GUIDO WERVE VAN DER
GRIMM
GUIDO VAN DER WERVE TRIALS AND RESURRECTIONS Composed of grand gestures and sublime attempts, the universe that Guido van der Werve presents us is deeply imbued with both the beauty and the futility of human existence. Over the past decade and a half, the Dutch artist has been producing a consistent body of film works in which he combines performance, classical music, and deadpan humour into sweeping meditations on the condition humaine. From the small drama in his early short 35mm film Nummer twee, through the powerful iconic imagery of Nummer acht to the durational (and athletic) performance of his later works, Van der Werve’s art is created on the fault line of lofty dreams and the banality of the everyday. The artist’s films are always infused with a sense of melancholy, of loneliness, and of longing; they are testaments to the existential dualism of human ambition and the pointlessness of our efforts. Van der Werve produces visually lush films, using long takes with very little camera movement, to register slowly unfolding dramatic actions – typically performed by the artist himself. Always dressed in black, Van der Werve’s protagonist is the lone individual taking on the world, often under the strain of extreme self-imposed conditions. He walks in front of an icebreaker, seeing the cracks in the ice shooting forward under his feet; he stands still on the North Pole for twenty- four hours, trying to shake off the cold; or performs an ultra-triathlon to cover the distance from Warsaw to Paris. The work of Van der Werve can be broadly positioned within the genealogy of narrative single screen film and video art that matured during the 1990s, and was ubiquitous by the early 00s, with capturing and digital editing technology becoming more accessible and affordable. The artist’s early work resonated with the western art hemisphere’s renewed interest in both Romantic themes and conceptual strategies in the early 00s, when a younger generation of artists started to address topics like mysticism, anti-rationalism and failure, rediscovering precursors like Bas Jan Ader – who in relation to Van der Werve is an oft-mentioned reference. Ader, like Van der Werve, produced compact, highly melancholic meditations on the Sublime by subjecting himself to the forces of gravity, and nature – eventually (and famously) embarking on an ill-fated transatlantic boat trip in his swan song In search of the miraculous. Van der Werve, however, has always felt a certain distance to the art world and its proclivity towards referentiality and intellectualism, and its dependency on language. In music and film he finds the potential to express his ideas in a more direct way: music establishes immediate affective connections in the listener, and film allows him to communicate complex ideas and emotions in single images with the power to convey moods. Trials and resurrections covers almost a decade and a half of work. The first work in the exhibition, Nummer twee, is (its title notwithstanding) also Van der Werve’s first work, and through a selection of both single-action ‘visual oneliners’, and films with a sequential narrative, the exhibition is concluded by Nummer veertien, arguably the artist’s most complex and cinematic work to date. Throughout the exhibition we witness the artist connecting his contemporary Romantic thematics to long durational performance, developed from his personal interest in triathlons and other forms of extreme distance athletics. Classical music is another important aspect of Van der Werve’s work: he started numbering his films as a nod to the classical way of titleing symphonies. Trained as a classical pianist, with a penchant for Chopin and other Romantic composers, the artist performs the music to his films himself, and started composing original music from Nummer negen onwards. The requiem he wrote for Nummer veertien, with a libretto based on autobiographical experience, has been performed by orchestras and choirs worldwide. Xander Karskens curator
detail | Nummer negen, 2007
Nummer twee Nummer twee, just because I am standing here doesn’t mean I want to 2003 35mm film 00:03:08 Papendrecht (NL) Edition of 5 + 2 AP The first work in the exhibition is also Van der Werve’s first – even though it is called ‘number two’. The short 16mm film Nummer twee was the artist’s final work at the Gerrit Rietveld Academie, and holds many of the thematic and formal tropes that he would continue to explore to this day: the anachronistic cliché of the artist as suffering genius, the emotional impact of classical music, the unbearable banality of everyday life – all staged in a languid atmosphere of existential ennui and feelings of loneliness, in which the protagonist’s lofty yearning for experiences more meaningful, more grand, less futile, is always poised with unexpected moments of deadpan humor. The protagonist is Van der Werve himself; here we see him in a typical Dutch postwar residential street, an autobiographical backdrop (that we will see return in Nummer veertien) that represents mundane, boring suburban life. It is the street where the artist grew up and, if the subtitle is an indication, has always wanted to escape from. link: http://player.vimeo.com/video/50671069 password: Hj7y0K
various film stills
installation view | Trials and Resurrections | SongEun ArtSpace, 2020 | Seoul (KR)
Nummer vier Nummer vier, I don’t want to get involved in this. I don’t want to be part of this. Talk me out of it. 2005 35mm film 00:11:49 Zandvoort, Siitama & Enschede (NL) Edition of 7 + 2 AP In the twelve minutes of Nummer vier Van der Werve manages to conjure up an all-encompassing universe uniquely his own. Shot on three different locations in the Netherlands and Finland, the quietly paced sequence of events fills the viewer with joy and wonder: each of the three scenes is brimming with inventiveness, ambition, and surprise. From the opening monologue interieur-words (“I woke up early and watched the sun rise. I felt it came up just for me”) to its blink-and-you’ll-miss-it apotheosis on a Dutch river, Nummer vier is an exuberant ode to the power of individual will, and an unabashed celebration of the human longing for beauty and consolation. The earnestness of Van der Werve’s lofty aspirations is always undercut by his penchant for slapstick and deadpan humor; eventually, his grand gestures are knowingly futile. link: http://player.vimeo.com/video/50724281 password: ylP09Q
various film stills
Nummer acht The frozen sea off Finland’s coast provides a sublime backdrop for Van der Werve’s Nummer acht, in which the artist is seen traversing the frozen sea on foot, closely followed by an icebreaker. Perhaps Van der Werve’s most iconic and universally resonating work, it addresses themes like human fragility and man’s struggle with both nature and technology, in a visual register reminiscent of Caspar David Friedrich’s invocations of the divine Sublime. Filmed with a long lens from some distance (the camera mounted on a snow scooter reversing along the pace of the ship), Nummer acht shows a frail silhouette dressed in black, only some steps ahead of the indifferently rocking bow of the icebreaker cracking the ice behind him. The clarity of Nummer acht’s concept gets strengthened by the audacity of its execution: in many of Van der Werve’s works there is a sense of daring, of physical danger that sparks their attraction – yet he always manages to negotiate poetry over spectacle. Nummer acht marks the moment when the artist slowly moves towards more durational performances, in which he subjects himself to harsh conditions like the North Pole weather (Nummer negen), or delivers extreme athletic performances (Nummer dertien, Nummer veertien, Nummer zeventien).
Nummer acht, everything is going to be alright 2007 16 mm film to HD video 00:10:10 Golf of Bothnia (FI) Edition of 7 + 2 AP link https://player.vimeo.com/video/50235662 password 7Hjl9IO
film still
installation view | Trials and Resurrections | SongEun ArtSpace, 2020 | Seoul (KR)
Nummer negen For Nummer negen – The day I didn’t turn with the world, Van der Werve revisits the barren snow and ice conditions of Nummer acht, although in a different geographical location. In Nummer negen the artist performs 24 hours of denying the earth’s rotation by standing on the exact North Pole, and slowly turning around his axis. By moving against the earth’s rotation, Van der Werve effectively ‘stood still’ in the universe for a day, challenging our conception of physics, and playfully allegorizing the philosophical notion of free will. For this work, Van der Werve decided to use time-lapse photography rather than film or video (pre-production tests had proven this medium to be the only possible technology to sustain the extreme conditions), producing a still image every 6 seconds for exactly 24 hours. The result is a 9 minute sequence in which a lone figure, central in the composition, is seen slowly turning (with stop-motion jerkiness) with the sky overhead showing continuous dramatic changes, from bright sunshine to dense polar mists – all accompanied by a classical piano composition which is written and performed by the artist, and which responds to the ever-changing light and atmosphere. The score for Nummer negen is the first the artist composed himself, which proved a starting point for the composition of increasingly elaborate classical pieces for films like Nummer twaalf and Nummer veertien.
Nummer negen, the day I didn’t turn with the world 2007 Time-lapse photography to HD video 00:08:40 Geographic Northpole Edition of 7 + 2 AP link http://player.vimeo.com/video/50141247 password Iu3Fg0
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Nummer twaalf Chess and classical music are closely linked in Nummer twaalf, a cinematic three-part work in which Van der Werve makes associative connections between astronomical, mathematical and musicological principles. The work’s central device is a chess piano, Van der Werve’s own invention: a hybrid chess board and piano that allows its players to produce music while playing chess, by activating a piano mechanism when a piece is pressed down on its square. To compose the soundtrack for Nummer twaalf, Van der Werve used the tonal changes produced by the moves of a King’s Gambit chess game that he commissioned a grandmaster to compose. From its opening in the Marshall Chess Club in New York, through the ascent of Mount St. Helens (where the artist tries to count the number of stars in the sky) and its ending on the San Andreas Fault Line (where Van der Werve erects a small house), Nummer twaalf reflects on familiar themes like the shortcomings of rationalism and the transience of human existence.
