Althuis Hofland Fine Arts
A Myth, Amorph.
ROSA LOY GARETH NYANDORO PAMELA BARTLETT DAVID NORO
UNTIL MAY 25TH Julie Verhoeven Daisy, 2018
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ROSA LOY Rosa Loy is a member of the so-called ‘Neue Leipziger Schule’. Her work predominantly depicts women in phantasmagoric compositions; blushy women of socialist realism that appear in Kafkaesque mise-en-scènes. Reminding of western art historical female figures, however they never find peace in static posing. They are women caught in the act of movement, as if the world is run by them alone. Loy grew up between east and west Germany, in between the shift of communism to capitalism. An in between that involves a socialist realist style of painting from former east Germany to articulate an idea of feminism, yet motivated on a personal intuitive level of interest. Ach, 2011 23 x 31 cm, casein on paper
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Rosa Loy was born in 1958 in Zwickau, (east) Germany. Loy has had many exhibitions world wide, amongst which is the Drents Museum in Assen in The Netherlands (solo, 2017) and Kohn Gallery, Los Angeles (solo, 2018).
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In 2018 Loy has had two duo exhibitions ogether with Neo Rauch
“Loy is a member of the so-called ‘Neue Leipziger Schule’..”
(Lohengrin, Villa Schöningen, Potsdam, Germany & Grafikstiftung, Aschersleben, Germany). Julie Verhoeven Daisy, 2018 20 euro (inc VAT/BTW & ex shipping costs)
ROSA LOY ART FORUM CRITICS’ PICKS KOHN GALLERY, LOS ANGELES 2018-19 By Ashton Cooper
Many of Loy’s women have long, thick hair—an art-historical fetish that she exaggerates and makes strange. In Haarversteck, 2018, for example, a sultry redhead entangles her fingers in her own waist-length mane. The woman calls to mind Courbet’s Jo, la belle Irlandaise, 1865–66, but upon closer inspection, it becomes clear that Loy has warped the woman at her toilette into something more insidious. While Courbet’s woman sensually runs her fingers
In Leipzig-based painter Rosa Loy’s phantasmagoric compositions, the industrious, rosy-cheeked women of socialist realism are recast in Kafkaesque mise-en-scènes, in which they farm human-faced heads of lettuce, feed lollipops to Harpies wearing headbands, and recline on couches in poses of analysands more than odalisques. Loy imbues her scenes with the hazy sense of half-remembered dreams by using
through her wavy tresses, Loy’s awkwardly holds all ten twisted fingers in her thick locks. Eerily anthropomorphizing Courbet’s symbol for woman, Loy has also painted a tiny woman’s face among the strands, as if the hair were its own character. Each of her paintings picks apart the visual construction of such tropes, prodding viewers to contemplate their own scopic pleasures.
the water-based paint casein, which allows layers of underpainting to show through the thin washes on top, keeping colors and figures from being fully resolved. Often appearing in groups of two or more, her cast of female characters inhabits a separatist world in which women’s spaces are sites of fable-like narratives dense with symbolic, if enigmatic, meaning.
Source: https://www.artforum.com/picks/rosa-loy-78...
ROSA LOY “In 2018 Loy has had two duo exhibitions together with Neo Rauch (Lohengrin, Villa Schöningen, Potsdam, Germany & Grafikstiftung, Aschersleben, Germany).”
Julie Verhoeven Daisy, 2018 20 euro (inc VAT/BTW & ex shipping costs)
GARETH NYANDORO Gareth Nyandoro’s art practice is marked by the urban sphere of Harare, Zimbabwe. He creates portraits of individuals or glimpses of vibrant daily life activities, often situated or referring to places of economical exchange. Within his work he alternates and combines three dimensional objects and two dimensional collages, by using a various pallet of found, on-hand materials, and ad hoc and traditional craft techniques, dubbed by himself as ‘Kucheka cheka’, after the infinitive and present tense declinations of the Shona verb cheka, which means ‘to cut’.
