Metamorphosen. Ovidius en de hedendaagse kunst
24 januari – 4 oktober 2015 – Al sinds de publicatie van Ovidius’ beroemde boek Metamorphosen in de 1ste eeuw na Christus is de mensheid gefascineerd door gedaanteverandering, ongrijpbaarheid en identiteit. Deze tentoonstelling in Rijksmuseum Twenthe laat aan de hand van citaten uit Ovidius’ meesterwerk zien hoe hedendaagse kunstenaars op deze thema’s reflecteren. Er is werk te zien van onder anderen Jaap Drupsteen, Jan Fabre, Imme van der Haak, Sabi van Hemert, Iris van Herpen, Bart Hess, Floris Kaayk, Maartje Korstanje, Juul Kraijer, Jacco Olivier, Laura Schapendonk, Johanna Schweizer, Silvia B, Berend Strik, Stromae, Levi van Veluw, Christiaan Zwanikken en Maria Roosen.
Alles verandert, niets vergaat
Metamorphosen – Alles verandert, niets vergaat zijn de titel en het motto van het beroemde meesterwerk van de Romeinse dichter. Deze verzameling van verhalen over mythische goden en figuren die steeds andere gedaantes aannemen is één grote illustratie van het gegeven dat alles in de schepping continu verandert. De ‘metamorfose’ gaat over ongrijpbaarheid; het moment van transformatie waarop iets of iemand buiten alle categorieën valt. Maar ook over identiteit; het is een strategie om een andere rol aan te nemen, een andere kant van jezelf te laten zien, vrijheden te nemen of om iets gedaan te krijgen.
ABOUT Jacco Olivier
Jacco Olivier was born in 1972 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.
ABOUT Silvia B.
Silvia B. (NL, 1963) is known for her sculptures of hybride figures which she presents in a wide range of settings. Stringendo — a musical term that indicates the retained increase of intensity — shows her latest extremely realistic sculptures of vulnerable adolescent dancers who are struggling with their bindings, strings and wooden parts to grow. The rats that flank the dancers sides, should seem completely inferior, but in the compositions of Silvia B. they have an angelic and pure appearance. The staging of the two complementary characters sums up the drawback of human civilization.
Galerie Ron Mandos presents Stringendo, a new series of sculptures by Silvia B. Silvia B. (NL, 1963) is known for her sculptures of hybrid figures; caught between age, gender and culture, between human, animal and doll. In addition to her iconic sculptures she makes drawings, photographs and also curated several projects. Her work is characterized by a constant battle between attraction and repulsion. A duality that comes from her vision of the world, how people behave according to so called codes of civilization and yet are still driven by their instinctive fears and desires.
ABOUT Levi van Veluw
In 2010, the work of the artist was showcased in a series of major museum exhibitions, including the exhibition “Dead or Alive” at the Museum of Arts and Design in New York, the Museum of Modern Art in Arnhem and Ars Electronica in Linz.
2013 saw the publication of the book “Origin of the Beginning”. This singular book is a work of art in itself, published in an edition of 1000 hand-signed copies. The book, which is widespread among collectors and enthusiasts, provides an overview of the artist’s work from 2006 to 2013, a rich oeuvre that includes photographs, drawings, installations, sculptures and videos.
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.