omslag | cover
Anne-Marie van Sprang | 1991 | 4,5 x 3,5 x 3,5 cm
Untitled - paper, iron wire zonder titel - papier, ijzerdraad
Photo | Foto Peter Cox
03
Inhoud | Content
teamCAESUUR | S A L E 2
20
26
Jeanny Golembiewski (1961- 2021) | Horizontaal - Verticaal 4
Jeroen Witvliet | Op zoek naar . . . / In search for . . .
Andrea Freckmann, Theun Govers | Voorbij het vlak | Beyond the plane
Hans Ovrvliet | Hallen van / halls of Middelburg
Exchange program: Laetitia Deschamps | CAESUUR | Hominisens
Residency: Jorieke Rottier | AIR Slipvillan - Feeling fibers
Aalt van de Glind | Silver Haze
Colophon | links to the catalogues of each expo
Over | About ruimteCAESUUR
[ SALE2 ]
het begin
28 januari – 16 maart 2024
Met ( in volgorde van ‘ja, ik wil’ )
We vroegen een aantal kunstenaars die we hooglijk waarderen om werk uit het begin van hun kunstenaarschap
nu bij ons ten toon te stellen en ter verkoop aan te bieden.
Waarbij het volledige verkoopbedrag naar de betreffende kunstenaar gaat; ruimteCAESUUR vraagt immers geen courtage.
Leni van den Berge, Marcel Prins, Toon Truyens, Hendri van der Putten Wilma Vissers, leon riekwell, Anook
Cleonne, Anne-Marie van Sprang, Roos Nieboer, Jorieke Rottier, Hans Overvliet, Marena Seeling, Aalt van de Glind, Margré Steensma, Marit Biemans, Servi van Grinsven, Harriet Rademakers, Suzanna van Oers.
[SALE2] the beginning s u n d a y January 28 - March 16, 2024
We asked a number of artists whom we hold in high esteem to show work from the beginning of their artistry now on display with us and offer them for sale.
Whereby the full sales amount goes to the artist in question; spaceCAESUUR does not charge any commission.
JEANNY GOLEMBIEWSKI (1961- 2021) |
23/03 – 12/05 2024
Jeanny Golembiewski
Horizontaal-Verticaal 4
In het oeuvre van Golembiewski zijn tegenstellingen een sleutelbegrip.
Licht tegen donker; vervaging tegenover scherpte; zien tegen “niet” zien (waar begint de waarneming en waar stopt die, en wat zijn daar de consequenties van: wanneer ben je nog toeschouwer of ben je onderdeel van het kunstwerk, doordat je je bewust bent van je “kijken”, je waarneming en wat dat met je doet. Psychologie van de waarneming dus, en onderzoek naar de uitersten van de visuele ervaring, het zoeken naar optische spanningen.
Wellicht ook als een symbool voor duidelijkheid, een vorm van helderheid, die b.v. ook zwart-wit kan geven.
Horizontaal-verticaal dus: in schilderijen, collages, tekeningen: altijd is er die basis, soms letterlijk als basis, maar vaak ook als hoofdthema, als doel. En ook in ruimtelijke settings speelde ze met deze tegenstellingen.
Horizontaal-verticaal als doel. En daardoor helderheid als doel: niet in de zin van helder licht, maar in de zin van duidelijk zijn, helderheid scheppen.
En daarmee gelijk een wereld an sich creëren, een wereld die besloten ligt in een lijnen- en/of vlakkenspel.
Een wereld an sich: een visuele wereld, maar een die het vermogen heeft om te raken, in verwarring, in verwondering te brengen.Enjealstoeschouwer onderdeel van de kunst te voelen.
Jeanny Golembiewski zelf:
De oneindige veelheid van de visuele ervaring kan voor mij nooit in een één op één vertaling van het geziene gevat worden, dus het uitzuiveren en abstraheren is een noodzakelijkheid, maar tegelijk een geschenk omdat dit een esthetisch avontuur oplevert waar geen realisme tegen op kan.
Een avontuur dat ik als schilder niet kan negeren.
