Art Rotterdam Part #1 (virtual)

Dear art lover,

Welcome to the Public Opening of Art Rotterdam #Part 1 (virtual), a new online experience with personal video messages by nine artists.

Featured artists in this online viewing room are Sebastiaan Bremer, Robert Devriendt, Kendell Geers, Katinka Lampe, Muntean / Rosenblum, Erwin Olaf, Hans Op de Beeck, Gilleam Trapenberg, WonderBuhle.

We have asked all artists to select one work in which a female character is placed center stage. The artists have portrayed women in both intimate and distanced situations and have explored expressions of confidence and fragility in all their complexity and richness.

From 12:00 PM you can inquire through email and whatsapp.

A part of the revenue of the fair goes to MamaCash. Mama Cash supports women, girls and trans people and intersex people who fight for their rights. Activists who tirelessly and fearlessly make their voices heard. Who criticize oppressive or restrictive norms and practices, and lobby for fair laws. Who demand their political and economic rights, and insist on bodily autonomy.

We hope you enjoy the video messages of our artists and look forward to speaking to you soon.

Sebastiaan Bremer | Veronica – The Hundred Guilder Print

On a portrait photograph of his mother from the early seventies, Sebastiaan Bremer drew and painted a braille like surface covering her face. This intervention allows the artist to come closer to the past and break through the surface of the photograph and bring the subject to this side of the mirror.

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Robert Devriendt | La Nuit Gothique 2

Robert Devriendt’s oeuvre mostly exists of small paintings. In these works, painted fragments are brought together in sequences. They generate an intimate story for the viewer. Different storylines configurate meaning in images from everyday reality. The illusionistic qualities in the pictures play a big part in his investigation into the function of images

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Kendell Geers | PrayPlayPreyPay

The photograph PrayPlayPreyPay poses the question: to what degree does language liberate us from and to what extent does language incarcerate us? A very subtle shift in the word ‘Pray’ with an ‘A’ or an ‘E’ shifts the signifier from one of faith to aggression and violence. Did we invent our faith to justify our fears? Or did we use our fears to justify our faith?

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Katinka Lampe | 4050219

“During the Covid pandemic of last few years, we literally got stuck in our own home bubble. Besides the fact that the whole world had to cope with an awful disease and an economic challenge, this period could have given us valuable new insides. Namely that we are social species. We can’t live without physical connection, new input, and insights. In my painting, I have used more bleak colors to reflect the feeling of loneliness experienced in quarantine.” – Katinka Lampe

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Muntean/Rosenblum | Untitled („Magic remains invisible…“)

Untitled (“Magic remains invisible…”) is painted in a unique technique that Muntean/Rosenblum developed over the last few years. It is a combination of oil and pastel chalks which allows us to create a maximum of luminosity. Like all their paintings it is based on appropriated material from the almost unlimited images provided by mass and social medias.

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Erwin Olaf | Fall – Isabel

“I was intrigued by the idea of a portrait in which something is out-of-sync,” explains Erwin Olaf. “It became a new type of sexy, to photograph a beautiful model blinking at the wrong moment, using a camera angle that is slightly wrong. It is disturbing to see this incorrect fraction of a second frozen in a portrait.” – Erwin Olaf

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Hans Op de Beeck | Dancer

In the picture Sea of Tranquillity – Dancer, a set photo taken during the filming of Op de Beeck’s movie Sea of Tranquillity (2010), we see a most colorfully dressed Brazilian dancer standing on a pitch-dark, deserted part of the stage, as if standing in a silent void, detached from the circus of spotlights and glamour, almost clumsily lost, in a moment of reflection or doubt, in-between performances.

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Gilleam Trapenberg | Nadira

“The reason why it is such an important portrait for me is mainly because it shows the strength of the Curaçao woman. There is a strong stereotypical view that in the Caribbean and especially Curaçao, it is mainly the women who are in charge at home. The men basically have nothing to say. I find that a very interesting contrast with, of course, the macho culture that is prevalent there.” – Gilleam Trapenberg

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WonderBuhle | Fixing a broken perspective

“I understand my artistic practice as a space between my inner soul, my dreams and my identity. I communicate my views from where I am standing as a black youth in South African society and the world at large. South Africa is in a moment of self-realization; reflecting and embracing its cultural diversities, whilst rewriting its stories through the lenses of young people who are curious, like myself.” – WonderBuhle

Film credits: BKhz Gallery, Johannesburg, South Africa. Film and editing by Earl Abrahams.

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Veronica - The Hundred Guilder Print, 2018 | 3D, Ink, acrylic and collage on silver gelatin print | 60 x 40 cm

Sebastiaan Bremer


La Nuit Gothique 2, 2014 | Oil on canvas | 57,8 x 16 cm

Robert Devriendt


PrayPlayPreyPay, 2016 | C-Print | 100 x 70 cm

Kendell Geers


4050219, 2021 | Oil on canvas | 50 x 40 cm

Katinka Lampe


Untitled („Magic remains invisible...“), 2021 | Chalks oil acrylic canvas | 134 x 168 cm

Muntean / Rosenblum


Fall - Isabel, 2008 | Fuji Crystal Archive Digital Paper | Variable dimensions

Erwin Olaf


Sea of Tranquillity - film still (Dancer), 2011 | Lambda-print mounted on Dibond back in wooden frame | 52 x 106 cm

Hans Op de Beeck


Nadira, 2019 | Fine art inkjet print | 100 x 80 cm

Gilleam Trapenberg


Fixing a broken perspective, 2022 | Acrylic and metallic paint on unstretched canvas | 100 x 100 cm



For questions or inquiries about the works from Art Rotterdam Part #1 (virtual), please contact us through the button below:

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