Nummer twaalf, variations on a theme; the king’s gambit accepted, the number of stars in the sky, and why a piano can’t be tuned, or waiting for an earthquake 2009 HD video 00:40:00 Marshall Chess Club, Mt St Helens & San Andreas Fault (US) Edition of 8 + 2 AP link https://player.vimeo.com/video/50132721 password t6Yh98
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Nummer dertien Nummer dertien is composed of three closely related works (all titled ‘effugio’, Latin for ‘escape’) around the theme of depression and escapism. Van der Werve had started long distance running some years before, in connection to his durational performance activity (like the 24-hour North Pole sur place in Nummer negen) in which physical exhaustion, and to some extent danger, is a central element. Self-sacrifice and suffering are recurring themes in the artist’s oeuvre, in knowingly dramatical nods to the Romantic conception of individual artistic struggle. Effugio a documents Van der Werve’s Rachmaninoff Run, a long distance running event he started at MoMA PS1 in 2010, in which the artist (and in later iterations other runners, too) honors the Russian composer by delivering a bouquet of chamomile flowers to his grave. Chamomile is the Russian national flower, and is known for its calming effect on the nerves. The two color photographs that make up Effugio b were taken on the summit of the Aconcagua, the highest mountain in South America. Resting on his back in utter exhaustion from climbing, barely able to operate his camera, the artist took a picture of the sky, and of himself. For Effugio c, Van der Werve decided to run circles around his house in Finland, covering the distance of two and a half marathons in exactly twelve hours.
Nummer dertien, effugio c, you’re always only half a day away 2011 HD video 12:00:00 Hassi (FI) Edition of 4 + 2 AP link https://player.vimeo.com/video/49761974 password h2J86tG
film still
installation view | Trials and Resurrections | SongEun ArtSpace, 2020 | Seoul (KR)
Nummer veertien Nummer veertien is perhaps Van der Werve’s most ambitious and complex work to date, addressing ideas around longing and belonging in a sprawling narrative pushed forward by the steady pace of long distance athletics. In Nummer veertien the artist reflects on the idea of ‘home’ by reactivating memories of the anonymous suburbia of his hometown; he triathletically honors his beloved Chopin, who was exiled in Paris while homesick for his native Poland his entire life; and he examines the uprootedness of Alexander the Great, who famously engaged in successful military campaigns without ever returning home. As in earlier works like Nummer twaalf, the film’s three-part structure is based on formal similarities between unrelated cultural phenomena: in this case, the three disciplines in triathlon (swimming, cycling, running) are connected to the three-movement structure of a classical requiem. Desiring to produce an autobiographical work for the first time, and disappointed with mountaineering (after summitting Aconcagua in Nummer dertien) as a performative method that would enable him to reflect on his life by getting close to death, Van der Werve took to composing a requiem instead.
Nummer veertien, home 2012 4k video 00:54:00 Various locations and countries Edition of 8 + 2 AP link http://player.vimeo.com/video/49953433 password gH74HY
film still
installation view | Trials and Resurrections | SongEun ArtSpace, 2020 | Seoul (KR)
Nummer veertien
Guido van der Werve: ‘Nummer veertien, home’
Triaesthete
by Roberta Smith
An artist treks almost 1,200 miles on land and water, from Warsaw to Paris, and gets it all on video.
Oct. 4, 2012
by Jerry Saltz Oct. 7, 2012
When the Polish composer Frédéric Chopin died in Paris in 1849, he was buried there, except for his heart, which his sister spirited back to Warsaw, where it was buried in the Church of the Holy Cross. This tale has inspired Nummer veertien, home, Guido van der Werve’s latest and most extreme exercise in endurance-art filmmaking, a 56-minute work for which he swam, biked and ran from Warsaw to Paris, an equivalent of several triathlons. His goal was to deliver a cup of Polish soil to Chopin’s grave in the Père Lachaise cemetery, which he accomplishes to the strains of a beautifully Romantic requiem that he wrote himself. It is performed by various small orchestras and choirs that he encounters along the way, sometimes in quite tight spaces. His journey is punctuated by various actions — he runs through fire, visits an apartment that explodes and is hoisted heavenward by a very large industrial crane whose sudden appearance may cause a start. Occasionally the scene shifts briefly to historic sites in Greece and Asia while subtitles recount the life and travels of Alexander the Great, who also died on foreign soil. You may find yourself wondering if the money necessary to accomplish this alternately droll and poetic though clearly excruciating ordeal might have been better spent on something less convoluted, but you may also find yourself carried along by the music, the generally gorgeous landscape vistas and the dogged, solitary travail. That doggedness, and frequently the same love of music, can be encountered in the survey of eight films by Mr. van der Werve dating from 2003 to 2009 on view at [Luhring Augustine] through Dec. 16 [2012].
In his film Nummer veertien, home, the Dutch artist Guido van der Werve runs, bikes, and swims nearly 1,200 miles from Warsaw’s Church of the Holy Cross to Paris’s Père Lachaise cemetery. It’s a cinematic vision, 54 minutes long, gorgeously melancholy, occasionally flakey, intermittently batty, about longing, homesickness, submission, and death. For Père Lachaise is where Frédéric Chopin is buried—except for his heart. In October 1849 (immediately after his death), Chopin’s loving sister Ludwika fulfilled her brother’s wish by smuggling his heart out of Paris and interring it in that Warsaw church. Van der Werve makes the trip backward, triathlon-style, adding strange scenes about Alexander the Great’s journey from Macedonia to his final resting place in Babylon. He incorporates passages in which he himself catches fire, is blown up, or is suspended in a harness from a crane high above a suburban home. Talk about the beauty of excess, returning to the cosmic womb, and mad Romanticism: Picture the untamed imagination and astral atmospherics of Werner Herzog, the hushed hazy landscapes of the seventeenthcentury Dutch master Aelbert Cuyp, and an abstract geography of pathos. He weaves Chopin’s sad story with his own lonely endurance test, scoring it all with a requiem in three movements that he wrote himself (he was trained in music and composition at a conservatory). At the start, we see Van der Werve wearing a wet suit and goggles as he sits and stares in that Warsaw church. Soon an orchestra plays and a choir sings dirgelike music. Next, Van der Werve nonchalantly gets up, walks out of the church, and starts running. Fast. In lingering panoramic shots we see him crossing streets and bridges. He swims long, fastflowing rivers, runs past factories, switching at one point to a waiting bicycle. He crosses the border of Poland into Germany, loping through forests, moving alongside the Autobahn and into French Alsace. Finally he reaches Paris looking frazzled and ragged. He sits on a ledge by a busy city street, gathering himself. He then approaches Chopin’s grave, placing a chalice of dirt we’ve earlier seen him dig from the garden in
Chopin’s birthplace back in Poland. This final “act” is titled “I don’t feel the pain anymore,” cryptically echoing Chopin’s last words. More mad Romanticism! Seeing Van der Werve push himself beyond comprehension, following his own inner Odyssey, haunted by incomplete histories, inconclusive futures, blind drive, and some ecstasy of sacrifice, brought me to a speechless standstill. This nonnarrative incantation brings to form a complex set of powerful feelings, memories, histories, mythologies. It isn’t strictly art. Or film. Or a mutant Ironman triathlon. It’s poetry. Indeed, as Van der Werve, 35, has said, “I’m not trying to be an artist or to make art” and “Art was never really my thing.” Unafraid of Romantic leaps of faith, he talks about melancholy, daydreams, nostalgia, the “beauty in failing.” The first time I saw his work, in 2007, I was mesmerized. The film Nummer acht, everything is going to be alright pictures him from afar walking on a Finnish ice field, directly in front of an enormous icebreaking ship. In another nine-minute film, he stands on the North Pole for 24 hours turning against the Earth’s rotation, seeming to step outside time. In still another work, he plays Chopin on a piano atop a raft floating in a lake: It’s not quite Fitzcarraldo, Herzog’s film in which a massive ship is hauled over a mountain, but it silenced me. I’ve struggled with my own inner Romantic, the testosterone-fueled blowhard who longs for big emotions, exotic places, mysteries, states of disconsolate pining. Often that’s led me to the brink of blowsy bathos, pretentiousness, and melodrama. Stretches of Van der Werve’s work do tip into grandiosity, solemnity, snootiness. Van der Werve is unafraid of going for this sort of sublimity. Through the mitigating tools of skepticism, a Buster Keaton deadpan, a sense of the absurd, and, most of all, a fantastic feel for irony, he reaches a crystalline vision that, as he says, makes “heavy things lighter.” And palpable.
