political misrule, but also individual pride and expressions of identity.