“ Gareth Nyandoro’s art practice is
marked by the urban sphere of Harare, Zimbabwe.” Bond or Ecocash, 2019 90 x 75 cm, ink on paper on canvas
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Julie Verhoeven Daisy, 2018 20 euro (inc VAT/BTW & ex shipping costs)
GARETH NYANDORO
“Nyandoro co-represented Zimbabwe at the 56th Venice Biennale, Italy. The artist’s work is included in the collection of The Museum of Modern Art, New York.”
Julie Verhoeven Daisy, 2018 Mukanya Repairs, 20 euro2018 (inc VAT/BTW & ex shipping costs) 270 x 210 cm, mixed media on paper on canvas Courtesy: The Museum of Modern Art, New York (USA)
GARETH NYANDORO Gareth Nyandoro (b. 1985) was born in in Bikita, Zimbabwe and currently lives and works in Harare. He studied Fine Art at the Harare Polytechnic College and the Chinhoyi University of Technology, Zimbabwe. Artist residencies include SAM Art Projects, Paris (2017) and Rijksakademie van Beeldende Kunsten, Amsterdam (2014 - 2015). Solo exhibitions include Van Doren Waxter, New York (2018), Quetzal Art Centre, Fidiguera, Portugal (2018-2019), Tiwani Contemporary, London (2017, 2016), Stall(s) of Fame at Palais de Tokyo, Paris (2017), Quetzal Art Centre, Fidiguera, Portugal (2018-2019) Mutariri at National Gallery of Zimbabwe, Harare, (2013). Nyandoro co-represented Zimbabwe at the 56th Venice Biennale, Italy. The artist’s work is included in the collection of The Museum of Modern Art, New York.
Bond or Ecocash, 2019 90 x 75 cm, ink on paper on canvas
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Julie Verhoeven Daisy, 2018 20 euro (inc VAT/BTW & ex shipping costs)
PAMELA BARTLETT Pamela Bartlett is interested in an abstract language of painting, and how a suggestion of amorph figuration directs and misleads the gaze. Bartlett was born in Guildford, Surrey 1996 and grew up in West Sussex, England and Isle of Bute, Scotland. She is currently completing her BFA at the Slade School of Fine Art, London and will be moving on to study a MA in Painting at the Royal Collage of Art, London in September 2019.
“... how a suggestion of amorph figuration directs and misleads the gaze.”
Static fallen, 2018 240 x 130 cm, oil on canvas
Julie Verhoeven Daisy, 2018 20 euro (inc VAT/BTW & ex shipping costs)
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PAMELA BARTLETT
Rock the Boat, 2018 190 x 170 cm, oil on canvas
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DAVID NORO
Park, 2019 183 x 305 cm, oil, lacquer, acrylic, pigment, spraypaint on wood
Julie Verhoeven Daisy, 2018 20 euro (inc VAT/BTW & ex shipping costs)
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DAVID NORO The subjects included in the paintings of David Noro range from boorish to affable. Through their movement into new and unfamiliar realms David questions their casual status as symbols. The technical combination of these subjects seems both frantic and layered and in each painting it becomes hard to define whether we are witnessing a collage of separate motifs or a scene. Both readings are simultaneously possible but if we treat them as scenes the paintings stand as snapshots of its early stages. Potential narratives are proposed, set-up, but left to be played out by ourselves. (text: Jacob Dwyer)
David Noro (1993, DK) grew up in Sweden and graduated from the Rietveld Academie in Amsterdam in 2018. In 2018 he was awarded the Buning Brongers-prize. He has had exhibitions at Villa de Bank,
“....it becomes hard to define whether we are witnessing a collage of separate motifs or a scene.”
Enschede (2019, solo), Arti et Amicitiae, Amsterdam (2018, group) and Ron Mandos Gallery (2018, Best of graduates). Julie Verhoeven Daisy, 2018
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DAVID NORO
Rally, 2018 182 x 244 cm, oil, lacquer, acryl and spray paint on board
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Julie Verhoeven Daisy, 2018 20 euro (inc VAT/BTW & ex shipping costs)