Nummer zeventien The repetitive performative actions in Nummer zeventien are closely connected to the physical challenges in Nummer dertien, for which the artist climbed the highest mountain in South America. Originally meant as preparation for a work he developed in relation to climbing Mount Everest, the Aconcagua expedition changed Van der Werve’s mind about mountaineering – unlike long distance running, he did not find any solace in it. For Nummer zeventien, the artist decided to take the original idea into slapstick domain, displacing the climbing action to his bedroom. By staging one of the most alluring feats of human triumph over nature in the banal environment of domestic space, and thus removing its sublime décor and spectacle, Van der Werve ambiguously underlines the heroism of the physical effort, and the sadness of its absolute futility. A similar treatment is given to the manned descent into the Atlantic Ocean’s Mariana Trench with its deepest point at 11,040 meters – which is transposed to the artist’s bathtub.
Nummer zeventien, killing time attempt 1 from the deepest ocean to the highest mountain. 2015 2 channel 2k video installation 9:48.00 Hassi (FI) Edition of 5 + 2 AP link https://vimeo.com/151877733 password H9ft45
film stills
installation view | Trials and Resurrections | SongEun ArtSpace, 2020 | Seoul (KR)
ADDITIONAL
WORKS
film still | Nummer veertien, 2012
We can see Van der Werve, who is just not looking into the lens of the camera. His face is almost expressionless, but for a hint of childish innocence. After a few seconds, he puts a pistol to his head and fires. Blood sprays onto the leaves of the plant behind him. His face remains motionless, except for a slight movement of his eyes. He seems to be inwardly digesting the shot and be waiting to feel its effects. Nothing else happens for a while. Then a second shot rings out, and once more, a gush of blood turns the green plant red, but no further effects materialise. The calm self-killer repeats his act four times. You could see it as an ironic comment on his profession; it suggests that whatever gesture he makes as an artist, even if it is the ultimate act o suicide, the effect may be nonexistent. The drama simply refuses to turn into tragedy.
Suicide no 8945 till 8948 2001 video 00:01:06 Edition of 5 + 2 AP link https://www.li-ma.nl/lima/catalogue/art/guido-van-der-werve/suicide-no-8945-till-8948/6966
various film stils
A human figure is dragging himself along a woodland path. His head and feet are connected by a construction that is attached to the back of his body, so that his head follows the movements of his feet. In this way, his walking is reduced to the gawky stepping that is typical of certain types of birds. After each step they hesitate, as if they doubt whether they can go on, or even want to. However, slowly but surely the figure - it is the artist, Van der Werve, himself - makes some progress and eventually disappears behind a tree and out of sight. Van der Werve appears to be mocking romantic ideas about the artistic profession, and with wry humour avoids the pitfalls of the overly dramatic.
The walking pigeon 2001 video, wooden mechanism, helmet 00:01:48 Edition of 5 + 2AP link https://vimeo.com/132210288
various film stils
I smile at the world and the world smiles back 2001 Color photograph on dibond 75 x 52 cm | 29 1/2 x 20 1/2 in Edition of 5 + 2 AP
detail | I smile at the world and the world smiles back | 2001
I’m sorry, but not surprised about the skylight 2002 Color photograph on dibond 52 x 75 cm | 20 1/2 x 29 1/2 in Edition of 5 + 2 AP
Het werd later en nog een keer 2002 Color photograph on dibond 52 x 75 cm | 20 1/2 x 29 1/2 in Edition of 5 + 2 AP
Nummer twee Just because I’m standing here, doesn’t mean I want to 1 2003 Color photograph on dibond 48.3 x 88.7 cm | 18 7/8 x 34 7/8 in Edition of 5 + 2 AP
Nummer drie Nummer drie (take, step, fall) 2004 35mm film 00:10:38 Amsterdam (NL) Edition of 7 + 2 AP With their rustling dresses, their elegant gestures and their flowing, but completely formalized way of dancing, ballerinas are unworldly figures. In his triptych Nummer drie, Guido van der Werve provides the performers with the music of Prokofiev and Chopin - they turn, bend, reach up with their arms, and point their toes. These are the movements that defy the laws of gravity and make us forget the burdens of life. However, the rest of the context in which Van der Werve presents his dancers is anything but self-evident. We see them as debutantes at a ball in a Chinese take-away, with taciturn city-dwellers waiting for their food; as lonely swans under the street laps of the Amsterdamse Bos at night - the ladies are totally ‘out of place’. In the second part of the triptych, the man standing motionlessly on the edge of his balcony with the traffic below racing past, has something similarly absurd. The course of events in ‘Nummer drie’ has an inherent, but rather intangible kind of logic, which leaves the viewer with strong feelings about the tragedy and beauty of human pursuits and failures.
various film stills
link: http://player.vimeo.com/video/50724370 password: tr67BL0
Nummer vier I don’t want to get involved in this 2005 Color photograph on dibond 49 x 79 cm | 19 1/4 x 31 1/8 in Edition of 5 + 2 AP
Nummer vier I don’t want to be part of this 2 2005 Color photograph on dibond 49 x 79 cm | 19 1/4 x 31 1/8 in Edition of 5 + 2 AP
Nummer zes Nummer zes, Steinway grand piano. Wake me up to go to sleep and all the colors of the rainbow. 2006 16 mm film to HD video 17:09 minutes Amsterdam (NL) Edition of 7 + 2 AP Nummer zes is about desire and scale, about the things we wish for feeling too big for our wallets, homes, or hearts. The artist pursues the piano, but he can never quite possess it, only play upon its keys. The film suggests a wider contemporary cultural malaise, in which the grand emotions experienced seemingly so easily by the 19th century Romantics seem impossible to access in our own age for more than a few fleeting moments. And yet, van der Werve still searches them out, because, really, what else is he to do? He has said that ‘I think most artists have a way of finding their own reality, and in my case it happened to be [19th Century] Romanticism. I’m sure that if I would have lived in that time I would have been just as miserable as now’. This, I suspect, is the true punch-line of Nummer zes’ black joke: you can change the scenography, but you can’t change yourself. All you can hope for is rainbows in unexpected places, or cosmoses opening up on your cheap lino floor. link: http://player.vimeo.com/video/50689153 password: 8ghL6E various film stills
Nummer zeven Nummer zeven, the clouds are more beautiful from above 2006 HD video 00:08:49 Amsterdam (NL) Edition of 7 + 2 AP As a reflection on a personal dream, Nummer zeven addresses the possibility of failure that is inherent to the creative process, the precarity of being an artist and the dangers of realizing one’s own vision. In the beginning of the video, the image is just black. The narrator says something about meteorites and about how, as a child, he would lie awake at night waiting for a ‘falling star’. And when he finally saw one, he always made the same wish, which sadly never came true. The Milky Way comes fleetingly into the picture. Then the camera focuses back on the Earth, back to the artist’s living quarters where he is working on a rocket. Patiently and meticulously, all the components are collected and assembled, and when the rocket is complete,it is carried to an open space on the edge of a wood one evening just before sunset, and erected there. With the help of a stepladder and a support construction, the artist is preparing it for launching, and from his movements, it can be deduced that this is a serious business. When the music stops, the only thing that remains is the flapping sound of the wind in the microphone. Will the rocket take off? This is the question Nummer zeven seems to raise.
various film stills
link: http://player.vimeo.com/video/50130067 password: 7Xfy9h
Nummer twaalf Nummer twaalf, untitled01 2009 Color photograph, walnut frame, museum glass 84 x 104 cm | 33 1/8 x 41 in (framed) Edition of 5 + 2 AP
Nummer twaalf, untitled02 2009 Color photograph, walnut frame, museum glass 84 x 104 cm | 33 1/8 x 41 in (framed) Edition of 5 + 1 AP
Nummer twaalf Nummer twaalf, untitled04 2009 Color photograph, walnut frame, museum glass 84 x 104 cm | 33 1/8 x 41 in (framed) Edition of 5 + 2 AP
Nummer twaalf, untitled03 2009 Color photograph, walnut frame, museum glass 104 x 84 cm | 41 x 33 1/8 in (framed) Edition of 5 + 2 AP
Nummer twaalf Nummer twaalf, untitled05 2009 Color photograph, walnut frame, museum glass 84 x 104 cm | 33 1/8 x 41 in (framed) Edition of 5 + 2 AP
Nummer twaalf, untitled06 2009 Color photograph, walnut frame, museum glass 84 x 104 cm | 33 1/8 x 41 in (framed) Edition of 5 + 2 AP
Nummer twaalf Nummer twaalf, untitled07 2009 Color photograph, walnut frame, museum glass 84 x 104 cm | 33 1/8 x 41 in (framed) Edition of 5 + 2 AP
Nummer twaalf, untitled08 2009 Color photograph, walnut frame, museum glass 104 x 84 cm | 41 x 33 1/8 in (framed) Edition of 5 + 2 AP
Nummer twaalf Nummer twaalf, untitled09 2009 Color photograph, walnut frame, museum glass 84 x 104 cm | 33 1/8 x 41 in (framed) Edition of 5 + 2 AP
Nummer twaalf, untitled10 2009 Color photograph, walnut frame, museum glass 84 x 104 cm | 33 1/8 x 41 in (framed) Edition of 5 + 2 AP
Nummer dertien On the 9th of October 2010 at 13.30 pm Guido van der Werve ran 29 miles from PS1/MoMA in Queens, New York to place chamomile flowers on Rachmaninoff’s grave at Kensico cemetery in upstate New York.
