Thank you!

Sunday the 16th of September 2012 was the last day of the summer group show. This is also the last news that we will post here as this weblog was set up to promote ‘4 the Korenbeurs Schiedam’ summer group show to a broad and international audience.

A new way of working
It all started with the personal choice by Berry Koedam, Johan Deumens, Berry Koedam, Anne-Marie Ros and Tanya Rumpff. The 4 curators who created and run the summer show ‘4 the Korenbeurs Schiedam’ collectively from June 30th, 2012.

The curators created an interesting groupshow through the interaction of work in a variety of media, the exhibition created a visual exchange, connecting conceptual, figurative, minimalist and abstract art.

It would not have been such a success without the works by over 30 young and established national and international contemporary artists among others Annesas Appel, Laurence Aëgerter, Jeroen Bodewits, Desiree de Baar, Niels Broszat, Marie Cloquet, John Curran, Rolf Engelen , Anett Frontzek, Rachel Goodyears, Kate van Harreveld, Jeanne van Heeswijk, Rosemin Hendriks, Shelagh Keeley, Nina Kluth, Hajnal Németh, Zaida Oenema, Jonas Ohlsson, Mark van Overeem, Micha Patiniott, Vanessa Jane Phaff, Dieuwke Spaans, Mirjam Somers, Anna Tanner, Bert Teunissen, Kees Visser, Bouke de Vries, Petra Werlich, Luuk Wilmering and Hulya Yilmaz.

Thank you
First of all we would like to thank Ron Klein Breteler, the first chairman of the re-opened Korenbeurs Schiedam. And a big thank you to all the Artists, the Stedelijk Museum Schiedam, the Art Collectors, the Public and the Press for their enthusiasm, feedback and support that we curators have received during the Summer Group Show 2012.

What’s Next (-> September 2012)
Berry Koedam will be active in Salernes in France. Johan Deumens is guest at De Drie Heuvelen and present at Offprint Amsterdam 2012. Anne-Marie Ros takes part in theManchester Contemporary 2012. Tanya Rumpff is guest at JAN SIX FINE ART in Amsterdam.

All for the art 🙂 

BONUS WEEKEND – Sept 15 and 16, 2012

The summer exhibition ‘4  the Korenbeurs Schiedam’ closing date September 9th is extended with a Bonus Weekend: extra opening on Saturday September 15th and Sunday September 16th, 12:00 – 6PM

John Curran recapturing the overfamiliar

Curran is taking something familiar and stopping it, visualising someone or something in his immediate life history, in an immediate way as he is interested in the everyday situations in his life. In looking at them, analysing them visually and finding a rationale that is at once amazing and awkward.

He sees the awkwardness in the ordinary, recapturing the overfamiliar, while he focus on the relationships in the world around all of us, and not on the act of just taking a picture or painting a painting,

Experiencing our environment and all its contradictions, especially those images or situations that we ignore because of their familiarity or we reject because of their banality or physical awkwardness, interest him most.

Curran says, “I do a lot of painting, drawing, printmaking and photography. For me this all is related to my perception: through being overexposed to technology, particularly regarding the photographic image, which has become completely dislodged from its material form nowadays. For example I can take a picture from your mobile phone and e-mail it to someone. Now that photograph has no material substance. I have been dislodging photography through my printmaking and painting. The materiality inherent in painting and the process of drawing and printmaking, is reasserting itself because with these media I have a certain kind of control over the image, which is impossible with something dematerialized and fluid. That is why I do all analog photography. It is very manual and for me it is very important to have a hands-on approach.”

Andreas Huyssen recently pointed out a great irony about our time in his book Present Pasts: that even as our capacity for digital memory expands, digital technologies grow obsolete at an ever – increasing rate. The image or idea becomes most important to communicate through manual means but in Curran’s work it is becoming more of a dialog between how the concept dictates and how the media is used, not the other way around.

Painting, various print making methods, digital and analog photography are all visual media, but all have different visual vocabularies based on their materiality. Curran is flushing this out in his work by placing these visual vocabularies together to see how one technique create depth and  then is canceled out by another. In some cases it is, how depth is both created and canceled out by the same technique.

