Galerie Ron Mandos is pleased to present its homage to Brigitte Kowanz. Her works are now presented together with a selection of paintings by Lieven Hendriks. This duo presentation is curated by Adrian Kowanz.

Also on view in our booth, a three meter high video version of Perpetuum by Jacco Olivier, which is simultaneously projected onto the Euromast during Rotterdam Art Week 2023. In a separate private viewing space we present a selection of works by Atelier Van Lieshout, Levi van Veluw, and Hadassah Emmerich.

Practical Information about the fair, click here.


Brigitte Kowanz (1957 – 2022) made light her primary artistic medium. She continuously examined its different qualities and manifestations via objects, installations, and spatial interventions using various illuminants, like neon and LED. She began making these works in the 1980s, in a field of art dominated by men, which investigated the relationships between light and space, language and code. In 2017 she represented Austria at the Venice Biennale, for which she created an installation of wall-based sculptures using neon tube lighting, mirrors and two-way mirrors titled Infinity and Beyond. Part of this installation was shown at Galerie Ron Mandos in the exhibition Mirrors / Mirages in 2021.

Central to Kowanz’s work is the concept of light as a carrier of information. When looking closely at her neon works, we can recognize the calligraphic handwriting of the artist. We see words like “outshine”, and “switch over”. In other works, the transmission of language takes place through the dots and dashes of morse code, as in her work FYI, which consists of three LED bars that each signify a different letter.  This acronym of “For Your Information” symbolizes the acceleration and constant change of communication in modern times, which fascinated Kowanz. At the same time, she captured the ephemeral quality of language in spaces of light in which the viewer can mindfully contemplate on the meanings of what is said and written.

Lieven Hendriks (NL, 1970) created a new series of paintings of wet windows that evoke a sense of lightness and melancholy. They are painterly interpretations of introspection, silence and longing – feelings that belong to the moment of staring outside a window on a rainy day.

Hendriks’ droplet paintings have a photographic quality. Yet, they are shaped by an (inimitable) procedure that is entirely painterly. In contrast to the three-dimensionality of the droplets, Hendriks emphasizes the flat surface of the painting by making fingerprints on both edges of the canvas. By doing so, he simultaneously refers to the craft of painting. The fingerprints are the traces of this craft, of touching the canvas when the paint is still wet. They seem to reinforce the temporary nature of the scene. Like Kowanz, Hendriks is taking a snapshot of something in motion. Seconds later, the rainy window scene would have been completely different.

The concept of the instant picture connects the Droplets to the Mirage paintings, in which Hendriks captures the sudden, magical moment when the reflection of light appears on the wall of a living room, broken up into the different colors of the spectrum.

Atelier Van Lieshout at Sculpture Park

Art Rotterdam added a unique element to its programming: Sculpture Park, a presentation of large-scale works of art that enter into a relationship with nature or the urban environment. To emphasize its ties with the city, Art Rotterdam has reserved space for Rotterdam-based artists. Part of the presentation is Destiny, a bronze sculpture of a monkey by Atelier Van Lieshout.

In western art, monkeys are often depicted as naughty, shameless animals with no self-control and overactive libidos. They are the devil’s henchmen or even the latter’s incarnations. In 17th-century painting, chained monkeys symbolised mankind imprisoned by lust.

However, in Joep van Lieshout’s view, apes represent raw energy and a zest for life. Even though they are subject to fate and have to accept any unlucky roll of the dice, they are still on top of their game and unwilling to give up without a fight.

Open Studio Marcos Kueh & Joseph Palframan at BRUTUS

Marcos Kueh and Joseph Palframan open their studio during Art Rotterdam. Both artists show  works created during their residency of the Ron Mandos Young Blood Foundation. Kueh, who currently has a presentation at the gallery, displays a wide selection of his textile work. Palframan presents a selection of new paintings in which he explores the impact of African art history within his painting practice.

Practical information:
Free Access
February 7 | 7.00 – 10.00 PM
February 8 – 12 | 12.00 – 6.00 PM
Entrance: Keileweg 14B, Rotterdam


ABOUT Brigitte Kowanz

Brigitte Kowanz (1957-2022) is known for her evocative sculptures, installations, and environments with a decidedly non-physical medium: light. Since the early 1980s, she has been exploring both the utilitarian and conceptual resonances of light with neon tubing, LED bulbs, aluminum, mirrors, and text. She draws upon such multidisciplinary sources as advertising, architecture, film, music, and the history of painting for inspiration. Through her use of mirrors, Kowanz aims to break down the boundaries between art and life, drawing viewers into her illuminated visions. Kowanz studied from 1975 to 1980 at the University of Applied Arts Vienna. She has been Professor of Transmedial Art there since 1997.


ABOUT Lieven Hendriks

Lieven Hendriks takes everyday subjects in which the human touch is visible as a starting point for his work. For example, he paints nails in walls, stars and vases cut out of paper, and finger drawings on foggy windows. By using trompe l’oeil effects, his flat canvases appear as loosely stretched linens, deceiving the eyes of the viewer. In his work, Lieven Hendriks, plays a game with the nature of observation. His paintings anticipate how we look at art, how we focus our attention, and how this process is affected by surrounding circumstances. In this way, his work touches directly on the essence of painting and the value attached to it.

Creating hyperreal illusions requires mastery of one’s technique. When seeking to deceive his audience, Hendriks pulls out all the stops to make his work absolutely lifelike. Nothing is allowed to interfere with the illusion. For the artist, painting amounts first and foremost to a conscious demonstration of the highest professional skill. He uses his technical virtuosity to make the viewer think about the way we are used to look at paintings. Although his images seem to be crystal clear at first, they actually make us doubt through their ambiguity.

Lieven Hendriks (1970) studied at the HKU in Utrecht and was a resident at De Ateliers in Amsterdam. His work is part of many renowned international collections, including Museum Voorlinden, ESMoA Los Angeles, and the Centraal Museum in Utrecht.