Nummer dertien, effugio a 2011 Sixteen 35mm color slides, framed text New York, NY (US) Edition of 4 + 2 AP
Nummer dertien
Effugio b portrait of the artist as a mountaineer Mount Everest (Tibetan: Chomolungma or Qomolangma,"Holy Mother"; Chinese (Pinyin): Zhūmùlǎngmǎ Fēng; Nepali: Sagarmāthā) is the world's highest mountain, with a peak at 8,848 metres (29,029 ft) above sea level. It is located in the Mahalangur section of the Himalayas on the Nepal side of the Nepal-China (Tibet) border. The highest mountain in the world attracts many well-experienced mountaineers as well as novice climbers willing to hire professional guides. While not posing substantial technical climbing challenges on the standard route, Everest presents dangers such as altitude sickness, and extreme weather situations. ‘Mount Everest’ is also used as a metaphor; we all have our own Everests to climb. Guido van der Werve: a Dutch artist, was planning to climb Mount Everest in the summer of 2011. The expedition team recommended him to climb Aconcagua in Argentina first, with a height of 6962 meters, it would prove to be a good test. Van der Werve summitted Aconcagua on January 18th 2011, and subsequently decided not to climb Everest. In October 2011, he reattempted to climb the height of Mount Everest on a step ladder in front of the house he grew up in in Papendrecht, the Netherlands. After two hours, Van der Werve realised the task was too daunting and simply seemed physically impossible. He wasn’t able to achieve his goal and abandoned the attempt. Escapism: a mental diversion by means of entertainment or recreation, as an "escape" from the perceived unpleasant or banal aspects of daily life. It can also be used as a term to define the actions people take to help relieve persisting feelings of depression or general sadness. Goal: is a desired result a living creature or a system envisions, plans and commits to achieve—a personal or organizational desired end-point in some sort of assumed development. Many people endeavor to reach goals within a finite time window by setting deadlines. ‘Goal’ is roughly similar to ‘purpose’ or ‘aim’, the anticipated result which guides reaction, or an end, which is an object, either a physical object or an abstract object, that has intrinsic value.
Nummer dertien, Effugio b, portrait of the artist as a mountaineer 2011 Two framed digital C prints and a framed text work each photo: 41 x 55 cm | 16 1/8 x 21 5/8 in (framed) Edition of 4 + 2 AP
Nummer zestien The three-channel installation Nummer zestien, the present moment, follows a trio of groups, one depicting older, naked men and women as they go through daily activities such as waking up, eating, and napping; a second consisting of a mixed-age collection of men and women barefoot and dressed in black, doing yoga and meditating; and the third comprising younger men and women engaging in ever-more-intimate acts of sex, with nothing held back. In the center of the gallery is a player piano, which plays a lovely score written and performed by van der Werve, who is not appearing in one of his films for the first time; there’s not even a piano bench for visitors to contemplate his physical presence. The film is divided into twelve sections, each dedicated to a different sign of the zodiac and time of year; the camera movement on all three screens slowly traces the outline of the constellation in the sky. The action on each screen is set in a black room with a soft floor, a kind of visual psyche that highlights the whiteness of the all-Caucasian cast. In addition to relating to Freud’s theories about personality, Nummer zestien, the present moment also brings up issues of life and death as the three groups of people continue their own explorations of the mind and/or body.
Nummer zestien, the present moment 2015 3 channel 4k video installation with pianola 57:30 minutes Amsterdam (NL) Edition of 8 plus 2 artist’s proofs link https://vimeo.com/151171626 password 4+r9x6
film stills
installation view | Nummer zestien, the present moment | Oudekerk, 2016 | Amsterdam (NL)
detail (3 screens) | Nummer zestien, the present moment | 2015
Guido van der Werve
Nummer veertien | Nummer zeventien, GRIMM Frans Halsstraat, Amsterdam (NL)
b. 1977 in Papendrecht (NL)
Stills, GRIMM Keizersgracht, Amsterdam (NL)
Lives and works in Amsterdam (NL), Berlin (DE), and Hassi (FI)
Guido van der Werve, Fluentum Sammlung, Berlin (DE)
EDUCATION / RESIDENCIES 2011
Kunstlerhaus Bethanien, Berlin (DE)
2008
International Studio and Curatorial Program, New York, NY (US)
2006
Rijksakademie van Beeldende Kunsten, Amsterdam (NL)
2003
Russian language, culture and literature, University of Amsterdam, Amsterdam (NL)
2003
Gerrit Rietveld Academie, Amsterdam (NL)
1999
Conservatory, Rotterdam (NL)
1998
Classical Archaeology, University of Amsterdam, Amsterdam (NL)
1997
Industrial Design, Technical University, Delft (NL)
2018
Auto Sacramental, FuturDome, Milan (IT)
2017
Nummer zeventien, killing time, Marc Foxx Gallery, Los Angeles, CA (US)
2016
Nummer zestien, the present moment, Luhring Augustine Gallery, New York, NY (US)
Guido van der Werve, numbers 2 6 8 14, Frist Center for Visual Arts, Nashville, TN (US) 2015
Gouden Kalf, Best Short Film, Nederlands Film Festival (NL)
2012
Charlotte Köhler Award, Prins Bernhard Cultuur Fonds (NL)
Nummer veertien, Luhring Augustine, New York, NY (US) Works 2003-2009, Luhring Augustine Bushwick, Brooklyn, NY (US)
2011
2010
Emotional Poverty, Juliette Jongma, Amsterdam (NL)
Volkskrant Beeldende Kunst prijs, Centraal Museum, Utrecht (NL)
Guido van der Werve, Juliette Jongma, Amsterdam (NL)
Nummer twaalf, New Media Series, Saint Louis Art Museum w/ World Chess Museum, Saint Louis, MO (US)
Modern Times (volume 2), Museo d’Arte Provincia di Nuoro, Nuoro (IT)
Nummer twaalf, Juliette Jongma, Amsterdam (NL)
Minor Pieces, Charles H. Scott Gallery, Vancouver (CA)
2010
Prix International d’Art Contemporain, Fondation Prince Pierre de Monaco (MC)
2009
Grant to Artists, Foundation for Contemporary Arts, New York, NY (US)
2007
Peter Paul Peterich Fonds, Prins Bernard Cultuurfonds, Amsterdam (NL)
Cultural Cartographies, Utah Museum of Contemporary Art, Salt Lake City, UT (US)
Volkskrant Beeldende Kunst Prijs (NL)
Room by Room, The Warehouse Dallas, Dallas, TX (US)
Minor Pieces, Kim? Laikmetïgäs Centrs, Riga (LV)
Nummer veertien, Davis Museum at Wellesley College, Wellesley, MA (US)
Minor Pieces, DHC Foundation for Contemporary Art, Montréal (CA )
As far away as home - Paris to Warsaw, collaboration w/ CCA Ujazdowski Castle, Warsaw (PL) and Kunstverein, Zurich (CH)
Minor Pieces, Marc Foxx Gallery, Los Angeles, CA (US)
2006
Best Experimental Film, Kerry Film Festival, Blennerville (IE)
2004
Diamond Award, ZEBRA Poetry Film Festival, Berlin (DE)
2003
René Coelho Award, The Netherlands Media Art Institute, Montevideo/TBA, Amsterdam (NL)
SELECTED SOLO EXHIBITIONS 2020 2019
Guido van der Werve, SongEun Art Space, Seoul (KR)
2013
2009
Papendrecht, Monitor, Lisbon (PT)
