ABOUT THE EXHIBITION

& 5X RIJKSAKADEMIE ALUMNI: Hans Op de Beeck, Inti Hernandez, Arthur Kleinjan, Jacco Olivier & Christiaan Zwanikken

Galerie Ron Mandos Amsterdam

This winter Galerie Ron Mandos Amsterdam shows a double exhibition of new sculptural work by Maurice van Tellingen. In addition, the exhibition also features new work by 5 Rijksakademie Alumni.

Heimlich
Maurice van Tellingen constructs images that resemble reality just like reality resembles itself. This is why the objects by Van Tellingen lose their practical value and become signs. And subsequently, these signs easily attract new meaning. The psychology of perception composes a narrative from something that is obviously a mirror image. And this fiction can easily be accepted as a reality. Associations and suspense assemble these images to create a new world. A world we can relate in the same way as to any other world. These machinations could be seen as an exercise in detachment. The work qualifies the conventions we use to keep the world in check. And the brain becomes conscious of the correlation between reality and the way we experience it. As if it has separated perception and experience. As a result everyday objects and rooms are revived and become fantastic again. And the world emerges as a poetical space.

Opening Friday 29 November, 17:00 – 20:00.
Opening words by Anna Tilroe (Art Critic, Curator), 17:00

Special Music performance by Bird on the Wire
Sunday 01 December, 16:30 – 17:30

Opening hours during Amsterdam Art Weekend
29 Nov. 12:00 – 20:00
30 Nov. 10:00 – 20:00
01 Dec. 12:00 – 18:00

We are open between Christmas and NYE: Friday 27 Dec and Saturday 28 Dec 2013.

ABOUT Inti Hernandez

Inti Hernandez lives and works in between Amsterdam (The Netherlands) and Havana (Cuba).

The work of Inti Hernandez is embedded in the philosophy wherein life is defined as a perpetual flow of energy. In his view the question is no longer, “What can I pick out of this flow of energy to my personal liking and benefit?” but, "What could I contribute to this flow of life that is still missing?" Hernandez believes that by finding answers to this question your ideas will always be welcome and will allow you something in return.

Hernandez sees art as a medium to create conversation and dialogue. The very nature of his work embodies collaboration. He explores meanings and triggers reflection through his artistic process and through the interaction with those who engage with his work. The more ideas are adopted as another’s subject, the more energy they gather and the more they connect to something fundamental. When ideas mange to create conversations they become something undeniable.

Architecture and Industrial design are both disciplines very much interconnected with daily life. In his work Hernandez plays with their language and with their multidisciplinary habits. By doing so he ensures a special flavour of common sense in his results. Through this process Hernandez obtains vital impute out of the dialogue with people, their dreams, ideas, necessities, priorities, spontaneity and initiative. He sees art as an established institution, which can be developed into business cases and showcases so that many other interests can participate with it- supporting it and being supported by it and thus gaining a benefit from it.

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ABOUT Arthur Kleinjan

Arthur Kleinjan studied at the Willem de Kooning Academy in Rotterdam and later also at the Rijksakademie in Amsterdam from 2001 until 2002.

He is particularly drawn to the media of photography and video. His work attempts to explore human experience in relation to the metaphysical experience of time, place and identity. Kleinjan integrates the viewer by playing with these concepts. He does this for example by transforming seemingly ordinary and simple moments into something unique. In his photo series ‘Paris Looks’ he photographs the uncomfortable poses and gestures that accompany the ‘holiday photo’. Whilst each individual tourist takes position for his or her travel companion, Kleinjan as a second photographer captures the scene from an elevated viewpoint. Despite this distanced perspective, these images have a certain intimacy and fragility, via which the viewer identifies him or herself with the piece. Kleinjan is able to register these scenes at such an exact point as to bring out the spectacle in them, as if the tourists are actors on a stage. He demonstrates how they allow themselves to be immortalised in an attempt to resist the passing of time, attempting to obtain something meaningful at a later point in the form of memory.

Video works by the artist also show his keen interest for the themes of time and place. His work ‘Traverse’ has a cinematographic, narrative nature. It is a complex story that traverses narrated childhood memories, recent experience and dream. It is not clear whether the central figure of the piece is dreaming what he had experienced or that he is experiencing that what he had dreamed. His work is located in the space where reality, memory and dream meet.

‘Moments of Considered Time’ was shown at ‘ROAM’, the first time this most recent work had been seen in the Netherlands. It interweaves images of modern Cairo with the history of film, photography and Egypt itself. This together with personal observations and memories creates a complex work of undeniable interest.

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ABOUT Jacco Olivier

Jacco Olivier was born in 1973 in Goes, The Netherlands
He lives and works in Amsterdam, The Netherlands

Jacco Olivier fuses painting and filmmaking by repeatedly reworking paintings in generous casual brush strokes and systematically photographing each development. The various stages are combined into projected animations. The resulting films are enigmatic and experiential – moving in and out of abstraction they reveal the traces and decisions made by the artist in the process of painting. While there is a clear and quite complex process involved in their creation, Olivier does not set a thematic agenda for the works, or for their relationship to one another. The films are instead imagined as windows onto converging, and often elegantly simple, moments of daily life – a bus journey, a swim in the ocean, or a walk through the woods. At this convergence of painting and cinema, however, lies an uneasy tension, a feeling that something is about to happen or has just happened that is unexpected and beyond our control.

