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.