Ronald de Bloeme

Ronald de Bloeme 1971

Lives in Berlijn. Works in Berlijn.
Represented by:


The examples for my paintings comprise everyday “Found Footage” materials such as sewing sample cards, paper airplanes, chewing gum wrappers or cigarette packs. All these materials are so-called communication systems; their purpose is to convey a message. Lines, colours, figuration and abstraction have been diverted so far from reality and been composed for a function that the image they form interests me. Composition is the wish to communicate. The most important thing here for me is whether the above-mentioned examples are still recognisable for the conditioned perception of the public, me first, at the moment you change these through a tiny image manipulation, by, for example, replacing the text (of the packaging) with black bars (censorship), deleting figuration from a particular packaging or showing the image in a negative form (inverting it as the opposite of positive). All the material comes straight from my personal environment of the packaging, advertising and media for various products. I scan this material into my computer and edit it in Photoshop. The materials are composed in advance with the greatest possible care and I decompose them. I put the different image segments together again in a new image (collage) in which the reference remains latently visible, even though the codes are no longer legible as such. The result is an image with high information density in powerfully recognisable colours and shapes. What matters to me here is the play between abstraction and pop, whereby I continually make my way between manipulation and disassociation. Ultimately, I transform these decompositions into my paintings. The computer is like an intermediary between me and the painting. For the last two years the censor has become more and more important within my image compositions. This has actually always been a component of my work but I now want to make it more visible. I place the black censorship bars over the logos of Stern and Heineken or even over my own paintings in order to create new and exciting image information for myself. I also develop paintings in which some image segments give the delusion of a particular example (for example the colours and form of Marlboro). A new technique here is using a mechanical sander to rub down my paintings. This creates structures over which I have partial control. The new surface, where the sanding brings underlying colours to the top, is the result of my placing cardboard (packaging material) behind the painted surface. These counterfeited examples achieve an impression of a packaging or visual message. My paintings are only made using matt and gloss paint in order to stay as close as possible to the identity of the packaging world. In these works the familiar “Found Footage” examples stand as polar opposites to the painterly treatments I have added. However the viewer perceives both of these image segments as a repeated message, a part of the whole. Here, my challenge is to test the viewer's conditioned perception yet again. This image manipulation enables me to smuggle my own information into the perceived image - perception piracy. Ronald de Bloeme, 2013

Market position


RONALD DE BLOEME 13 juni 1971 Leeuwarden, Friesland 1992-1996 Willem de Kooning Akademie, Rotterdam Lives and works in Berlin, since 2000 COLLECTIONS (selection) Museum Voorlinden, Wassenaar CBK, Rotterdam Stedelijk Museum, Schiedam Schunck, Heerlen GASAG, Berlin Berlinische Galerie, Museum für moderne und zeitgenössische Kunst, Berlin Vattenfall, Berlin Espacio 1414, San Juan Galerie Neue Meister, Albertinum, Dresden Safn Collection, Reykjavik Sic!, Stavanger International Collection SOLO EXHIBITIONS (selection) 2017 BorzoGallery, ‘Alternative Facts’, Amsterdam 2015 Tour Pop-Up Galerie (Tour de France), ‘Maillot Jaune’, Utrecht 2013 PS, ‘The Unseen’, Amsterdam 2012 Hamish Morrison Galerie, ‘Home Alone’, Berlin 2011 Künstlerverein Malkasten, ‘Kurzstrecke nach Düsseldorf’, Düsseldorf Hamish Morrison Galerie, ‘Speisereste Kategorie 3’, Berlin Deutsche Werkstätten Galerie Hellerau, ‘Reizleitungen’, Dresden 2009 Hamish Morrison Galerie, ‘Diktatur’, Berlin Stedelijk Museum Schiedam, ‘Piracy’, Schiedam 2008 Berlinische Galerie, Museum für moderne und zeitgenössische Kunst, ‘Piracy’, Berlin Galerie Nouvelles Images, ‘True Colour’, The Hague Pharos, Centre for Contemporary Art, ‘Best Discount’, Nicosia 2007 Spielhaus Morrison Galerie, ‘Männerparadies’, Berlin Galerie Nouvelles Images, ‘No Flavour’, The Hague 2006 Galerie Nouvelles Images, ‘Auslaufmodell’, The Hague 2005 Autocenter, Airborn ‘Chewing Gum’, Berlin 2004 Galerie Nouvelles Images, ‘Mode für Männer’, The Hague 2003 Galerie Nouvelles Images, ‘Ronald de Bloeme’, The Hague 2002 Goethe Institute, ‘Worldwide II’, Rotterdam Galerie Buro Empty, ‘Drei in Eins’, Amsterdam 2001 Künstlerhaus Bethanien, ‘Worldwide’, Berlin Galerie Nouvelles Images, ‘Ronald de Bloeme’, The Hague 2000 TENT., ‘Line-Up’, Rotterdam. Galerie Delta, ‘Ronald de Bloeme’, Rotterdam 1998 Galerie Delta, ‘pathfinder’, Rotterdam GROUP EXHIBITIONS (selection) 2017 Kommunale Galerie, ‘Translation’, Berlin Concordia, ‘Ronald de Bloeme / Charlotte Schleiffert’, Enschede Galerie Sabine Knust, München 2016 Projektraum Kunstambt Kreuzberg, ‘PS in Berlin’, Berlin Galerie Witteveen, ‘Ritme & Regelmaat’, Amsterdam Stedelijk Museum Schiedam, ‘Het ABC van de Collectie’, Schiedam Snap Project, ‘Snipers Choir’, Lyon, 2016 2015 Museum Flehite, ‘Cobra tot Zero’, Amersfoort Display Gallery, ‘Starting Grid’, London 2014 Spinnerei Archiv Massiv, ‘Printjam’, Leipzig Kunsthalle im Lipsiusbau, ‘Architect-Busdriver-Zwei Brücken’, Dresden 2013 Stedelijk Museum Schiedam, ‘Ronald de Bloeme, Daan van Golden, JCJ Vanderheyden - Naast elkaar, tegelijkertijd’, Schiedam Hamish Morrison Galerie, ‘Schwarz/Weiss’, Berlin Teksas, ‘Deadwood’, Græsted