ABOUT THE EXHIBITION

In-House Exhibition at Manifesta Foundation and DutchCulture Offices

Herengracht 474, 1017 CA Amsterdam

Artists: Hans Op de Beeck | Anthony Goicolea | Inti Hernandez | Carl Johan Högberg | Rob Johannesma | Isaac Julien | Krištof Kintera | Goof Kloosterman | Ine Lamers | Tom Lore de Jong | Jacco Olivier | Levi van Veluw

Galerie Ron Mandos proudly presents Swim with the Current, Stand like a Rock, at the Manifesta / DutchCulture building. For a period of five months, Galerie Ron Mandos presents a selection of twelve (inter)national artists in the historical building. In such an impressive building where every inch is decorated with ornaments and which functions fulltime as an office, Galerie Ron Mandos selected works that really standout.

The exhibition presents video works by Hans Op de Beeck, Jacco Olivier, Levi van Veluw and Isaac Julien. Intriguing sculptures by Inti Hernandez and Anthony Goicolea. Paintings by Carl Johan Högberg. Ine Lamers, Tom Lore de Jong, Rob Johannesma and Goof Kloosterman will take over several spaces in the building with a selection of their work. The works by Krištof Kintera will be found at surprising places.

Swim with the Current, Stand like Rock can be seen by appointment on weekdays from 10:00 till 17:00, please contact: +31(0)20 6721435 / secretariat@manifesta.org 
Address: Herengracht 474, 1017 CA Amsterdam

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 Jacco Olivier

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.

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ABOUT Anthony Goicolea

Anthony Goicolea (USA, 1971) is a first-generation Cuban American artist. He grew up in the Deep South of the United States of America, in the midst of the Cuban refugee crises, coupled with the advent of the AIDS crises, and the rise of the religious right. Goicolea was socially stigmatised for being Cuban, gay, and Catholic. These circumstances brought about a heightened awareness of social constructs, and the changing nature of identity in politics – a theme that continually influences his work. Goicolea explores themes ranging from personal history and identity, cultural tradition and heritage, to alienation and displacement.

The backbone of Goicolea’s practice is painting and photography. The key process of painting is a combina- tion of inks, paints, graphite, and enamel applied directly on layers of Mylar. By painting front and back layers of semi-translucent frosted Mylar lm, he adds and subtracts areas of varying opaqueness.

In the series “Anonymous Self-Portraits” displayed at Galerie Ron Mandos, Goicolea paints sexually ambiguous gures caught between various states of dress. Many of the faces are obscured by large elds of white oil paint, roughly corresponding to shifting shapes of clothing. These architectural shapes abruptly divide the body and simultaneously conceal and unveil key components of traditional portraiture. The identity of each sitter lies in the body language and gesture rather than on facial recognition. The feature of a gnarled hand, a twisted arm, or a hunched shoulder are the identifying factors that characterises each (seemingly) anonymous portrait as that of an individual sitter with his own unique, personal identity.

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ABOUT Isaac Julien

Filmmaker and installation artist, Isaac Julien CBE RA, was born in 1960 in London, where he currently lives and works. His multi-screen film installations and photographs incorporate different artistic disciplines to create a poetic and unique visual language. His 1989 documentary-drama exploring author Langston Hughes and the Harlem Renaissance titled Looking for Langston garnered Julien a cult following while his 1991 debut feature Young Soul Rebels won the Semaine de la Critique prize at the Cannes Film Festival.

Having recently worked on conserving and restoring Looking for Langston images from his extensive archive, he exhibited of photographic works at Victoria Miro Gallery, London (2017), Jessica Silverman Gallery, San Francisco (2016) and Ron Mandos Gallery, Amsterdam (2016) with a screening of the film in its original 16mm print at Tate Britain.

Julien’s solo exhibitions and presentations include Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), Cape Town (2017); Platform-L Contemporary Art Centre, Seoul (2017); The Royal Ontario Museum, Toronto (2017); Fondation Louis Vuitton, Paris (2016); MAC Niterói, Rio de Janeiro (2016); Museo Universitario Arte Contemporáneo (MUAC), Mexico City (2016); De Pont Museum, Netherlands (2015); Museum of Modern Art, New York (2013); Art Institute of Chicago, Chicago (2013); The Bass Museum, Miami (2010); Museum Brandhorst, Munich (2009); Museum of Modern Art, Dublin (2005); Centre Pompidou, Paris (2005) and Moderna Museet, Stockholm (2005). His latest work, Stones Against Diamonds, was shown in 2015 as part of the Rolls-Royce Art Programme at the Venice Biennale, at Art Basel and Art Basel Miami Beach.

Julien participated in the Venice Biennale at the inaugural Diaspora Pavilion at the 57th edition in 2017 with Western Union: Small Boats. Previously, he presented Kapital and directed Das Kapital Oratorio in the 56th edition of the Venice Biennale, curated by Okwui Enwezor, in 2015. His work has also been exhibited in the 7th Gwangju Biennial, South Korea (2008); Prospect 1, New Orleans (2008); Performa 07, New York (2007) and in documenta 11, Kassel (2002).

Julien’s work is held in collections that include: Tate, London; the Museum of Modern Art, New York; Centre Pompidou, Paris; the Solomon R. Guggenheim Museum, New York; the Hirshhorn Museum and Sculpture Garden, Washington DC; the Albright-Knox Art Gallery, Buffalo, New York; Fondation Louis Vuitton, Paris; the LUMA Foundation, Arles; the Kramlich Collection; the Zeitz Museum of Contemporary Art (Zeitz MOCAA), Cape Town. In 2016 the Towner Art Gallery Collection (Eastbourne, UK) acquired Ten Thousand Waves (2010) as part of a Moving Image Fund program. Ten Thousand Waves, a globally acclaimed multiple screen installation work, premiered at the 2010 Sydney Biennale and has gone on to be exhibited extensively - recently at Platform-L in Seoul (2017) and Fondation Louis Vuitton in Paris (2016) as well as the Museum of Modern Art, New York in 2013, with whom he also published a comprehensive monographic survey of his life and work, titled ‘Riot’.

Julien has taught extensively, holding posts such as Chair of Global Art at University of Arts London (2014-2016) and Professor of Media Art at Staatliche Hoscschule fur Gestaltung, Karlsruhe, Germany (2008 – 2016). He is the recipient of the James Robert Brudner ‘83 Memorial Prize and Lectures at Yale University (2016). Most recently he received the Charles Wollaston Award (2017), for most distinguished work at the Royal Academy Summer Exhibition and in 2018, he was made a Royal Academician. Julien was awarded the title Commander of the Most Excellent Order of the British Empire (CBE) in the Queen’s birthday honours, 2017.

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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.

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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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ABOUT Hans Op de Beeck

Hans Op de Beeck (Be) produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it.

He regards man as a being who stages the world around him in a tragi-comic way. Above all, Op de Beeck is keen to stimulate the viewers’ senses, and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder, silence and introspection.

Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels and Gooik, Belgium. 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, B (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); ...

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