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Wouter van den Eijkel
Art Rotterdam
The sun is shining, the museums are open again, the contamination figures have been falling for weeks on end, and even the face masks will soon be a thing of the past. Perfect timing for the summer edition of Art Rotterdam. Tuesday, June 22. The catalogue is online. Here’s brief preview with a short tour of 6 Rotterdam participants in the fair.
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As always, PHOEBUS’s booth is on the right after the entrance, in the aisle with the most beautiful daylight. This certainly benefits the subtle work on paper by the Hungarian-Dutch Jadranka Njegovan. In recent years she worked on her series BC, which does not stand for our era, but for life Before Chlorophyll. Chlorophyll is better known as leaf green. The component of plants that converts sunlight into chemical energy that is used for photosynthesis. For BC, Njegovan dropped a drop of water on the sheet and filled it with ink. Besides an ode to the complexity of the ecosystem, according to Njegovan, the works are also the result “of my thoughts about what life must have looked like before chlorophyll arose.... Was life on earth black and white then?” In addition to the work of Njegovan, PHOEBUS also shows works by Esther Bruggink and Anne Marie Finné.
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In the Solo/Duo section, Cinnnamon will present work by Lilian Kreutzberger (1984) in addition to work by painter Robert Roest. The mid-career artist is one of 4 nominees for this year's NN Art Award; the prize for artists who received their education (partially) in the Netherlands. Kreutzberger was trained as a painter, but immediately after her training explored the possibilities of other media. She became fascinated by the similarities between painting and digital media.
In 2019, Kreutzberger's work was exhibited in FOAM, a remarkable place venue because, even though she mixes painting with photography and digital media, her work doesn't exactly look liketypical photography. The work Knight 1, for example, consists partly of a photograph, but after Kreutzberger's treatment it gives the impression of being a piece of marble. Because of this mixture, her work seems to say something about the near future. Perhaps the question Kreutzberger poses is: Do you still have control over your own stimuli and perceptions in the future?
In 2019, Kreutzberger's work was exhibited in FOAM, a remarkable place venue because, even though she mixes painting with photography and digital media, her work doesn't exactly look liketypical photography. The work Knight 1, for example, consists partly of a photograph, but after Kreutzberger's treatment it gives the impression of being a piece of marble. Because of this mixture, her work seems to say something about the near future. Perhaps the question Kreutzberger poses is: Do you still have control over your own stimuli and perceptions in the future?
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In the Solo / Duo section, Cokkie Snoei also shows work by an NN Art Award nominee: Erik Mattijssen. His still lifes are populated by stuff. Lots of stuff. Interiors, furniture, household objects; things that represent phases in our lives. They are everyday objects from our own past, on the basis of which we compose the story of our past.
The pastel colours make for a cheerful tone, but appearances can be deceiving. Mattijssen: “In the art world there is often the idea that art has to be confusing and gloomy in order to intrigue. But art can also be exciting and evoke a happy feeling, I think. Just look at my sources of inspiration David Hockney and Henri Matisse.” It is understandable that his colourful work is in the spotlight right now, given the past year and a half in which we spent a lot of time indoors. Mattijssen himself is particularly surprised about the nomination: “I find it surprising that at my age (63, ed.) I was nominated for this award. That is thanks to Cokkie Snoei, who exhibits my work at Art Rotterdam. The nomination is an extra chance to show my work. This way even more people can get acquainted with the still lifes that I make with love and pleasure. That is more important to me than winning.” In addition to Mattijssen's colorful work, Cokkie Snoeialso shows Koos Buster's dryly comic decorative plates of "things I don't like".
The pastel colours make for a cheerful tone, but appearances can be deceiving. Mattijssen: “In the art world there is often the idea that art has to be confusing and gloomy in order to intrigue. But art can also be exciting and evoke a happy feeling, I think. Just look at my sources of inspiration David Hockney and Henri Matisse.” It is understandable that his colourful work is in the spotlight right now, given the past year and a half in which we spent a lot of time indoors. Mattijssen himself is particularly surprised about the nomination: “I find it surprising that at my age (63, ed.) I was nominated for this award. That is thanks to Cokkie Snoei, who exhibits my work at Art Rotterdam. The nomination is an extra chance to show my work. This way even more people can get acquainted with the still lifes that I make with love and pleasure. That is more important to me than winning.” In addition to Mattijssen's colorful work, Cokkie Snoeialso shows Koos Buster's dryly comic decorative plates of "things I don't like".
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What do you do when your first solo show at a new foreign gallery is canceled twice due to the pandemic? Don't give up and keep working. The Belgian painter Pieter jan Martyn used the time to reflect on his working method. Normally, Martyn is a man of thorough preparation, but this time around he wanted to know what he would make if he could throw all the knowledge overboard and proceed intuitively. That is why he decided to outsource control and his consciousness by collaborating with the well-known hypnotist Patrick Pickart. “A confrontational experience,” said Martyn. In addition to Pieter jan Martyn, Frank Taal also shows new work by Bram Braam, Daan den Houter, Gerben Mulder and Ties Ten Bosch.
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In the Main Section, NL=US Art will show work by Belgian sculptor Caroline Coolen and the Italian minimalist Flavio Seroner. Two artists who have a completely different approach. For Coolen, collage, assembly and free association is a way to get a grip on reality. In her works she processes numerous impressions to arrive at an overall impression. Seroner, on the other hand, makes two- and three-dimensional work that is based on rhythms, structures and natural materials such as wood and plaster. The simple materials and black and white colour scheme, or gradations thereof, invite the viewer to enter into a dialogue with the works. In addition, work by Lizan Freijsen and Wendy Letven is on display.