Nummer veertien, CCA Ujazdowski Castle, Warsaw (PL)
Guido van der Werve, CONDO São Paulo, Casa Triângulo, São Paulo (BR)
Guido van der Werve, Secession, Vienna (AT) Nummer veertien, Stedelijk Museum, Amsterdam (NL)
I don’t want to get involved in this, MUU Galleria, Helsinki (FI) We would feel much worse, if it wouldn’t be for the heavy sedatives, Galerie Olaf Stüber, Berlin (DE) 2004
Guido van der Werve, René Coelho Award 2003, Nederlands Instituut voor Mediakunst, Amsterdam (NL)
2003
Media Room, Melkweg, Amsterdam (NL)
Blackbox, Hirshhorn Museum, Washington, DC (US)
SELECTED GROUP EXHIBITIONS 2020
Minor Pieces, Das Weisse Haus, Vienna (AT)
On Earth, Foam Museum for Photography, Amsterdam (NL) So wie wir sind 2.0, Weserurg Museum für Moderne Kunst, Bremen (DE) Des marches, démarches, FRAC, Marseille (FR) Nuovo Cinema Galleria, Galerie Vera Cortês, Lisbon (PT)
Minor Pieces, Site Gallery, Sheffield (UK) Minor Pieces, Monitor, Rome (IT) 2008
Ville de Mérignac, Bordeaux (FR) [forthcoming] Beethoven Moves, Kunsthistorisches Museum, Vienna (AT) [forthcoming]
Minor Pieces, Frans Hals Museum - Hal, Haarlem (NL)
Guido van der Werve, GAMeC, Bergamo (IT)
Guido van der Werve, Monitor, Rome (IT)
Video Event, Dieter Roth Academy, Boekie Woekie, Amsterdam (NL)
Guido van der Werve, Institute Néerlandais, Paris (FR)
Nummer acht, everything is going to be alright, Cortex Athletico, Bordeaux (FR) Nummer veertien, Marc Foxx Gallery, Los Angeles, CA (US)
2005
Minor Pieces, Prefix, Toronto (CA)
Nummer veertien, Home, UMMA, Black box Media Gallery, Dearborn, MI (US)
The clouds are more beautiful from above, Stedelijk Museum Bureau, Amsterdam (NL)
Nummer vier, Opera House Vita Kuben, Umeå (SE)
Minor Pieces, Basis, Frankfurt (DE)
Guido van der Werve, Nummer veertien, M Woods, Beijing (CN) Nummer acht, Kunstverein, Vienna (AT)
2006
Nummer twaalf, Foundation Prince Pierre de Monaco, Chapelle de la Visitation, Monaco (MC)
Guido van der Werve, Esker Foundation, Calgary (CA)
The clouds are more beautiful from above, TBA:07, Portland Institute for Contemporary Art, Portland, OR (US) Nummer acht, Frans Hals Museum - Hal, Haarlem (NL)
Nummer twaalf, Luhring Augustine, New York, NY (US)
Nummer zeventien, killing time, Monitor, Rome (IT) Nummer veertien, Seattle Art Museum, Seattle, WA (US)
2014
On parity of days, Kunsthalle, Basel (CH) 2007
Emotional Poverty, Kunstlerhaus Bethanien, Berlin (DE)
Minor Pieces, Models Arts and Niland Gallery, Sligo (IE)
Nummer zeventien, killing time, Juliette Jongma, Amsterdam (NL)
AWARDS / GRANTS 2013
2012
Nummer zestien, the present moment, Oude Kerk, Amsterdam (NL)
Guido van der Werve, Kyoto City University of Arts Gallery, Kyoto (JP)
Nummer acht, Gallery Marc Foxx, Los Angeles, CA (US)
Nummer veertien, Guilliani Foundation, Rome (IT)
2019
Nummer twee, La Maison Rouge, la Vestibule, Paris (FR)
Haarlem Heroes, Frans Hals Museum - Hal, Haarlem (NL) Swiss Romanticism, Kunsthaus, Zurich (CH)
Everything is going to be alright, Hayward Gallery, London (UK)
Jimei x Arles International Photo Festival, Xiamen (CN)
Nummer acht, MTV television screen by Creative Time on Times Square, New York, NY (US)
On Earth – Imaging, Technology and the Natural World, curated by Foam, Rencontres d’Arles, Arles (FR)
VAN BAERLESTRAAT 80 1071BB AMSTERDAM
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Landscape, territory and anthropocène, Nummer veertien | Nummer zeventien, Les Abattoirs, (FR) GRIMM Frans Toulouse Halsstraat, Amsterdam (NL)
DEKALOG, Ein Assoziationsraum, Leonhardi
Museum, Dresden (DE) Werve Guido van der
and Repetition, b. 1977Time in Papendrecht (NL)Center for Contemporary Art, Celje (SI) Lives and works in Amsterdam (NL), Berlin (DE), Videoland, and Hassi (FI) Kunsthal KAdE, Amersfoort (NL) Freedom, the fifty key Dutch artworks since 1968, curated by Hans Den Hartog EDUCATION RESIDENCIES Jager,/Museum de Fundatie, Zwolle (NL) 2011 Kunstlerhaus Bethanien, BerlinMoscow (DE) 2018 Extention.NL, Triumph Gallery, 2008 (RU) International Studio and Curatorial Program, New- York, NY (US) Hoehenrausch Das anders ufer, OO (AT) 2006 Kulturquartier, RijksakademieLinz van Beeldende Kunsten, Amsterdam (NL) Hollywood and other Myths, Tel Aviv Art, Tel culture Aviv (IL)and literature, 2003 Museum Russian of language, University of Amsterdam, Amsterdam (NL) The walks academy, le Magasin, Grenoble (FR)
2003 En Gerrit Rietveld Academie, Marche, Musee du Valais,Amsterdam Sion (CH) (NL) 1999 Conservatory, Rotterdam (NL) 2017 Melancholia - A Sebald variation, House, London (UK) 1998 Somerset Classical Archaeology, University of Amsterdam,Actions, Amsterdam (NL) Wanderlust: Traces, Journeys - 2017, UB Galleries, Buffalo, NY (US) 1997 1967 Industrial Design, Technical University, Delft (NL) Eremi arte, Accademia di Belle Arti, l’Aquila (IT) Twenty/20, Edward Cella Gallery, Los AWARDS / GRANTS Angeles, CA (US) 2013 Gouden Kalf, Best Short Film, Nederlands Rolling Snowball, Film Festival (NL)CEAC, Djupivogur (IE) Slow, Anchorage Museum, Anchorage, AK 2012 Charlotte Köhler Award, Prins Bernhard (US) Cultuur Fonds (NL) Imaginaries, d’Art RMITContemporain, Gallery, 2010 Ocean Prix International Melbourne (AU) Pierre de Monaco (MC) Fondation Prince Refugio y recurso del 2009 Naturaleza. Grant to Artists, Foundation for hombre, CCK, Buenos Aires Contemporary Arts,(AR) New York, NY (US) Basilik, Nicodim Gallery, Los Angeles, 2007 The Peter Paul Peterich Fonds, Prins BernardCA (US) Cultuurfonds, Amsterdam (NL) The Arcades:Beeldende Contemporary and(NL) Volkskrant KunstArt Prijs Walter Benjamin, Jewish Museum, New 2006 York, Best NY Experimental Film, Kerry Film (US) Festival, Blennerville (IE) 2016 Everything Ok!, Museum Boijmans Van 2004 Beuningen, Diamond Award, ZEBRA Poetry Film Rotterdam (NL) Festival, Berlin (DE) Jubileum voorstelling 10 jaar Volkskrant 2003 Beeldende René Coelho Award, Netherlands Kunst Prijs, The Stedelijk Museum, Media Art (NL) Institute, Montevideo/TBA, Schiedam Amsterdam (NL) The Position We’re In, Kansas City Art Institute Gallery, Kansas City, MO (US) SELECTED SOLO EXHIBITIONS Laboratoire de l’art, Musee des arts et Paris 2020 metier, Guido van der(FR) Werve, SongEun Art Space, Seoul (KR) Capitalist Melancholia, Halle 14, Leipzig, (DE)
2019 Early Papendrecht, Monitor, Films, Marc Foxx Lisbon Gallery,(PT) Los Angeles, Guido vanCA der(US) Werve, CONDO São Paulo, Casa Triângulo, São Paulo (BR)Beijing (CN) All means are Sacred, M Woods,
2015
Eppur muove,Keizersgracht, Musee des Arts et Stills, si GRIMM Amsterdam (NL) Metiers, MUDAM, Paris (FR) Guido van der Werve, Fluentum Sammlung, L’Épais Réel, La Criée, Rennes (FR) Berlin (DE)
Water. From Transcendental 2018 Troubled Auto Sacramental, FuturDome, Milan (IT) Aesthetics to the Global Economy, 10th 2017 Baltic Nummer zeventien, killing time, Marc Biennial of Contemporary Art, Foxx Gallery, Los Szczecin (PL)Angeles, CA (US)
