Mariana Cánepa Luna's Amsterdam Roundup for art-agenda.com
Tue, Dec 17 2019
→ Continue reading.
Originally published in art-agenda on December 13, 2019.
Below a broader selection of images from the exhibitions and events mentioned in the review, as well as others that couldn't fit in the 1,000-word review, such as Andrei Tarkovski’s exhibition at the Eye Filmmuseum, AKINCI’s group exhibition, Rozenstraat — a rose is a rose is a rose, more Rijksakademie artists’ studios and a short visit to Rotterdam's Witte de With and the new space of Wilfried Lentz in the Port.
(Above and below) Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. All photos by Mariana Cánepa Luna (unless otherwise specified in the photo caption).
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann.
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann.
(Above and below) Carlos Amorales, ‘Orgy of Narcissus’, 2019. Courtesy of the artist, kurimanzutto, Mexico City / New York, and Nils Stærk Gallery. These works were developed in collaboration with the TextielLab, the professional workshop of the TextielMuseum.
Carlos Amorales during the press tour presenting ‘Life In The Folds’ a work produced for the Pavilion of Mexico at the 57th Venice Biennale in 2017.
Carlos Amorales, Black Cloud, 2007 (installation view). Collection of Diane and Bruce Halle.
Carlos Amorales, Aprende a joderte (Learn to Fuck Yourself), 2019. Courtesy of the artist and kurimanzutto, Mexico City / New York.
(Above and below) Patricia Kaersenhout, ‘Guess Who's Coming To Dinner Too?’, 2019, installation view, De Appel, Amsterdam.
(Above and below) Installation view of Andrei Tarkovski at the Eye Filmmuseum presented an interesting curatorial challenge: how to translate the oeuvre of a filmmaker into an exhibition. In the case of Tarkovski, his limited filmography (8 feature films, plus 3 short films) reduces the challenge considerably, yet the decision of screening 20-minute clips from each film and splitting those clips on two or three large screens simultaneously raises further artistic questions—how far can the immersive experience be stretched? Tarkovski’s unique imagery and tempo multiply throughout the exhibition space far from the durational, one-image-at-a-time consumption offered by the cinematic experience (not to mention the cacophony, which must be said, was reduced here thanks to state-of-the-art hovering speakers above visitor seats). The second challenge has to do with the institutional programme. The next exhibition at the Eye Filmmuseum will be dedicated to (yet another man) Belgium-born, Mexico-based visual artist Francis Alÿs, and in March 2020 to Chantal Ackerman, the Belgian avant-garde filmmaker who passed away in 2015. This will be the first institutional solo exhibition dedicated to a woman since the museum opened in 2012, which is quite eye-opening (intended pun) and significant in the context of the low number of institutions programming female artists solos — yet it's also important to take into consideration the larger picture of female representation in the filmmaking industry.
Sander Breure & Witte van Hulzen, "Accidents Waiting to Happen", installation, sculpture, video, performance, 2019. Prix de Rome 2019. Courtesy tegenboschvanvreden, Amsterdam.
Femke Herregraven, "Diving Reflex (Because We Learned Not to Drown, We Can Sing)", multimedia installation, 2019-ongoing. Prix de Rome 2019.
Esiri Erheriene-Essi, "The Inheritance" (or Familiar Strangers), 2019. Prix de Rome 2019.
Rory Pilgrim, "The Undercurrent", multimedia installation, 2019-ongoing. Prix de Rome 2019. Courtesy the artist and andriesse eyck galerie. Pilgrim's film received the Prix de Rome Visual Arts 2019 award for his work, receiving 40,000 euros and a residency at the American Academy in Rome.
Studio by Shahidul Zaman during the RijksakademieOPEN 2019.
Studio by Christopher Manon during the RijksakademieOPEN 2019.
Studio by Jude Crilli during the RijksakademieOPEN 2019.
Studio by Aldo Esparza Ramos during the RijksakademieOPEN 2019.
Studio by Artor Jesus Inkerö during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Salim Bayri during the RijksakademieOPEN 2019.
Remco Torenbosch “Now” (2019), video, 180min, during the RijksakademieOPEN 2019.
Studio by Antonio Vega Macotela during the RijksakademieOPEN 2019.
Studio by Anderu Immaculate Mali during the RijksakademieOPEN 2019.
Studio by Lotte van Geijn during the RijksakademieOPEN 2019.
Studio by Özgür Atlagan during the RijksakademieOPEN 2019.