 

 

Free curator tour on July 28, August 5, 12, 18, 22, 31 from 4pm – 5pm (and by appointment)

Join curator Anne-Marie Ros on a free tour and learn more about the building and the works by artists featured in 4 the Korenbeurs Schiedam include among others: Annesas Appel, Laurence Aëgerter, Jeroen Bodewits, Desiree de Baar , Niels Broszat, Marie Cloquet, John Curran, Rolf Engelen, Anett Frontzek, Rachel Goodyear,  Kate van Harreveld, Jeanne van Heeswijk, Rosemin Hendriks, Shelagh Keeley, Nina Kluth, Ádám Kokesch, Mirjam Kuitenbrouwer, Hajnal Németh, Gerard Polhuis, Zaida Oenema, Jonas Ohlsson, Mark van Overeem, Micha Patiniott, Vanessa Jane Phaff, Marjolein Rothman, Dieuwke Spaans, Mirjam Somers, Anna Tanner, Bert Teunissen, Kees Visser, Bouke de Vries, Joncquil de Vries, Petra Werlich, Erwin Wurm, Luuk Wilmering en Hulya Yilmaz.

In the press: visitors love the Korenbeurs and the summershow

Lovende woorden voor Korenbeurs in AD 12-07-23

Marie Cloquet labour-intensive collages form fictitious landscapes

Lives and works in Ghent, Belgium.

In her search for harmony she regularly run into complete failure. Utopian poverty: not needing any material possession, often becomes threatening poverty: not having any. So far, the interesting point consists in turning failure into attractiveness. And work on the constant redefinition of periphery and marginality.

In Marie Cloquet recent work she has created large labour-intensive collages that form a fictitious landscape, using prints of self-made photographs touched-up with watercolour. A number of travels to Nouadhibou in African Mauritania inspired the works. The more than three hundred shipwrecks, slowly rusting away, have turned Nouadhibou’s coastline into an immense ship graveyard. Some of the ships have deteriorated to the point where only a skeleton remains. Some of the wrecks lie beached on the shore; others are still floating in open sea.

Marie Cloquet is fascinated by the chaos and the ‘deteriorated’ state of most of the ships, which turns the landscape into an apocalyptic vision. As with the huts and shelters before, Marie Cloquet explores the Nouadhibou landscape in search of sculptural qualities which originate, somehow coincidentally, in the tension field that lies between chaos and structure. The ship wrecks are – much like the huts – protective shells, which have, however, been stripped of their meaning by the forces of nature and been recreated into chaotic constellations that possess new formal qualities.

The way in which she creates a landscape in her collages, makes it hard for the spectator to grasp the build-up of the whole. What at first glance looks like a uniform landscape becomes, upon closer inspection, a complex landscapish composition into which one looses oneself through the act of observing. The scale distortions and the various perspective lines turn the collages into visually disorientating experiences whose function systematically varies according to one’s distance from the work. In this way, the collages challenge the spectator into a mental adventure, in which the apparent escapist character of the landscapes becomes threatened by current social themes such as pollution and poverty.

 

Contact Tanya Rumpff

Anna Tanner is seeking to address feelings of anxiety or isolation

Lives and works in Arkansas, USA.

In her oil paintings, but also her plaster dioramas, drawings and performances Anna works with situations found in society; such as the human desire to move forward while simultaneously longing for the past, or a desire to demonstrate self-worth in a realm of the uncharted whilst dwelling in urban confinement. The works consider our changing relationship with both time and spaces by incorporating epitemological aspects that embolden the imagination by playing up the power of uncertainty.

Anna says, ‘In my work I respond to the everyday but is characterised by the fantastic, dream-like imagery and incongruous juxtapositions, by use of open-ended narratives and deployment of everyday materials and hobbyist techniques. I look at the characterisation of the social outcasts and their ability to reclaim the unknown. Based on the dialectical relationship between real time experience, projected memory/histories and the underlying psychology surrounding these phenomena. Or play up the power of uncertainty, contrasting a world in which so little of the natural landscape is left undiscovered, cultivated or urbanised. In exploring our optimistic idealologies of subculture  I am seeking to address feelings of anxiety or isolation. ”

anna tanner _ toile de jouy 2011_sold

 

Check here for more info on Anna Tanner. Curator Anne-Marie Ros only present a tightly edited selection of Tanners work in 4 the Korenbeurs Schiedam.

