ABOUT THE EXHIBITION

Opening: May 16, 5 – 7 pm

Galerie Ron Mandos, Amsterdam

Galerie Ron Mandos proudly presents the two solo exhibitions MAY BE IT IS HERE from Krištof Kintera and The Usual Suspects from Esiri Erheriene-Essi, with new work of both artists. It is the first time Kintera’s work will be presented at the gallery.

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OPENING: We cordially invite you to the official opening on Saturday May 16, between 5 - 7 pm. Openingwords by Margriet Schavemaker (Stedelijk Museum, Amsterdam) and Dominic van den Boogerd (De Ateliers, Amsterdam). Both artists will be present during the opening.

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Krištof Kintera | MAY BE IT IS HERE:

There are few artists who are able to make ambiguity so attractive as the latest addition to the gallery Krištof Kintera (1973). For many years now, he has been known as an artist who produces work that even the most art illiterate are able to obtain something from. However, what makes his work special is that despite this obvious catchiness, he is able to make sharp, often intuitive decisions that produce a far more multi-layered experience. This results in poetic images and an ambiguity, notably in his sculptures, in their engagement with the large topics of our times.

Krištof Kintera’s oeuvre is rooted in the “after the wall” period of the 90’s, a decade of wild capitalisation in Central and Eastern Europe accompanied by aggressive advertising campaigns in the public space. In this period Kintera produced his now famous Appliances series. These beautiful products, sculptures slickly enclosed in commercial packaging and now on show in the Kunsthal in Rotterdam, have no other goal than to seduce you, doing nothing other than consuming electricity and laying there, quietly purring. These absurd household appliances clearly illustrate Kintera´s ability to create sculptures that are iconic whilst simultaneously fleeing the safe haven of art by engaging with the materiality of objects and with issues of ecology and (energy) consumption. After his residency at the Rijksakademie van beeldende kunsten in Amsterdam his work has become increasingly communicative and energised; producing pieces that talk, smoke, move, bang and buzz. While his larger installations have shown Kintera´s interest and experience with theatre and stage design. 

Simultaneously a shift has taken place in his choice of materials. The materials of Kintera´s sculptures maintain their physical presence and identity while now being penetrated by other objects. Thus an ever-growing number of inferior materials gain weight and character in his work. Seductive as ever, his colourful and playful current works path the way for further ambiguity, doubt and even darkness, such as his piece entitled Devil, theatrically installed in the bunker of the Kunsthal. Krištof Kintera seems increasingly interested in formlessness on the periphery of the man-made world. Dirty socks coated in silver plates; lumps of dirty city snow that slowly melt into a puddle of water; polyurethane blobs that engulf a pair of sun-glasses and other everyday objects that in this way gain the character of an Ensoresque mask.

In his artist’s world, fragile trees move nervously, affected by the global issues of our time; a fly buzzing inside an upside-down bucket continuously chases you around the gallery space as if stating that its problems ‘are bigger than ours’. An amused smile further on in exhibition introduces the notion that perhaps the fly´s problems might be our own. Aren´t we, while busy buzzing around, not also trapped in a dirty bucket of a world that keeps morphing in order to every so often implode into a formless matter? In spite of these assertions, Kintera’s work is far from simple nihilistic commentary. He avoids this through playful, creative and direct communication with the audience, as well as paradoxical and ambiguous elements in the work. 

Esiri Erheriene-Essi | The Usual Suspects:
Similar general comments could be asserted about the work of Esiri Erheriene-Essi (1982) and this is also the reason why her recent paintings supplement the sculptures of Kintera in this exhibition. Her works focus the gaze through seemingly innocent subjects decomposed and fractured into brightly coloured painterly forms.

From a distance there appears to be one clear image, taken from the recent past, recalling the Apartheid period, racial struggle and improved Black empowerment in the growing presence of Afro-American artists in the 1960’s pop industry. However, once one focuses more closely on the canvas, the dominant and often iconic image dissolves into an expressive composition of colour strokes. The flat surface serves as a type of archive of a certain period, often unsettling, that give face, depth and period background to the dominant image. She further links this past with the present by means of a well-chosen title.

 

 

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.

GO TO THE ARTIST PAGE

ABOUT Krištof Kintera

Krištof Kintera (1973) is probably today’s most challenging and respected artist working in the Czech Republic. His works mainly explore the boundaries of contemporary sculpture. Kintera’s practice unfolds from public installations to small kinetic devices. What makes his work special is that he despite this obvious catchiness; he is able to make sharp, often intuitive decisions that produce a far more multi-layered experience. This results in poetic images and an ambiguity, notably in his sculptures, in their engagement with main topics of our times.

The artist oeuvre is rooted in the ‘after the wall’ period of the 90’s, a decade of wild capitalisation in Central and Eastern Europe accompanied by aggressive advertising campaigns in the public space. In this period Kintera produced his now famous Appliances series. These beautiful products, sculptures slickly enclosed in commercial packaging have no other goal than to seduce you. These absurd household appliances clearly illustrate the artist’s ability to create sculptures that are iconic works by engaging with the materiality of objects and with issues of ecology and consumption.

GO TO THE ARTIST PAGE