2016 Expeditie Nummer Land zestien, presentKAdE, moment, Art,the Kunsthal Luhring Augustine Amersfoort (NL) Gallery, New York, NY (US) Oh Muse, Frans Hals Museum - Hal, Nummer(NL) zestien, the present moment, Haarlem Oude Kerk, Amsterdam (NL) Fairy Tales, Museum of Contemporary Art, Nummer zeventien, killing time, Juliette Taipei (TW) Jongma, Amsterdam (NL) Trial, Error, Art, the Holden Gallery, Guido van der Werve, Kyoto City Manchester (UK) University of Arts Gallery, Kyoto (JP) Eppur Si Muove, Musée d’Art Moderne Guido van der Werve, numbers (LU) 2 6 8 14, Grand-Duc Jean, Luxembourg Frist Center for Visual Arts, Nashville, TN White noise, Kunsthaus, Glarus (CH) (US) Doma Art Festival, Sofia (BG) 2015 Nummer zeventien, killing time, Monitor, Rome (IT)Collection, exposition autour de Collective la collection de Laurent Fievet, BBB Centre Nummer veertien, Seattle Art Museum, d’Art, Toulouse (FR) Seattle, WA (US) In search of the Miraculous, Newlyn Art Guido van der Werve, Esker Foundation, Gallery, Cornwall (UK) Calgary (CA) Obsession, Maison Particulière, Brussels (BE) Guido van der Werve, Nummer veertien, M Woods, Beijing (CN)- Cinematic Visions Landscape in Motion on an uncertain Tomorrow, Kunsthaus, Graz Nummer acht, Kunstverein, Vienna (AT) (AT) 2014 Nummer veertien, Home, UMMA, Black Istanbul Biennial, Istanbul (TR) box Media Gallery, Dearborn, MI (US) Dancing Light, let it move you, Huis Cultural Cartographies, Utah Museum of Marseille, Amsterdam (NL) Contemporary Art, Salt Lake City, UT (US) Sebald Variations, CCCB, Barcelona (ES) Room by Room, The Warehouse Dallas, Nordic Bang Centre, Montreal (CA) Dallas,Fact, TX (US) Days of Endless Time, TheMuseum Hishhorn Nummer veertien, Davis at Museum Sculpture Garden, MA Washington Wellesley& College, Wellesley, (US) DC (US) 2013 As far away as home - Paris to Warsaw, Dancing Light, w/ Huis Marseille, Amsterdam collaboration CCA Ujazdowski Castle, (NL) Warsaw (PL) and Kunstverein, Zurich (CH)
2014
Fair Play -acht, arte,everything video, MAXXI, museo Nummer is going to be d’arte XXI secolo, Roma (IT) alright,delCortex Athletico, Bordeaux (FR) Dead Whorled Explorations, GuidoReckoning: van der Werve, GAMeC, Bergamo (IT) Kochi-Muziris Biennale, Kerala (IN) Nummer veertien, Marc Foxx Gallery, Los Lone Tree,CA Marlborough Chelsea Gallery, Angeles, (US) New York, NY (US) Nummer veertien, CCA Ujazdowski Castle, Lucht in de Nederlandse kunst sinds 1850, Warsaw (PL) Frans Hals Museum - Hal, Haarlem (NL) Guido van der Werve, Secession, Vienna (AT) The Art of Sound, Architecture Biennial, Nummer veertien, Stedelijk Museum, Prada Foundation, Venice (IT) Amsterdam (NL)
The Journey, Meet Factory Center, Nummer veertien, GuillianiArt Foundation, Prague (CZ) Rome (IT)
on theLuhring Feeling Augustine, of the 2012 Observations Nummer veertien, New Beautiful Sublime, Škuc Gallery, York, NYand (US) Ljubljana (SI) Works 2003-2009, Luhring Augustine Tactics for anBrooklyn, impossible Bushwick, NYworld, (US) Galeria Nara Roesler, São Paulo (BR) Emotional Poverty, Kunstlerhaus Dirge: Reflections [Life and] Death, Bethanien, Berlinon(DE) MOCA, Cleveland, OH (US) 2011 Emotional Poverty, Juliette Jongma, The Hidden Passengers, Apexart, New York (US) Amsterdam (NL) 2013 Delta Flux, RuRu Gallery, Jakarta (ID) Minor Pieces, Models Arts and Niland
Gallery, Sligo Looking (IE) Karel’s Choice, back at Contemporary Art, Fransvier, HalsOpera Museum - Hal, Haarlem Nummer House Vita Kuben, (NL)
2007
2006
Umeå (SE) Episode 4: tireless workers, insitu, Berlin (DE)
Nummer twaalf, New Media Series,(NL) Saint Wit, Fotografie Museum, Rotterdam Louis Art Museum w/ World Chess Name still unknown, Klaip da Culture Museum, Saint Louis, MO (US) Communication Centre, KCCC, Klaip da (LT) 2010 Nummer twaalf, Juliette Jongma, Narcissistic Tendencies, NEST, The Hague (NL) Amsterdam (NL) The Magnetic North, Louisiana Museum, Nummer twaalf, Luhring Augustine, New Humlebæk (DK) York, NY (US) Cresendo, Australian Centre for Nummer twaalf, Foundation Prince Pierre Contemporary Art, Melbourne (AU) de Monaco, Chapelle de la Visitation, Geestverwanten, Monaco (MC) Rabo Art Zone, Utrecht (NL) Chambres des Canaux: The Tolerant Minor Pieces, Basis, Frankfurt (DE) Home, Amsterdam (NL) Minor Pieces, Charles H. Scott Gallery, On Nature, Sean Vancouver (CA) Kelly Gallery, New York, NY (US) Minor Pieces, Prefix, Toronto (CA) Open Form Exhibition, Art Athina, Athens (GR) 2009 Blackbox, Hirshhorn Museum, Washington, Le DCpont, (US)Musée d’Art Contemporain de Marseille (FR) Guido van der Werve, Institute Resistance, (RU) Néerlandais,NCCA, ParisMoscow (FR) When Became Form Become MinorAttitudes Pieces, Das Weisse Haus, Vienna (AT) Attitudes, MOCA, Detroit, MI (US) Minor Pieces, Kim? Laikmetïgäs Centrs, Sequences Riga (LV) Biennial, Reykjavik (IS) Permanent Collection Exhibition,for MoMA, Minor Pieces, DHC Foundation New York, NY (US) Contemporary Art, Montréal (CA ) The Earth Turns and Foxx All Things SlipLos Away, Minor Pieces, Marc Gallery, Hunt Kastner Gallery, Prague (CZ) Angeles, CA (US) Artistic research between Minor Pieces, Frans Hals intuition Museumand - Hal, Logic, Kunstverein Friedrichshafen / Haarlem (NL) Zeppelin Museum, Friedrichshafen (DE) Minor Pieces, Site Gallery, Sheffield (UK) 2012 The Future that was, SMART Project Minor Pieces, Monitor, Space, Amsterdam (NL)Rome (IT) 2008 Gentle Nummer twee, La Maison Rouge, laBerlin War, Collegium Hungaricum, Vestibule, Paris (FR) (DE)
Everything is going to be alright, Klang und Stille, Sammlung Goetz,Hayward Haus Gallery, der Kunst,London Munich(UK) (DE)
Nummer acht, MTV television screen XVII Mäntän Kuvataideviikoille, Mänttä by (FI) Creative Time on Times Square, New York, NY (US)
2011 2005
2004
Sydney Biennale, Sydney (AU) Nummer acht, Gallery Marc Foxx, Los Angeles, CA (US) La La La Human Steps: A Selection from the of Museum Boijmans van OnCollection parity of days, Kunsthalle, Basel (CH) Beuningen, Istanbul Modern (TR) The clouds are more beautiful from above, When Attitudes Became Form TBA:07, Portland Institute forBecome Attitudes, CCA Wattis Institute,OR San Contemporary Art, Portland, (US) Francisco, CA (US) Nummer acht, Frans Hals Museum - Hal, The distinctively Haarlem (NL) Dutch Festival, Wood Street Galleries, The Pittsburgh Cultural Volkskrant Beeldende Kunst prijs, Centraal Trust, Pittsburgh, PA (US) Museum, Utrecht (NL) Border Crossing, Brandts Kunsthallen, The clouds Odense (DK)are more beautiful from above, Stedelijk Museum Bureau, Amsterdam (NL) Time Capsule, la Maison des arts de Guido vanMalakoff der Werve, Malakoff, (FR)Juliette Jongma, Amsterdam (NL) Aorum Sanai (ice man), Arario Gallery, Modern Times Cheonan (KR) (volume 2), Museo d’Arte Provincia di Nuoro, Nuoro (IT) Performa 11, New York (US) Guido van der Werve, Monitor, Rome (IT) IKJIJWIJ, Rabo Kunstzone, Utrecht (NL) I don’t want to get involved in this, MUU NoMoreModern: Notes Galleria, Helsinki (FI)on Metamodernism, Museum of Arts and We would feelYork, muchNY worse, Design, New (US) if it wouldn’t be for the heavy sedatives, Galerie Olaf Moscow Biennial, Moscow (RU) Stüber, Berlin (DE) Meer Licht, Museum de Fundatie, Zwolle (NL) Guido van der Werve, René Coelho Award 2003, Instituut voor Summer in theNederlands middle of winter, Mediakunst, Amsterdam Kunsthalle, Athens (GR) (NL)
