ABOUT THE EXHIBITION

Amsterdam

Different to most spatial art pieces, Maurice van Tellingen does not search for a physical relationship with the viewer. By utilising painterly techniques such as the application of artificial light and shadow, central perspective and scale, he allows the work to exist for a great part in the imagination of the viewer. One is taken on this journey because the artist ensures that there can be no possible confusion as to the elucidation of the work. He does this by creating his pieces with expert precision and by reducing the scene to its essence by omitting every unnecessary detail.

His models engender thus a purely aesthetic experience as laid out in Kantian thought. The artworks are not visually pleasing as such (a precondition for beauty) but rather recall feelings of alienation. Through the subtle paradoxes and tensions encountered in the work, you are led to ask: ‘What has or will happen here?’

With these works, Van Tellingen wishes to refocus our attention on the everyday: something often lost in our overly stimulated, spectacle obsessed consumer society. By playing with how we experience interior spaces and how they are often closely linked with memory, Van Tellingen is able to infuse the everyday with a poetic charge.

The work of Ine Lamers is especially known for images in which the urban environment plays a central theme: large format photographic and video pieces which zoom in on the ideologically programmed city space and architecture of former Eastern Block countries. These images research the friction of people in their city milieu and aim to show the rough edges of the ‘failing’ collective ideal.

In her most recent work, to be shown here at RONMANDOS gallery Amsterdam, Ine Lamers has directed her camera towards the city outskirts and natural environment of Russia. Recording was undertaken in the province of Samara Oblast, close to the Ural Mountains, a region known for its intense industrialisation during the communist period. Lamers photographed these ‘sorry’ landscapes, where the bounding and diverse nature, stand in contrast to the human and mechanic (state) interventions. These evocative images allow one to see and feel these interventions, sometimes clearly, sometimes subtly, whilst simultaneously striving to allow the Russian sentiment towards their nature to shine through.

The large format photographs and videos are not strictly documentary. The artist combines documentary strategies with a subject orientated viewing position. She consciously allows one, through her diptych and triptych images, to share a view that is at one time integrated and distanced, thus generating a faintly disorientating experience. The work of Ine Lamers signals thus a refined reference to the position of perception, notably that of the viewer who looks with foreign eyes.

The exposition ‘THIS SORRY NATURE’ was partly inspired by the poem ‘These poor Villages’ (1859) by Fedor Tiutchec.

Please feel free to contact Toby Robinson or Frederike van Osnabrugge on +31 (0)20 320 70 36 should you have any questions.

ABOUT Ine Lamers

Ine Lamers lives and works in Rotterdam, Netherlands

Artist Ine Lamers has been active since 1990 as an independent fine artist. Her medium of primary interest has been photography, but since 2000 video has also played an important role in her work.

Large format color photos, slideshow or video installations in which narrative and abstract elements are juxtaposed with one another illustrate urban still-lives with traces of human activity, or paralyzed scenes on which actors take stage. The works form a study after subjective experience and research in the potentialities of photographic and video media.

Lamers' imagery is suggestive of and incorporates high doses of suspense. It unmasks the so-called objectivity of the lens. Photographic and film imagery show the surface of a reality that is at one time known and unknown to us. Thematically her representations deal with man in relation with nature and himself.

Lamers seeks out stories and buried memories. She travels to countries where ideology is encapsulated in the architecture and the city space. Socialist city architecture with traces of their utopian urban vision has central significance in more recent photographic and video work. The city and urban peripheries are often captured at dusk or at night. This darkness and obscurity generates a slowed and distanced point of view.

Lamers produces her works always in a series. Her photos and videos purposefully offer us fragments. The viewer becomes part of the reconstruction of a non- linear visual narrative.

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