ABOUT THE FAIR

SHOWING MORE THAN 50 OVERSIZED ARTWORKS

DIAMANTBEURS, WEESPERPLEIN 4, AMSTERDAM

Open: Fr, Sa, Su 11-19 hrs // Mo, Tu, We, Th 12-18 hrs 
Entrance: € 7,50 — free for children

For 10 days the iconic building of Capital C Amsterdam will be filled with XL artworks by contemporary artists and designers. A unique mix of acclaimed names and upcoming talents, monumental paintings, drawings, large sculptures, big photos and huge installations. On show, and for sale!

KATINKA LAMPE (NL, 1963) Lampe paints portraits or at least, you can clearly recognize the representation of a person. Yet, this is not the main motive of the painting. The portrait merely serves as reason to make the painting. The portrait is the imagery concept. Her paintings greatly appeal to the beholders. 

During BIG ART her largest painting ever will be on show. The work is part  of the Do you like me now – series which are inspired by a YouTube-trend of 2012 ‘Tell me what you think about’. A large number of teenage girls and boys videod themselves in their homes and asked their audience to rate their looks. These webcam clips show us teenagers at their most vulnerable, asking very base and personal questions: Am I ugly? Do you like me? What do you think about me?’ Referring to one particular uploaded film entitled ‘Do you like me now?’ Lampe comments, “I feel the danger inherent in this search for confirmation of ones identity becomes immediately apparent in the video. You feel the desperation and insecurity bound up in this asking. In this case it is not an innocent question anymore.” It is this tipping point that Lampe looks for in her painting process. She asks her models to take this particular video into their thoughts and find a pose which says: Do you like me now? Katinka Lampe is represented in The Netherlands, France and Korea. Her work has been presented in many (inter)national solo and group exhibitions and can be found in numerous public and private collections.

CHRISTIAAN ZWANIKKEN (NL 1967) On show during BIG ART will be Zwanniken’s 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). In 2014 he had a major retrospective show at Museum Het Valkhof (Netherlands).

 

FAIR ARTWORKS

ABOUT Katinka Lampe

Katinka Lampe (1963, Tilburg, NL) 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. Resemblance is not the defining characteristic of these pieces. Instead, the artist sees the figures as visual impressions that, once transformed by her gaze, become representative of larger themes within society, rather than the individual. Lampe uses accessories loaded with connotation to provoke loose characterizations of theme and mood. The seemingly simple inclusion of wigs and false lashes, or the placement of a scarf, alter the interpretation of the children depicted and imply elevated symbolic and metaphorical status that requires deeper interpretation. The result creates a catalyst to provoke deeper and subjective meaning in the minds of the viewers. Through these juxtapositions the artist explores important societal themes relating aging, race, and the ever-growing dependence on media.

Katinka Lampe is an artist based out of The Netherlands. She received her degree from the Academy of Art and Design St. Joost in ‘s Hertogenbosch, The Netherlands. Her work has been widely exhibited internationally in a variety of galleries, museums, and prominent art fairs such as Museum Van Loon, Amsterdam, Gorcums Museum, Gorinchem, and Untitlled Art Fair, Miami Beach. Her work is included in the collections of Museum 21C, United States; Museum Arnhem, Arnhem; APMA, AmorePacific Museum of Art Seoul, Korea; Salon Dahlmann, Berlin; Museum van Loon, Amsterdam; C.N.A.P Centre National des Arts Plastique, Paris; Museum More, Gorssel; Schunck*, Heerlen; De Nederlandsche Bank, Amsterdam; Art Curial, Paris; Frisseras Museum Athens, Greece; and in many other prominent collections. Lampe’s work has been featured in numerous publications including ArtTravel Magazine, ELLE Décor, and Public Art Magazine, among others.

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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.

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