2003 Fokus, Media Nikolaj Room, Melkweg, Kunsthal, Amsterdam Copenhagen(NL) (DK) Video Event, Dieter Roth Academy, Boekie Nuit Blanche, New Museum, New York, NY Woekie, Amsterdam (NL) (US) Venice Biennial, Future Generation Art Price, Palazzo Contarini Polignac, Venice, (IT) SELECTED GROUP EXHIBITIONS That’s me, Schloss Ringelberg, 2020 Ville de Mérignac, Bordeaux (FR) Hamminkeln (DE) [forthcoming] Prix de Rome 2011, Smart Project Space, Beethoven Moves, Kunsthistorisches Amsterdam (NL) Museum, Vienna (AT) [forthcoming] ECHT? Based on a true story, Künstlerhaus, On Earth, Foam Museum for Photography, Stuttgart (DE) Amsterdam (NL) 2010 Unwetter, Goethe Institute, Hong Kong (CN) So wie wir sind 2.0, Weserurg Museum für Screensaver, de Vleeshal, Middelburg (NL) Moderne Kunst, Bremen (DE) Art, & Sensations, Abu DhabiMarseille DesTalks marches, démarches, FRAC, contemporary art fair (AE) (FR) Control Issues, Boston Center forVera the Cortês, Nuovo Cinema Galleria, Galerie Arts, Boston, Lisbon (PT) MA (US) zaal Dommering, Kunstmuseum, 2019 De Haarlem Heroes, Frans Hals Museum - Hal, The Hague(NL) (NL) Haarlem The Bearable Lightness of Being - Zurich The (CH) Swiss Romanticism, Kunsthaus, Metaphor of the Space, Venice Biennial, Jimei x Arles International Photo Festival, Venice (IT) Xiamen (CN) Berger & Berger movie theatre, Venice On Earth – Imaging, Technology and the Biennial, Arsenale, Venice (IT) Natural World, curated by Foam, Rencontres d’Arles, Arles (FR)
+1 (646) 484-5223 INFO@GRIMMGALLERY.COM VAN BAERLESTRAAT 80 KEIZERSGRACHT 241 +31 (0) 20 675 24 65 202 BOWERY +1 (646) 484-5223 VAN BAERLESTRAAT 80 1016 KEIZERSGRACHT 241 THE +31 NETHERLANDS (0) 20 675 24 65 NEW202 STATES WINFO@GRIMMGALLERY.COM 1071BB AMSTERDAM EA AMSTERDAM YORKBOWERY NY 10012 UNITED W W. GRIMMGALLERY.COM 1071BB AMSTERDAM 1016EA AMSTERDAM THE NETHERLANDS NEW YORK NY 10012 UNITED STATES WWW.GRIMMGALLERY.COM
Works from the Collection, Hirshhorn
Loire, Carquefou Nummer veertien(FR) | Nummer zeventien, GRIMM Frans Halsstraat, Amsterdam (NL) Linearity, National Center for Contemporary Art, Moscow (RU) Stills, GRIMM Keizersgracht, Amsterdam (NL)
Museum & Sculpture Washington Guido van derGarden, Werve DC (US)
b. 1977 in Papendrecht (NL) Video art Survey, Kumu Museum, Tallinn (EE) Lives and works in Amsterdam (NL), Berlin (DE), Future and Hassi (FI)Generation Art Price, Pinchuk Foundation, Kiev (UA) Liverpool Biennial, Liverpool (UK) EDUCATION / RESIDENCIES Single Artwork Project, Kunstbunker, 2011 Nuremberg Kunstlerhaus Bethanien, Berlin (DE) (DE) 2008 Neither International Studio and Curatorial from nor towards… Did you, upon Program, New NY future (US) from the awakening today,York, see the point of the turning world?, Art 2006 still Rijksakademie van Beeldende Kunsten, Pavilion, Zagreb Amsterdam (NL)(HR) YEARS VERSION #3, Garage, Moscow 2003 100 Russian language, culture and literature, (RU) University of Amsterdam, Amsterdam (NL) einem schönen Morgen des Monats (NL) 2003 An Gerrit Rietveld Academie, Amsterdam Mai..., GAK, Bremen (DE) 1999 Conservatory, Rotterdam (NL) A Bluebird in My Heart, National Gallery 1998 of Classical Archaeology, University of Zimbabwe, Harare (ZW) Amsterdam, Amsterdam (NL) Greater New York, MoMA/PS1, New York, NY 1997 (US) Industrial Design, Technical University, Delft (NL) Projections, Bonniers Konsthall, Stockholm (SE) After the Gold Rush, Charles H. Scott AWARDS / GRANTS Gallery, Vancouver (CA) 2013 Show Gouden Kalf, Best Film, Nederlands planned, SkucShort Gallery, Ljubljana (SI) Film Festival (NL) CLIMAX REDUX, Bac - Building for 2012 contemporary Charlotte Köhler art,Award, GenevaPrins (CH) Bernhard Cultuur Fonds (NL) CUE: Artists’ Videos, Vancouver Art 2010 Gallery, Prix International Vancouverd’Art (CA) Contemporain, Fondation Prince Pierre de Monaco (MC) 2009 Nummer twaalf, Frans Hals Museum - Hal, 2009 Haarlem Grant to (NL) Artists, Foundation for Contemporary Arts, New York, NY (US) 100 YEARS VERSION #2, MoMA/PS1, New 2007 York, PeterNY Paul Peterich Fonds, Prins Bernard (US) Cultuurfonds, Amsterdam (NL) 100 YEARS VERSION #1, Julia Stoschek Volkskrant Beeldende Foundation, DusseldorfKunst (DE) Prijs (NL)
2006 Mnemosyne Best Experimental Kerry Film - L ‘AtlasFilm, of the images, Festival, Blennerville (IE) (IT) Visual Arts Center, Pesaro 2004 Esthétique Diamond Award, ZEBRA Poetry Film des pôles ou le testament des Festival, Berlin (DE) Metz (FR) glaces, Frac Lorraine, 2003 Performa René Coelho Award, 9, New York,The NYNetherlands (US) Media Art Institute, Montevideo/TBA, As Long As it Lasts, Marian Goodman Amsterdam (NL) Gallery, New York, NY (US) Curated at, Galerien in der SELECTED SOLO EXHIBITIONS Schleifmühlegasse, Vienna (AT) 2020 Dis-ease, Guido vanIziko der Museum, Werve, SongEun Art Space, Cape Town (ZA) Seoul (KR) I Paesaggi e la Natura dell’Arte, Museum 2019 Arcos, Papendrecht, Monitor, Benevento (IT) Lisbon (PT)
Guido Revised, van der Werve, CONDO São Paulo, (DE) Space #1, Künstlerhaus, Bremen Casa Triângulo, São Paulo (BR) Le Sang d’un Poete, Frac de Pays de la
This World Nearer Ones, Creative Time Guido van &der Werve, Fluentum Sammlung, Exhibition, Governor’s Island, New York, NY Berlin (DE) (US) 2018 Auto Sacramental, FuturDome, Milan (IT) Sounds and Visions, Tel Aviv Museum of 2017 Contemporary Nummer zeventien, killing Art, Tel Avivtime, (IL) Marc Foxx Gallery, Los Angeles, CA (US) 2008 The Sublime is now, Galleria Civica 2016 Comune, NummerModena zestien, (IT) the present moment, Luhring Augustine Gallery, New York, NY Inauguration festival, Nam June Paik Art (US) Center, Yonging (KR) Nummer zestien, the present moment, Playtime, Betonsalon, Paris (FR) Oude Kerk, Amsterdam (NL) Busan Biennial, Busan (KR) Nummer zeventien, killing time, Juliette Torino Triennial, curated by Daniel Jongma, Amsterdam (NL) Birnbaum, Torino (IT) Guido van der Werve, Kyoto City Sudden White, Academy of Arts, University of Royal Arts Gallery, Kyoto (JP) London (UK) Guido van der Werve, numbers 2 6 8 14, Manifesta 7, Trentino-Alto Adige (IT) TN Frist Center for Visual Arts, Nashville, (US) Temporary Museum Amsterdam, Smart Space, Amsterdam (NL) Monitor, 2015 Project Nummer zeventien, killing time, Rome (IT) Untamed Paradises, MARCO, Museum of Contemporary, VigoSeattle (ES) Art Museum, Nummer veertien, Seattle, WA (US) CAAC, Centro Untamed Paradises,
Andaluz deder Arte Contemporáneo, Sevilla (ES) Guido van Werve, Esker Foundation, Calgary (CA) Locked-In, Casino Luxembourg, Forum 2007
d’art contemporain, Luxembourg (LU) M Guido van der Werve, Nummer veertien, Woods, (CN) GL strand, 100 daysBeijing = 100 videos, Copenhagen (DK) Nummer acht, Kunstverein, Vienna (AT)