Jacco Olivier is a graduate of the Rijksakademie van beeldende kunsten, Amsterdam. He has exhibited worldwide, notably at ZKM, Karlsruhe; Sammlung Goetz, Munich; Victoria Miro Gallery, London; Marianne Boesky Gallery, New York, NY; Dordrechts Museum, Dordrecht; MCA Denver, CO; The 56th Venice Biennial, Venice; Frans Hals Museum, Haarlem; New York City Center/New Museum, New York, NY, and GEM, The Hague. His art is held in many public collections, including Museum Voorlinden, Wassenaar; the Honart Museum, Tehran; the Zabludowicz Collection, London, and the Rubell Family Collection, Miami, FL. In 2019, he was awarded the Jeanne Oosting Prize for figurative painting in The Netherlands.

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ABOUT Hans Op de Beeck

Hans Op de Beeck was born in 1969 in Turnhout, BE
He lives and works in Brussels, BE

Visual artist Hans Op de Beeck lives and works in Brussels, where he has developed his career through international exhibitions over the past twenty years. His work consists of sculptures, installations, video work, photography, animated films, drawings, paintings and writing (short stories). It is his quest for the most effective way of presenting the concrete contents of each work that determines the medium that the artist ultimately selects. The scale can vary from the size of a small watercolour to a large, three-dimensional installation of 600m2.

The artist not only uses a very wide variety of media, but also deliberately employs a diversity of aesthetic forms, ranging from an economical, minimalist visual language to overloaded, exaggerated designs, always with the aim of articulating the content of the work as precisely as possible.

Thematically, the work concentrates on our laborious and problematic relationship with time, space and each other. Op de Beeck shows the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from contemporary everyday life, aiming thereby to capture in his images the tragicomic absurdity of our postmodern existence. Key themes are the disappearance of distances, the disembodiment of the individual and the abstraction of time that have resulted from globalisation and the changes to our living environment that developments in media, automation and technology have brought about.

Hans Op de Beeck sometimes calls his works “proposals”; they are irrefutably fictional, constructed and staged, leaving it up to the viewer whether to take the work seriously, as a sort of parallel reality, or immediately to put it into perspective, as no more than a visual construct. His work is nourished by a keen interest in social and cultural reflection. The artist also questions the difficult relationship between reality and representation, between what we see and what we want to believe, between what is and what we create for ourselves in order to make it easier to deal with our own insignificance and lack of identity. The visual output of that investigation often produces slumbering, insidious, melancholy and astonishing images.

Multi-disciplinary artist Hans Op de Beeck creates interworlds. Suspended between past and future, fiction and reality, his works sound out a mirage-like contemporary universe and a sensory vertigo where the familiar rubs shoulders with the strange. From installation to sculpture, from video to animated film, from short stories to painting and drawing, from photography to sound material, the media he employs seem to converge on the definition of a topos: a mental theatre that projects the viewer into a reflexive social and cultural experience, the intimate thinking of the human condition. —Eva Prouteau

Op de Beeck has shown his work extensively in solo and group exhibitions around the world. He has had substantial institutional solo shows at the GEM Museum of Contemporary Art of The Hague, The Hague, NL (2004); MUHKA Museum of Contemporary Art, Antwerp, BE (2006); Centraal Museum, Utrecht, NL (2007); the Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington DC, US (2010); Kunstmuseum Thun, CH (2010); Centro de Arte Caja de Burgos, Burgos, ES (2010); Butler Gallery, Kilkenny, IRL (2012); Kunstverein Hannover, D (2012); Tampa Museum of Art, Tampa, USA (2013); the Harn Museum of Art, Gainesville, FL, USA (2013); FRAC Paca, Marseille, F (2013); MIT List Visual Arts Center, Cambridge, Boston MA, US (2014); MOCA Cleveland, OH, US (2014); Sammlung Goetz, Munich, D (2014); Screen Space, Melbourne, AU (2015); Espace 104, Paris, FR (2016); Art Unlimited, Basel, CH (2016); Kunstraum Dornbirn, Dornbirn, AU (2017); Museum Morsbroich, Leverkusen, DE (2017); Kunstmuseum Wolfsburg, Wolfsburg, DE (2017); Fondazione Museo Pino Pascali, Polignano a Mare, IT (2017); His work is included in museum collections of the Centre Pompidou, Paris; the Royal Museum for Modern and Fine Arts, Brussels; Museum Voorlinden, Wassenaar; Museum Arnhem, Arnhem; the ING Art Collection, Amsterdam; the Akzo Nobel Art Foundation, Amsterdam, and Cobra to Contemporary/The Brown Family Collection.

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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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