(Above
and below) Claudia Martínez Ayala solo show ‘A las revoluciones, como a
los árboles, se les reconoce por sus frutos’ [Revolutions, like trees,
are recognized by their fruits], 2019, installation view, Courtesy the artist and GRIMM Amsterdam | New York.
LA-artist Matthew Monahan at Fons Welters, Amsterdam.
Day trip to nearby Rotterdam to visit three unique solo shows at Witte de With, by Rossella Biscotti (above and two below).
(Above and below) Also had a chance to visit the new venue of Wilfried Lentz in the Port area, next door to Atelier van Lieshout studio, which had a solo show of James Beckett.
(Above and below) Back in Amsterdam, kunstverein’s presented ‘Who's Werner?’ a group exhibition concerned with recognised authorship in collaborative artistic practices.
Next door, Martin van Zomeren presented a solo show of Marcel van Eeden.
Tahmina Negmat at Althuis Hofland.
Maarten Vanden Eynde's work at Cargo in Context, part of the group show "On-Trade-Off: The Weight of Wonders", an artistic trajectory initiated by the artists' initiatives Picha (DRC) and Enough Room for Space (BE).
And last but not least, the solo show presenting a site-specific sculpture by Belgian artist Leyla Aydoslu at P/////AKT.
→ RELATED CONTENT:
- Mariana Cánepa Luna reviews ‘Te toca a tí! [It's Your Turn!]’ at Espai d'art contemporani de Castelló for art-agenda 8 January 2019
- Report: Trip to Vienna Art Week and Amsterdam Art Weekend 2018 28 November 2018
- Mariana Cánepa Luna's London Roundup of Frieze week 2018 for art-agenda.com 15 octubre 2018
- Mariana Cánepa Luna reviews ‘Allora & Calzadilla’ exhibition at the Fundació Tàpies, Barcelona, for art-agenda.com 21 Marzo 2018
- Participants in the symposium "You're such a curator!" at de Appel Arts Centre, Amsterdam, 23–24 November 2016 and Amsterdam Art Weekend 12 December 2016
- Mariana Cánepa Luna review of Ana Jotta's exhibition at ProjecteSD, Barcelona, for art-agenda 11 November 2016.
- Mariana Cánepa Luna review of Francesc Ruiz exhibition at garcía galería, Madrid, for art-agenda 4 March 2016.
- Amsterdam Art Weekend 2014 on Wakelet 27–30 November 2014
- Latitudes review of Andrea Büttner exhibition at NoguerasBlanchard, Barcelona, for art-agenda, 21 July 2014.
Manifesta 9, "The Deep of the Modern", Genk, Belgium, 2 June – 30 September 2012 in pictures and seen by the critics
Tue, Jun 12 2012
Façade of the Waterschei industrial complex of the former coal mine in Genk where Manifesta 9 takes place.
Extra materials:
In her prologue Manifesta founding director Hedwig Fijen, defines the difference and the strength of the current incarnation of the European biennial: "'The Deep of the Modern'" is the first Manifesta biennial to intentionally leave behind its strictly contemporary origins as the basis of its exhibition model. As an uncompromising European contemporary art event, Manifesta 9 distances itself from the much-hyped model of showcasing only the latest artistic production by emerging talent, typical of these mega-shows. Instead it embarks on a critical attemps to foster interdisciplinary and intergenerational dialogue between the history of the site and the sometimes overlooked memories of the mining communities."
The introduction of an art historical perspective into the project has been a way to appeal to a more diverse audience, as Cuauhtémoc Medina, Chief Curator of Manifesta 9, has noted in his introductory essay: "our hope is that the long historical perspective will attact a local audience in a region that has not customarily been a consumer of contemporary art, along with a number of scholars and the descendants of the miners that built the region."
Art Agenda's review by writer and Co-Director of Tulips & Roses gallery in Brussels, Jonas Žakaitis provides the backstory:
"Genk is a town built for the sole purpose of getting the black stuff out of the ground. Early in the last century, after geologist André Dumont discovered significant amounts of coal lurking in the area, something like 60,000 people moved in from various parts of the world to work in and around the pits, building several large-scale mining complexes with the town's modest amenities sprinkled around them. When heavy industry glaciers started moving out of Western Europe in the 1980s, Genk was left with a large useless hole right in the gut. The remaining fraction of the Waterschei mine (23,000 sq. m of it) is an involuntary witness to this process of de-industrialization, a derelict but beautiful and proud building. After Manifesta 9, or so it tells me in the press pack, it "will be redeveloped as part of a master plan to create Thor park (is this name a jolly wink to the Germanic god of thunder, I wonder), a business and science complex focusing on innovation and knowledge."
