Museum MORE: new collection display

⁠This autumn museum MORE will present a completely new display of its own collection, featuring works of art never before seen, including recent acquisitions complemented by 30 loans from contemporary artists, among them many of our artists!⁠ ⁠⁠⁠⁠

Go visit Museum MORE to see the works by, amongst others, Hans Op de Beeck, Esiri Erheriene-Essi, Katinka Lampe, Lieven Hendriks, Erwin Olaf and Levi van Veluw.

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ABOUT Levi van Veluw

Levi van Veluw was born in 1985, in Hoevelaken, The Netherlands
He lives and works near Amsterdam, The Netherlands

Levi van Veluw is a multi-disciplinary artist creating photographs, videos, sculptures, installations and drawings. His varied body of work has been showcased in many different locations across Europe and the United States, earning him a number of nominations and awards.

The artist first became known in 2008 with his solo exhibition Landscapes at Galerie Ron Mandos in Amsterdam. This coincided with him being awarded the International Photo Award in New York for the photo series “Ballpoints”, and the selection of one of his video works for the Whitstable Biennale UK.

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.

The work of Levi Veluw has been exhibited internationally in leading museums and institutions, and is included in both public and private collections, such as the Borusan Collection, Istanbul; Museum Voorlinden, Wassenaar; Museum MORE, Gorssel; the KPMG Art Collection, Amstelveen; the Ekard Collection, Wassenaar; the Lakeside Collection, Rotterdam, and Cobra to Contemporary/The Brown Family Collection. In addition to his work in his individual practice, Levi van Veluw has also worked on commissions for private clients. In this way, he has collaborated, in 2012, with curator Marc Coetzee on the film “Family” in the frame of the “Films4peace” project. In 2014, van Veluw created for Hermès a life-sized site-specific installation for one of their main windows in Shanghai. Van Veluw’s works have also been widely shown at international art fairs such as, among others, The Armory Show New York, Art Brussels, Volta Basel, Unseen Amsterdam and the Barcelona Loop Fair Barcelona.

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ABOUT Erwin Olaf

Erwin Olaf is an internationally exhibiting artist whose diverse practice centers around society’s marginalized individuals, including people of color, and the LGBTQ+ community. In 2019 Olaf became a Knight of the Order of the Lion of the Netherlands after 500 works from his oeuvre were added to the collection of the Rijksmuseum. Taco Dibbits, Rijksmuseum director, called Olaf “one of the most important photographers of the final quarter of the 20th century”.

In 2018, Olaf completed a triptych of monumental photographic and filmic tableaux portraying periods of seismic change in major world cities, and the citizens embraced and othered by their urban progress. Like much of his work, it is contextualized by complex race relations, the devastation of economic divisions, and the complications of sexuality. Olaf has maintained an activistic approach to equality throughout his 40-year career after starting out documenting pre-AIDS gay liberation in Amsterdam’s nightlife in the 1980s.

A bold and sometimes controversial approach has earned the artist a number of prestigious collaborations, from Vogue and Louis Vuitton, to the Stedelijk Museum Amsterdam. He served as the official portrait artist for the Dutch royal family in 2017, and designed the national side of the euro coins for King Willem-Alexander in 2013. He has been awarded the Netherlands’ prestigious Johannes Vermeer Award, as well as Photographer of the Year at the International Color Awards, and Kunstbeeld magazine’s Dutch Artist of the Year.

Erwin Olaf has exhibited worldwide, including Centro de Arte Contemporáneo de Málaga, Málaga, Spain; Museu da Imagem e do Som, São Paulo, Brazil; Martin-Gropius-Bau, Berlin, Germany; Southeastern Center for Contemporary Art, Winston-Salem, North Carolina, USA; and Museo de Arte Contemporáneo, Santiago, Chile. In the spring of 2019, Olaf’s work was the subject of a double exhibition at Kunstmuseum The Hague and The Hague Museum of Photography, as well as a solo exhibition at the Shanghai Center of Photography. In 2021, Erwin Olaf had his first solo exhibition Im Wald at Galerie Ron Mandos and mounted a large survey exhibition at Kunsthalle München, Germany.

Olaf’s work is included in numerous private and public collections, such as the Rijksmuseum and Stedelijk Museum, both in Amsterdam, The Netherlands; Fonds National d’Art Contemporain, Paris, France; Museum Ludwig, Cologne, Germany; Museum Voorlinden, Wassenaar, The Netherlands, North Carolina Museum of Art, Raleigh, United States; Art Progressive Collection, United States, and the Pushkin Museum, Moscow, Russia.

Erwin Olaf was born in 1959 in Hilversum, The Netherlands
He lives and works in Amsterdam, The Netherlands

Visit the artist’s website here.

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ABOUT Hans Op de Beeck

Hans Op de Beeck was born in 1969 in Turnhout, Belgium. He lives and works in Brussels, Belgium.

Hans Op de Beeck 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 and silence.

Over the past twenty years Op de Beeck realized numerous monumental ‘sensorial’ installations, in which he evoked what he describes as ‘visual fictions’: tactile deserted spaces as an empty set for the viewer to walk through or sit down in, sculpted havens for introspection. In many of his films though, in contrast with those depopulated spaces, he prominently depicts anonymous characters.

Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels, Belgium. Op de Beeck has shown his work extensively in solo and group exhibitions around the world.

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ABOUT Esiri Erheriene-Essi

Born in 1982 in London, United Kingdom
Lives and works in Amsterdam, The Netherlands

Esiri Erheriene-Essi is predominately a painter of mid to large-scale paintings concerned with figuration, history and society. She is captivated by history – in particular, images, objects, and documents which we can return to, in order to examine both individual and shared memories and histories. A large part of her practice entails collecting and creating an archive, which could potentially become incorporated into her work. Archives are important to the artist as they create links and orders that she can question and play with – she searches for the discrepancies, the silences, in order to, through painting, create interruptions and assaults on the canonical historical narrative. With hindsight, bias and curiosity, she takes these discordances and brings them up to the surface. Erheriene-Essi continuously re-edits the narratives with the hope of robbing history of some of its tyrannical power by creating new scenarios. Or rather, she is incessantly attempting to imagine more humane and liberating narratives than what has gone before. In the process she perhaps slightly changes our readings of history and thereby shows how we write the present.

In her work, Erheriene-Essi makes many references to popular culture, because popular culture is profoundly mythic and loaded. The canvases she makes are a theatre of popular desires and fantasies, where we all can discover and play with the process of identification. These ‘theatrical scenes’ show the imagined as well as the underrepresented, not only to the viewer but also to the artist herself. The paintings ‘play’ in their own way – they are telling a story, even though the scenes have no beginning, middle or end – they are cut off mid flow, out of context, are frozen, silent and still. Yet they have ‘sound’ as if they are performing and want to be heard. The audience is continuously invited to watch as well as to try and decipher the haphazard plot in which characters are encased in. The good thing about performing on canvas is that anything is possible – and that is what intrigues Erheriene-Essi the most.

esirierheriene-essi.com

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ABOUT Katinka Lampe

Katinka Lampe traverses the realms of figurative, expressionist, and abstract painting in her soft, yet uncanny, portraits. Her works, though imbued with a sense of realism, are not meant to represent those that they depict. Resemblance is not the defining characteristic of these pieces. Instead, the artist sees the figures as visual impressions that, once transformed by her gaze, become representative of larger themes within society, rather than the individual.

Lampe often uses accessories loaded with connotation to provoke loose characterizations of theme and mood. The imposed roles played by her models, their poses, expressions, and their way of being dressed, mostly copied from magazines, the internet or old master paintings, obscure their personality and provoke deeper and subjective meaning in the minds of the viewers. Through these juxtapositions the artist explores important societal themes relating to identity, aging, color, and the ever-growing dependence on media.

Katinka Lampe is an artist based in Rotterdam, The Netherlands. She received her degree from the Academy of Art and Design St. Joost in ‘s Hertogenbosch, The Netherlands. Her work has been widely exhibited internationally in a variety of galleries, museums, and prominent art fairs such as Museum Arnhem, Arnhem,NL: Museum Van Loon, Amsterdam, NL; Singer Museum, Laren, NL, Museum Jan Cunen, Oss, NL ; Untitled Art San Francisco, USA and Untitled, Art, Miami Beach, USA. Her work is included in the collections of 21C Museum Hotels, USA; West Sun Capital Collection, Montreal,CA: Museum Arnhem, Arnhem, NL; APMA, AmorePacific Museum of Art Seoul, KR; Museum van Loon, Amsterdam, NL; C.N.A.P Centre National des Arts Plastique, Paris, FR; Museum More, Gorssel, NL; Schunck*, Heerlen, NL; Akzo Nobel Art Foundation, Amsterdam,Nl; De Nederlandsche Bank, Amsterdam, NL; ING Collection, Amsterdam, NL; Art Curial, Paris, FR; Frisseras Museum Athens, GR, and Cobra to Contemporary/The Brown Family Collection.

Katinka Lampe was born in 1963 in Tilburg, NL
She lives and works in Rotterdam, NL

https://katinkalampe.nl/

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ABOUT Lieven Hendriks

Lieven Hendriks takes everyday subjects in which the human touch is visible as a starting point for his work. For example, he paints nails in walls, stars and vases cut out of paper, and finger drawings on foggy windows. By using trompe l’oeil effects, his flat canvases appear as loosely stretched linens, deceiving the eyes of the viewer. In his work, Lieven Hendriks, plays a game with the nature of observation. His paintings anticipate how we look at art, how we focus our attention, and how this process is affected by surrounding circumstances. In this way, his work touches directly on the essence of painting and the value attached to it.

Creating hyperreal illusions requires mastery of one’s technique. When seeking to deceive his audience, Hendriks pulls out all the stops to make his work absolutely lifelike. Nothing is allowed to interfere with the illusion. For the artist, painting amounts first and foremost to a conscious demonstration of the highest professional skill. He uses his technical virtuosity to make the viewer think about the way we are used to look at paintings. Although his images seem to be crystal clear at first, they actually make us doubt through their ambiguity.

Lieven Hendriks (1970) studied at the HKU in Utrecht and was a resident at De Ateliers in Amsterdam. His work is part of many renowned international collections, including Museum Voorlinden, ESMoA Los Angeles, and the Centraal Museum in Utrecht.

www.lievenhendriks.com

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