October 12 – November 9, 2019
Opening: Saturday October 12, 5 – 7 pmPresent, past and future form a ménage à trois in the work of Daniëlle van Ark. They are matched and juxtaposed in a continuous play of attraction and repulsion, thus constantly shaping one another anew, as it were. Van Ark has a large collection of widely varied objects and images. That collection – of which she considers her own work to be part – is her archive. Elements from that archive are utilized time and again, in varying combinations, in a cyclical passage of time. In her work Van Ark constructs and deconstructs the present, as well as the past and the future, adhering to the notion of a permanent shift of meanings, and of time as a source of remarkable and uncanny coincidences. The question what constitutes the aura of an image plays a particular role in this. Rather than looking for a finished image, Van Ark employs the archive itself as a dynamic whole.


@ Stedelijk Museum, Amsterdam, NL
Prix de Rome 2019
October 19, 2019 – March 22, 2020

On 19 October, Prix de Rome Visual Arts 2019 will open to the public at the Stedelijk Museum in Amsterdam. The nominated artists, Sander Breure & Witte van Hulzen, Esiri Erheriene-Essi, Femke Herregraven and Rory Pilgrim, have developed new work especially for the Prix de Rome. Two weeks after the opening, on Thursday 31 October, Ingrid van Engelshoven, Minister of Education, Culture and Science, will announce the winner.

The collaboration between Sander Breure (1985) and Witte van Hulzen (1984) started ten years ago by making dance performances. Since then, they have moved to the field of visual arts, presenting performances, videos and sculptures. Their dramaturgical analysis of daily life and their observations of human behaviour form the basis of their work. The jury appreciates the ways in which they develop and formulate their observations to build richly imaginative stories. For the Prix de Rome they work on an installation in which sculpture and performance are first brought together for a longer period of time, based on two worlds that seemingly diverge.

@ Ural Optical-Mechanical Plant, Yekaterinburg, RU
5th Ural Industrial Biennial (curated by Xiaoyu Weng)
September 12 – December 1, 2019

The serial and minimalist arrangement of the installation Clockwise by Cristina Lucas offers a sensory experience, that of the simultaneous perception of the ticking of 360 clocks. Isolated from the external world in which our attention is constantly importuned, visitors are subjected to a physical experience of time or, more exactly, of its normed measure. The installation focuses on the division of time. Each dial shows four minutes more than the previous one and their sum totals 24 hours, the time the Earth takes to make a full turn on its axis. This conception of linear, chronometric and spatialised time, which allows us to associate space and time with precision, is fundamental to the organisation of human society and all mercantile activities.

Following the first circumnavigation of the globe by Ferdinand Magellan in the early sixteenth century, seaborne trade and the use of maritime routes necessitated increasingly precise clocks to be able to work out a ship’s longitudinal position and thus the direction it needed to take. With the spread of the railways in the nineteenth century and subsequent explosive economic and financial growth around the world, clocks were synchronised with one another, thus the very concept of time was adapted to benefit the capitalist system. Lucas’s work not only highlights this phenomenon, it suggests that a prevailing system can be challenged and rivalled by other ways of thinking, which are here represented by hundreds of clocks coexisting beside one another. This multitude of cacophonous ‘voices’ is moreover physically experienced through the clicks and cheerful brouhaha that they produce. 

@ Kunsthaus Baselland, Basel, CH
September 13 – November 10, 2019

In the series Autopis. Notes, Copies and Masterpieces, (2010/19) Anna Ostoya reflects on avant-garde concepts in art from the early 20th century to the present and questions the authority of historical narratives. She reconsiders the role of women within the avant-garde, and analyses both central and peripheral phenomena in historical and geographical terms. Ostoya employs a pseudomorphic method, which entails the pairing of visually similar elements to forge new interpretations. The term Autopis is invented. In different languages and scenarios it can bring diverse associations, the notion of something self-written or perhaps mobile; a urinal, an autopsy, or utopia. The prefix auto suggests a thing or phenomena that is one’s own, spontaneous or automatic.

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