At tegenboschvanvreden – bloemgracht 57 – Amsterdam
NUMBER 46: Forty-six is a number that serves as a name for various roads throughout the world. Forty-six is a number which, when pronounced in a certain way in Japanese, means something to the effect of ‘warm regards’, and which is often used as a greeting for that reason. In numerology forty-six is a number that can stand on its own; its energy is aimed at building a basis for the future, for itself and for its numerological ‘family’. This year tegenboschvanvreden will be ending the season with NUMBER 46, the gallery’s forty-sixth exhibition, which is the start of the new season, including work by four artists who will be having solo presentations in the gallery.
Collecting the Alphabet: The Inner Ear Chambers (Heartbeat)
September 9 – October 7, 2017
DANIËLLE VAN ARK @ KUNSTRUIMTE DE NEDERLANDSCHE BANK
‘I Wait, I Wait, I Wait, I Wait’
On view until next Monday, July 3.
Because of safety procedures you can visit the exhibition only after announcing your visit either via email (email@example.com) or by telephone
According to philosopher Ton Lemaire, people nowadays are no longer dependent on the space in which they are located. We are ‘delocalized’, and feel more or less at home everywhere. At the same time we are in a lot of places like shops, roads, airports and stations. You can not attach to such places. The waiting room is also such a non-place.
Multimedia artist Daniëlle van Ark has based her exhibition in de Kunstruimte of de Nederlandsche Bank on Lemaire’s theory, the function of the exhibition space in the bank and the song ‘Waiting Room’ of post-hardcore band Fugazi. This 80’s song deals with issues that are still topical such as identity, self-esteem, fear of the future and the need of people to make it.
The exhibition space has been changed into a place with cliché images such as outdated magazines, wall art, a coat rack and display cabinets. A non-descript space that leaves questions like who is waiting for what unanswered. The waiting room is the place where one is being confronted with life itself.
ANA NAVAS (A.O.) @ GARAGE ROTTERDAM
The work of Ana Navas is part of the group show ‘Humble‘
On view until July 16, 2017
Curated by Heske ten Cate and Hanne Hagenaars
Being humble is not the same as lacking confidence. A humble person knows who he is and is open to new insights. And he is not afraid of making a fool of himself.
Would being humble make sense in this day and age, or would you simply be working against your own interests?
In the visual arts, ‘modest’ works are often valued, monochrome tints teach you to seek nuances, humble materials change your perspective.
Instead of looking upon artists as visionaries or great geniuses, we could see them as a channel to the world.
Humble exhibits works of art that reflect the significance of being humble: a hair shirt, a piece of art from an anonymous artist, or art composed of simple materials. The exhibition examines the value of being modest and humble.
MARIE ALY & EVI VINGERLING (A.O.) @ MARRES
‘The Painted Bird‘
On view until August 13, 2017
The Painted Bird is a joint art work by Marie Aly, Cian Yu Bai, Bonno van Doorn, Kim David Bots, Gijs Frieling, Natasja Kensmil Klaas Kloosterboer, Mirthe Klück, Frank Koolen, Fiona Lutje House, Charlott Markus, Kalle Mattsson, Jan the Pavert, Tanja Ritterbex Sam Samiee, Charlotte Schleiffert, Derk Thijs, Sarah Verbeek, Helen Verhoeven, Evi Vingerling and Job Wouters.
Europe 2017. Are we dancing on a volcano? Are renewed nationalism, xenophobia, the distrust of politics and democracy, the arrival of refugees, and economic insecurity preparing us for a terrible meltdown? It is well possible. It shouldering give us hope for this project, since the best art is produced on the verge of despair, When civilizations crumble and we’re about to shift into a new world order.
Marres Maastricht produced a spectacular mural about Europe by nineteen artists who have painted all rooms, corridors, the stairwell, floors and ceilings of the historic Marres House. Having a surface area of about 750 m2, the painting depicts a series of beautiful and frightening environments, zoals a high-tech clone supermarket, the last surviving piece of primeval forest, a Berlin love and hippie fest space, a spider portrait corridor, a new life festival in the year 2050. Gijs Frieling directed the modern Gesamtkunstwerk. The artists Frank and Kim Koolen David Bots developed a comprehensive soundtrack, and Charlott Markus and Kalle Mattsson make a publication. The book will be published April 2017 and will cost 25, -. If you would like to reserve a publication, please send an email with your name and address to firstname.lastname@example.org
1016 ke amsterdam
wednesday – saturday, 1 pm – 6 pm