Stairs connecting the first and second floor of the Waterschei.
Kate Sutton's Artforum.com review also framed the loaded context: "Chief curator Cuauhtémoc Medina, together with co-curators Katerina Gregos and Dawn Ades, selected the Belgian province of Limburg, “a mini European Union” also known as “Euregio-Meuse-Rhine.” The region has spent much of this century heavily dependent on coal production, but, with the last mine closing in 1992, Limburg is now eager to transition to new technology. Once a kind of Emerald City for coal miners, the garden city of Genk provides the ideal venue with its massive, Art Deco–style André Dumont mine."
Top floor of the Waterschei building.
As Javier Hontoria noted in his El Cultural review, Medina wanted to concentrate everything in the Waterschei, "favoring the concept of "exhibition" versus the "festival", and consequently emphasizing the metaphor of the vertical versus the horizontal to the light of new economic systems." (...) "The idea of strata" – he continues – "so tied to the world of mining, backbones the sense of the exhibition, which, under the title "The Deep of the Modern", unfolds in a concise and accurate way throughout the three levels of the building."
As explained in the press kit, 'The Deep of the Modern' begins with '17 Tons' "an exploration of the cultural
production that has been powered by the energy of memory that courses
through the diverse heirs of coal mining in the Campine region of
Limburg, as well as several other regions in Europe".
Models of the Underground from the 1950s, 3D representations used to teach 14–17 year old boys mining techniques and location of the coal layers.
Works by Manuel Durán (an 82 yeard old self-taught artist and former miner for 19 years) who has been making "Miners' heads" sculptures since the 1950s out of potato pulp, coal, salt and paint.
Lara Almarcegui, "Wasteland (Genk), 2004–16. More than 1 hectare of wasteland in public space." For the project, Almarcegui identified a neglected plot of land and scouted, surveyed and described the land. "Through negotiations iwth the City of Genk, Almarcegui arranged to protect the terrain from development for ten years (...). For Manifesta 9, the City of Genk agreed to extend the work for an additional two years and is currently in the planning stages of protecting it in perpetuity." (text by Steven Op de Beeck included in Manifesta 9 manual "The Deep of the Modern – A subcyclopaedia", Silvana Editoriale). Latitudes' visited the site back in 2007 (see blog here).
Continuing on the second floor we encounter 'The Age of Coal': "An art historical exhibition comprising
artworks from 1800 to the early 21st century about the history of art
production aesthetically related to the industrial era" (...) "organized into several thematic
sections with artworks in which coal played an important role. Coal as
the main fuel of industry, as a major factor of environmental change, as
a fossil with significant consequences in the field of natural science,
as the main referent of certain forms of working class culture and as a
material symbolic of the experience of modern life".
One of the three works by Marcel Broodthaers, "Trois tas de charbon", 1966-67.
David Hammons, "Chasing the Blue Train" (1989) "focuses on the powerpul metaphor of the railroads that have tgransformed the landscape and socity of the US since the 19th Century." (text by Mieke Mels in Manifesta's "The Deep of the Modern – A subcyclopaedia", Silvana Editoriale).
Richard Long's 26 meter long black "Bolivian Coal Line" carpet from 1992.
Rossella Biscotti, "Title One: The Taks of the Community", 2012. Biscotti also contributed with "A Conductor", 2012: On December 2009, the Unit 2 of the Ignalina Nuclear Poer Plant in Lithuania closed, consequently materials from the site were put up for auction. Biscotti acquired lead which have now been reused in Belgium into the new electrical wires to supply electricity for the show. She also acquired lead, which is the basis for her floor sculptures in the spectacular Sint-Barbara's hall.
Antonio Vega Macotela (below) Study of Exhaustion — The Equivalent of Silver (2011), "a
(failed) venture to export a “boleo” of coca leaves from Bolivian
silver mines represented by a boleo-shaped piece of silver, roughly the
amount of silver one miner gets out in a day" (Jonas Žakaitis in Art Agenda); and Rossella Biscotti (above).
Finally on the top floor, we find the section 'Poetics of Restructuring', with "contributions from 39 contemporary artists, focusing on aesthetic responses to the worldwide “economic restructuring” of the productive system in the early 21st century".