Trendbeheer goes Schiedam

Trendbeheer – Niels Post, visited ‘4 de Korenbeurs Schiedam’ and he not only liked the bike ride but also what he saw🙂

Luuk Wilmering – images out of context

Lives and works in the Netherlands.

“__Wilmering’s oeuvre comprises installations, collages, photography, drawings and paintings. He also produces numerous artist’s books. In his work, he continually investigates, not without humor, his position as both person and artist.

The mirror-effect between the artist and his public is an important element in Wilmering’s work. In his collages, he takes his images out of context in the same way as he repeatedly takes himself, as an artist, out of the context of general artistic practice.

The series entitled Cut Out (2008-2009) is in line with the rest of his collages. This set, however, involves removing images and text rather than combining them. Wilmering has used the front pages of international newspapers as the starting point for Cut Out. The cutting out of all information and illustration results in, as it were, abstract window frames. These abstract  compositions now make one think rather of building plans where, just as in the daily news, it is easy to lose your way.__” (quotation Marieke Wiegel, Une Histoire Naturelle, Institut Néerlandais, 2011)

The front pages of the following newspapers are included: 01. Corriere Della Sera   02. Frankfur ter Allgemeine Zeitung   | 03. The Guardian   | 04. Al Hayat   | 05. Helsingin Sanomat | 06. International Herald Tribune | 07. Jaijaidin | 08. Kathimerini | 09. Los Angeles Times | 10. Le Monde   | 11. Moskovskie Novosti | 12. Nikkei   | 13. NRC Handelsblad | 14. El Pais | 15. Sing Taro Daily | 16. De Standaard | 17. The Wall Street Journal

Cut Out, 2009
Alongside the series of 17 original framed cut outs, of which there are 12 on show, the artist published a printed edition including 17 prints. The name of the newspaper concerned is handwritten on the reverse side.

The edition is limited to 12. Signed and numbered in the colophon. Printed on Daler-Rowney Heavyweight 220g acid free paper with. Epson Ultra Chrome K3+ ink. Size of paper : 42 x 59,4 cm (16.5 x 23.4 inches) – €2800 including 6% tax.

Contact Johan Deumens

Rachel Goodyear's work pervade tales of fear and desire.

Lives and works in Manchester, UK

For info@anne-marieros.nl | +31 - (0)6 26 13 49 39

Door, (detail) – 2011 | pencil and watercolour on paper | 45cm x 33cm

Working mainly in pencil on paper, drawing is at the core of Rachel Goodyear’s practice. Occasionally Goodyear will allow her visions to slip off the page into the realms of sculpture and animation. Whatever the medium however, her work shares a common language of intricate detail and ambiguous narratives.

Tales of fear and desire pervade Goodyear’s work. Her characters both human and animal reside in an existence where social etiquette no longer or maybe never applied. They explore each other and the world around them with innocent curiosity and a playful dark humour.

Edition of 3 and 1 AP. #1/3 is sold.

Goodyear looks for unlikely relationships in everything that she encounters and through a process of internal ‘scrapbooking’, weaves new narratives that are delicate in their nature and unsettling in their content.

Rachel Goodyear, (born 1978 Oldham, Lancashire U.K.), graduated from Leeds Metropolitan University of Leeds with a BA (Hons) Fine Art in 2000. Since that time she has exhibited extensively within the U.K. and internationally. Her most recent exhibitions include, ‘Drawing Stories: Narration in Contemporary Graphic Art’ at, Museum Folkwang, Essen, Germany, and ‘Modifications of the Host’ at Yorkshire Sculpture Park, U.K.

In 2009 Goodyear was shortlisted for the Northern Art Prize, The Best of Manchester Awards and was listed as Guardian Newspaper’s Artist of the Week. Her work is held in a number of private and public collections.

Presented by curator Anne-Marie Ros at ’4 the Korenbeurs Schiedam’.
Courtesy: Rachel Goodyear & International 3 – Manchester, UK