Februari 2024 | Toon Truyens
J
18/05 – 07/07 2024
In search of .... (nr. 13) | oil on canvas | 20 x 25 cm | 2024
In search of .... (nr. 15) | oil on canvas | 20 x 25 cm | 2024
In search of .... (nr. 19) | oil on canvas | 20 x 25 cm | 2024
In search of .... (nr. 7) | oil on canvas | 20 x 25 cm | 2024
Andrea Freckmann, Theun Govers Voorbij het vlak | Beyond the plane
20/07 - 08/09 2024
hallen van / halls of Middelburg . . . 14/09 –28/09 2024
Laetitia Deschamps | Hominisens
05/10 – 16/11 2024
Jorieke Rottier | AIR Slipvillan - Feeling fibers
May 2024
Outer space constitutes inner space: the impressions and experiences that make up life are for Jorieke Rottier initially all equally important. The pressure to interpret, measure and judge decreases through the actions involved in making work. Expectations disappear, creating space for attentive presence.
For Jorieke, making work is largely about attention, so her work is broad and focused on possibilities. "By working with materials such as stones and threads, I think I am describing a nonroundcircle,whilesearching,lookingandthinking with head and hands. This is an ongoing movement. Inner space forms outer space.
In May 2024, Jorieke Rottier worked for two weeks as artist-in-residence at Slipvillan in Sweden. Slipvillan is an artist initiative, exhibition venue and studio building run by Laetita Deschamps, Rikard Fåhreus, Ina Rödén and a number of "members. As a third artist, she may work from ruimteCAESUUR in Middelburg to engage in the artistic exchange with Slipvillan: Giel Louws and Hans Overvliet preceded her.
Walking on Långholmen, a green island in the heart of Stockholm, I connected with the place. A place to spend free time, to retreat, I thought. I feel watched through the windows of the apartment buildings across the street, by the people gathering on the little beach in the spring sun. This being watched relates to the island in different ways: from the airing place in the former prison to the open-air theater, which has a similar shape. Both have a central point, but with an opposite purpose: to keep an overview of prisoners across from being seen by as many people as possible. Time passes and the structures remain.
The island is connected to the next island by two small bridges. And then there is Sweden's largest steel bridge, the Västerbron (western bridge), which seems to ignore Långholmen.
From that bridge you have wonderful views of the city. Under that bridge, a trail of dust and rock breaks through the exuberant greenery of Långholmen. The green is a gift of the seeds that fell into the water from trading ships, germinated from the muck the prisoners had to cover the island with. Next to the bridge, a paper
nated from the muck the prisoners had to cover the island with. Next to the bridge, a paper airplane folded in stainless steel recalls the crash that took place there during an air show.
In my project plan I wrote, among other things, that I wanted to walk and work with the materials that wash up on Långholmen. I live and work along the Westerschelde, which leaves all kinds of - mostly untraceable - material on the coast of Walcheren (NL). Working with washed up material is natural in my working process. During my walks along the coast I collect impressions and materials. My children (baby and toddler) remind me every day of the importance of walking. They teach me to go even slower. They show me that you can use all the senses to experience yourself as part of your environment.
Walking on Långholmen, a green island in the heart of Stockholm, I connect with the place. As Kierkegaard wrote somewhere, ''never lose your desire to walk. Every day I walk myself to well-being [...] well-being [...] I walk myself thoughts.' A quote I
thoughts.' A quote I found in the book The Songlines by Bruce Chatwin, about how among nomadic peoples and specifically among Australian Aborigines, their lives coincide with the landscape. Already during the second walk it became clear that there is no real "washing ashore" on Långholmen: the chestnuts blackened by brackish water that I found turned out to come from a tree thirty meters away. The ropes I finally used to make an outdoor sculpture most likely came from the shipyard near the site.