"This
archetypal kind of socio-econo-political development from
industrialization to de-industrialization to post-industrial
capitalism—and the corresponding forms of production, geographies, and
distributions of resources—is what Manifesta's contemporary art section,
mostly on the third floor of the building, is about." (Jonas Žakaitis in Art Agenda)
Manifesta educational materials and leaflets: "developed by the Manifesta 9 Education
& Mediation department. There are 3 different 3x3 Newspapers for 3 age groups (12-, 12+ and 18+), so make sure you have
the right one for you."
Ante Timmermans' "Make a Molehill out of a Mountain (of Work)" (2012).
View of the landscape from Ante Timmermans' space and the remaining Waterschei building (not in use).
Goldin + Senneby's "The decapitation of Money", 2010. From the exhibition newspaper: "Goldin + Senneby and team test the hypothesis that Headless Ltd. (a mysterious offshore company registrered in the Bahamas) is a reincarnation of the secret society "Acéphale", founded by Georges Bataille and friends in 1936."
Emre Hüner, "A little Larger Than the Entire Universe", 2012.
Duncan Campbell's "Make It New John", 2009, 50' video. Depicting the "history of the DMC-12, the extravagant, futuristic automobile created by American engineer and entrepeneur John Delorean (1925-2005). Campbell documents the strange attempt to use its production as a tool of social engineering. Relying heavily on archival footage, and incoporating a few staged scenes that introduce a political and biographical allegory, Campbell attempts to construct a panoramic view of the polar extremes that have characterized the social life of this icon of consumerism." (text by Cuauhtémoc Medina in in Manifesta's "The Deep of the Modern – A subcyclopaedia", Silvana Editoriale)
Back to Žakaitis analysis: (...)
The weird part though is that all of these things, displayed in a
generic and anemic way, are fenced from Mijndepot Waterschei, a full-blown and fully functioning museum assembled by former miners themselves back in 2004. Be sure to go there
if you visit this Manifesta, and check out hundreds of mining tools,
helmets, saint statues, a small train, and a 1:1 scale model of a coal
shaft: great stuff that can get you really sooty.
Miners museum in the Waterschei's first floor.
Nicoline van Harskamp, "Yours in Solidarity", 2009–12. Video, audio and archive material.
Praneet Soi's slideshow "Kumartuli Printer, Notes on Labor Part 1", 2010, which "parsed out the gestures of a printer's hands as he interacts with an ancient pedal-operated press in Calcutta. As the operator feeds paper into his anachronistic machine, it spits out grainy, high contrast images of his own hands, immersed in labor" (text by Cuauhtémoc Medina in in Manifesta's "The Deep of the Modern – A subcyclopaedia", Silvana Editoriale).
Maarten Vanden Eynde, "Plastic Reef", 2008–12: a collection of melted down plastic trash collected while swirling in the Pacific Ocean. For more info see his comprehensive website.
As for the publication "The Deep of the Modern – A subcyclopaedia" (Edited by Silvana Editoriale), the curator writes that it has been "designed to suggest the complexity of meaning involved in the whole project as well as the richness of the individual elements themselves. (...) We have chosen to publish a book that breaks from the mould of conventional exhibition catalogues. We evoke the form of the encyclopaedia as a means of organising a whole made up of multiple unities (...). This Subcyclopaedia will thus serve as a record of the research process behind the biennial. (...) Our neologism is meant to suggest a comparison between the use of this reference book and the exhumation of modernity's underworld in the heritage, culture and history of coal mining.".
Despite this intention of "breaking the mould", the 320-page book does include the traditional institutional forewords (to be precise, four) and an introductory curatorial essay by Medina. Many other texts are disseminated throughout the publication, which is organised in alphabetical order A to Z, mixing concepts (starting with "Accumulation", ending with "Underground as Hell"), with artist texts by a network of over 30 writers, and essays by Gregos ("Poetics of Restructuring: On the question of production in the contemporary section of Manifesta 9") and Ades ("The Age of Coal: An Underground History of the Modern"), amongst other long form texts (by Medina himself, Svetlana Boym, as well as misfit entries such as "The Legacy of Manifesta" by Hedwig Fijen).
Manifesta 9 curator Cuauhtémoc Medina (purple shirt) giving a tour during the opening weekend.
These and more photos (93 total) on Latitudes' flickr.
All photos: Latitudes | www.lttds.org
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.