At one of Stockholm's many artist run initiatives, Tegen2, I meet Anthony Frank Grahamsdaugh ter. As curator, she curated the current exhibit, which highlights hate crimes against Sami and other minority groups. She touches me with her personal story of her Native American family's history and how contemporary Western colonialism and racism are experienced. She shows me work by Lena Stenberg, among others, who wrote a book about the disruption of Sami life. When Nordic countries and Russia closed their borders to Sami between 1800 and 1900, it was no longer possible to follow the reindeer throughout Lapland, and a struggle for the right to live according to their traditions began.
throughout Lapland, and a struggle for the right to live according to their traditions began.
Before leaving for Sweden, I read Braiding Sweetgrass by Robin Wall Kimmerer, in which, through her embodiment of scientific, personal and native wisdom, she demonstrates and inspires the importance of the relationship between humans and the land. There is much more to say about this but during the residency the above came together for me as an urgent question about how I relate to this and the urgency of my relationship with my environment. Until now I experienced it as fairly self-evident, and that self-evidence is now both confirmed and deepened and questioned. Something to work on slowly and attentively. That you can use all the senses to experience yourself as part of your environment.
During the Open Studio, halfway through AIR, I shared some of these thoughts. A conversation ensued with fellow artists Masoud Shashavari and Jannike Brantås around artistic processes and how a change in environment affects them. At one point, Jannike asked what rituals are
and how a change in environment affects them.
At one point, Jannike asked what rituals are needed to get to work, a question that still resonates.
To get an impression of the Stockholm archipelago, we took a two-and-a-half-hour boat trip to the island of Grinda, in the heart of the archipelago. Every moment I expected to discover an "empty" horizon consisting of sky and water: every moment there was another island there. Mosses, one of the first life forms to take hold on bare rock (and be eaten by reindeer), eventually formed the work in Slipvillan's studio horizon for an archipelago (2024).
From the mosses grow grasses, their roots searching for a foothold among the rocks, as the trees here do wholesale. And unlike at home, where tree roots and dune grasses are desperately needed to hold the sand and clay of the dikes - and our feet dry.
I try to capture these experiences in a map of Långholmen, connecting the various places on the island with concepts such as "collecting," "being alone," and "working with what is" from my work process. The map gives an alternative impression of the island and is available for the rest of the year at Slipvillan and online for download from their website.
Every moment I expected to discover an "empty" horizon.
AIR Slipvillan worked for me as a contrast experience to the "semi-island life" on Walcheren, where I live and work. It brought obviousness to light and made me embrace the unknown, further letting go of the pressure to make work and take in the surroundings. With a rock as a substrate instead of clay below sea level.
Islands do not stand alone.
Published on January 25, 2025 in BK-Info, Dutch version
Aalt van de Glind | Silver Haze
23/11/2024 – 19/01/2025
“Toen ik na de opening weer beneden kwam was het buiten donker.
Er was een andere expositie ontstaan, die zich uitstrekte in een droomwereld, half binnen en buiten zich spiegelend in de straat, kleine, grotere zwart wit beelden, hier en daar kleur, bewegend door het licht en de schaduwen van verkeer.
Zo onverwacht samenvallend met het ongrijpbare wel / niet aanwezigzijnvan vriendinvan Aalt.
Om niet te vergeten.
Bijzonder dat jullie als team zulke prachtige installaties teweeg brengen.”
Reactie op de installatie Silver Haze van Aalt van de Glind door harriet uit Middelburg
“When I came back downstairs after the opening, it was dark outside.
Another exhibition had emerged, stretching into a dream world, half inside and outside mirroring the street, small, larger black and white images, color here and there, moving through the light and shadows of traffic.
So unexpectedly coinciding with the elusive yes/no presence of friend of Aalt. Not to forget. Extraordinary that you as a team bring about such wonderful installations.”
Reaction to the installation Silver Haze by Aalt van de Glind by harriet from Middelburg
Klik hier voor de catalogus van SALE2 | Click here for the catalogue of SALE2
Klik hier voor de catalogus van Jeanny Golembiewski
Click here for the Dutch catalogue of Jeanny Golembiewski
Klik hier voor de catalogus van Jeroen Witvliet
Click here for the catalogue of Jeroen Witvliet
Klik hier voor de catalogus van Andrea en Theun
Click here for the catalogue of Andrea and Theun
Klik hier voor de Caesuurcatalogus van Hans Overvliet | autonome catalogus ‘hallen’
Click here for the Caesuur catalogue of Hans Overvliet | autonomous catalogue ‘hallen’
Klik hier voor de catalogus van Letitia Deschamps
Click here hier for the catalogue of Letitia Deschamps
Klik hier voor de catalogus van Aalt van de Glind
Click here for the catalogue of Aalt van de Glind
ruimteCAESUUR
Sinds 1995 worden er in ruimteCAESUUR tentoonstellingen actuele, hedendaagse kunst gemaakt, vanaf 1999 aan de Lange Noordstraat 67 in Middelburg.
Scheppende kunsten, aansluitend bij het hedendaagse kunstdiscours, zijn altijd de leidraad voor een tentoonstelling, maar ook een historisch en sociaal perspectief bepalen mede onze keus.
ruimteCAESUUR staat voor de autonomie van de kunst, ingebed in grotere systemen en stelt het oeuvre van de kunstenaar centraal in het organiseren van (solo)tentoonstellingen. Zowel jonge, beginnende als ‘gearriveerde’ kunstenaars wordt een podium geboden ten einde in een niet-commerciële omgeving hun werk te kunnen presenteren. De ont-moeting en het leren van elkaar nemen binnen de jaarplanning van ruimteCAESUUR een belangrijke plaats in.
De tentoonstellingen worden ook in 2025 waar mogelijk georganiseerd samen met kunstenaarsinitiatieven uit andere landen, zoals Lípa Art Collection en Luxfer Open Space, beide uit Tsjechië, Gallery Durden and Ray uit Los Angeles, U.S.A., Slipvillan uit Zweden, etc.
Uitwisseling met Nederlandse kunstenaars zorgt voor de wederkerigheid in dit proces.
ruimteCAESUUR is een particulier initiatief, zonder enig winstoogmerk, met als vaste kern Willy van Houtum en beeldend kunstenaar Hans Overvliet; zij vormen het bestuur van stichtingCAESUUR.
teamCAESUUR wordt meer dan gecompleteerd door de kunstenaars Jorieke Rottier en Giel Louws.
De unieke samenstelling van dit team overschrijdt de grenzen van kunstpraktijken, gender en generaties.
ruimteCAESUUR has been making exhibitions of current, contemporary art since 1995, from 1999 at Lange Noordstraat 67 in Middelburg.
Creative arts, in line with the contemporary art discourse, are always the guiding principle for an exhibition, but a historical and social perspective also help determine our choice.
ruimteCAESUUR stands for the autonomy of art, embedded in larger (social) systems and puts the artist's oeuvre at the centre of organising (solo) exhibitions.
Both young, starting and ‘established’ artists are offered a stage to present their work in a non-commercial environment. Meeting and learning from each other occupy an important place in the annual planning of ruimteCAESUUR.
The exhibitions will also be organised in 2025, where possible, together with artists' initiatives from other countries, such as Lípa Art Collection and Luxfer Open Space, both from the Czech Republic, Gallery Durden and Ray from Los Angeles, U.S.A., Slipvillan from Sweden, etc. Exchange with Dutch artists ensures reciprocity in this process. ruimteCAESUUR is a private, not-for-profit initiative, with Willy van Houtum and visual artist Hans Overvliet as its permanent core; they form the board of foundationCAESUUR. teamCAESUUR is more than completed by artists Jorieke Rottier and Giel Louws.
The unique composition of this team crosses the boundaries of art practices, gender and generations.
Achterzijde: de beschermengel van Ramon de Nennie
Op 2 augustus overleed Ramon de Nennie.
Ramlon was een aantal jaren onderdeel van het team.
Eén van de dingen die daaruit voortkwam was het legendarische ‘La Strada’.
We missen Ramon zeer.
Back cover: the guardian angel of Ramon de Nennie
On August 2, Ramon de Nennie passed away.
Ramlon was part of the team for a number of years.
One of the things that came out of that was the legendary ‘La Strada’.
We miss Ramon very much.