Fleur du Mal, Arcos Museo d’Arte 2014 Les Nummer veertien, Home, UMMA, Black Contemporanea, Benevento (IT)MI (US) box Media Gallery, Dearborn, Art Summer University, Utah Tate Modern, Cultural Cartographies, Museum of London (UK) Art, Salt Lake City, UT (US) Contemporary Novella (not yet another story), Halle fur Room by Room, The Warehouse Dallas, Kunst, Dallas,Lüneburg TX (US) (DE) The present order, Frans Museum Nummer veertien, DavisHals Museum at - Hal, Haarlem (NL) Wellesley College, Wellesley, MA (US) Vermelho, 2013 Communism As far away of asForm, home Galeria - Paris to Warsaw, São Paulo (BR)w/ CCA Ujazdowski Castle, collaboration Warsaw zes, (PL)Marc and Kunstverein, Nummer Foxx Gallery,Zurich Los (CH) Angeles, (US) NummerCA acht, everything is going to be alright, Cortex Athletico, Bordeaux (FR) New Nummer zes, Harris Liebermann Gallery, York, (US) GuidoNY van der Werve, GAMeC, Bergamo (IT) Nothing Else Matters, Frans Hals Museum Nummer veertien, Marc Foxx Gallery, LosHal, Haarlem Angeles, CA (NL) (US) Effets secondaires, Martine etCastle, Nummer veertien, Galerie CCA Ujazdowski Thibault la Châtre, Paris (FR) Warsawde (PL) 2006
100 tage = 100 videos, Secession, Heidelberger Guido van der Werve, Vienna (AT) Kunstverein, Heidelberg (DE) Nummer veertien, Stedelijk Museum, Amsterdam (NL)
Stop! Who veertien, is coming?, National Centre for Nummer Guilliani Foundation, Contemporary Art, Moscow (RU) Rome (IT)
National Museum of New 2012 Preview, NummerMNAC veertien, Luhring Augustine, Contemporary York, NY (US)Art, Bucharest (RO) Gimme or I’mLuhring gonna fade away, Works Shelter 2003-2009, Augustine Halle für Kunst, Lüneburg (DE) Bushwick, Brooklyn, NY (US)
Lentekriebels, The Netherlands Media art Emotional Poverty, Kunstlerhaus Institute, Amsterdam (NL) Bethanien, Berlin (DE) 2005 Prix de Rome 2005, De Appel, Amsterdam 2011 Emotional Poverty, Juliette Jongma, (NL) Amsterdam (NL)
Minor Pieces, Models Arts and Niland SELECTED PERFORMANCES Gallery, Sligo (IE) 2019
2018
Tenth Annual to Rachmaninoff Nummer vier,Running Opera House Vita Kuben, run, New York, NY to Valhalla, NY (US) Umeå (SE) Chess Piano, Fluentum, BerlinSeries, (DE) Saint Nummer twaalf, New Media LouisAnnual Art Museum Chess Ninth Runningw/toWorld Rachmaninoff Museum, SaintNY Louis, MO (US) run, New York, to Valhalla, NY (US)
2010 Eighth Nummer twaalf, Juliette Jongma, 2017 Annual Running to Rachmaninoff Amsterdam (NL) run, New York, NY to Valhalla, NY (US) Nummer twaalf,Running LuhringtoAugustine, New 2016 Seventh Annual Rachmaninoff York, NYYork, (US) NY to Valhalla, NY (US) run, New 2015 2014
Nummer twaalf, Foundation Prince Pierre Sixth Annual Running to Rachmaninoff de Monaco, Chapelle de la Visitation, run, New York, NY to Valhalla, NY (US) Monaco (MC) Fifth Annual Running to Rachmaninoff Minor Pieces, FrankfurtNY (DE) run, New York,Basis, NY to Valhalla, (US) Minor Pieces, Charles H. Scott Home, a requiem, Clara Kirche w/Gallery, Vancouverof(CA) Orchestra Europe, Parcours - Art Basel (CH) Minor Pieces, Prefix, Toronto (CA)
2013 Annual RunningMuseum, to Rachmaninoff 2009 Fourth Blackbox, Hirshhorn Washington, run, DC New (US) York, NY to Valhalla, NY (US)
2012
2011
Home, requiem, St Andrews Guido avan der Werve, InstituteChurch w/ Season Orchestra and Chamber choir Néerlandais, Paris (FR) of Moscow Conservatory, 400 years Minor Pieces, Das Weisse Festival, Haus, Vienna (AT) Russian/Dutch Friendship Moscow (RU) Kim? Laikmetïgäs Centrs, Minor Pieces, Riga (LV) Home, a requiem, performed by the American Symphony Orchestra for conducted Minor Pieces, DHC Foundation by James Bagwell part of the Contemporary Art,asMontréal (CAMoMA/ ) PS1 sunday sessions, New York, NY (US) Minor Pieces, Marc Foxx Gallery, Los Third Annual Angeles, CARunning (US) to Rachmaninoff run, part of Luhring Augustine’s exhibition, Minor Pieces, Frans Hals NY Museum New York, NY to Valhalla, (US) - Hal, Haarlem (NL) Second Annual Running to Rachmaninoff Minor Site Gallery, Sheffield (UK) run, partPieces, of Performa 10, New York, NY to Valhalla, NY (US) Minor Pieces, Monitor, Rome (IT)
chess concert in la 2008 Nummer Nummerelf, twee, Lapiano Maison Rouge, three movements, World Chess Hall Vestibule, Paris (FR) of Fame in collaboration with the St Louis Everything is going to be alright, Hayward Philharmonic, St. Louis, MO (US) Gallery, London (UK) Nummer elf, chess piano concert in three Nummer acht, MTV television screen by movements, PerformIC 2011 Trial & Error, Creative Time on Times Square, Taxispalais, Innsbruck (AT) New York, NY (US)
Nummer chess pianoMarc concert in three Nummerelf, acht, Gallery Foxx, Los movements, Stedelijk Angeles, CA (US) Museum, Amsterdam (NL) On parity of days, Kunsthalle, Basel (CH) First Annual Running to Rachmaninoff 2007 run, Thepart clouds are moreNew beautiful above, of Greater York, from MoMA/PS1, TBA:07, Institute New York,Portland NY to Valhalla, NYfor (US) Contemporary Art, Portland, OR (US) Nummer elf, chess piano concert in three Nummer acht, FransChess Hals Museum - Hal, movements, Marshall Club, part of Haarlem 08, (NL)New York, NY (US) Performa
2010
Volkskrant Beeldende Kunst prijs, Centraal Museum, Utrecht (NL) SELECTED SCREENINGS 2006 The clouds are more beautiful from above, Short Film Festival,Museum Oberhausen (DE) Stedelijk Bureau, Amsterdam (NL) Metz Subversive Film Centre Pompidou Metz Guido van derfestival, Werve, Juliette (FR) Jongma, Amsterdam (NL) Kasseler Modern Dokumentarfilmund Videofest, Times (volume 2), Museo Kassel d’Arte (DE) di Nuoro, Nuoro (IT) FireflightsProvincia in the Night, curated by Barbara London, National Athens 2005 Opera Guido van der (GR) Werve, Monitor, Rome (IT) International Short Festival, Hamburg I don’t wantfilm to get involved in this, (DE) MUU Galleria, Helsinki Moscow International Film (FI) Festival, Moscow (RU)
We would feel much worse,(NL) if it wouldn’t Netherlands Film Festival, Utrecht be for the heavy sedatives, Galerie Olaf Rotterdam Film Festival, short film competition, Stüber, Berlin (DE) Rotterdam (NL) 2004 Guido van der Werve, René Coelho Kino der Kunst, (DE) Award Munich 2003, Nederlands Instituut voor Mediakunst, Amsterdam (NL) JIHLAVA International Documentary Film Festival, Prague 2003 (CZ) Media Room, Melkweg, Amsterdam (NL) International Festival India,Academy, Goa (IN) Boekie VideoFilm Event, DieterofRoth Woekie, Amsterdam (NL)Winterthur (CH) International Short Film Festival, European Media Art Festival, Osnabrück (DE) SELECTED GROUPFilm EXHIBITIONS Detroit International Festival, Museum of New Art, Detroit, 2020 VilleMIde(US) Mérignac, Bordeaux (FR) [forthcoming] Courtisana Film Festival, Ghent (BE)
Beethoven Moves, Kunsthistorisches Images Film Festival, Toronto (CA) Museum, Vienna (AT) [forthcoming] Kino, Museum Ludwig, Cologne (DE) On Earth, Foam Museum for Photography, Cork FilmAmsterdam Festival, Cork (NL)(IE) Festival du Nouveau Cinema, Montreal (CA) So wie wir sind 2.0, Weserurg Museum für Moderne Bremen(IE) (DE) Samhlaíocht KerryKunst, Film Festival
Des marches, Cinematexas, Houston.démarches, TX (US) FRAC, Marseille (FR) Milano International Film Festival, Milano (IT) Nuovo Cinema Galleria, Galerie Vera Cortês, Impakt Festival, Utrecht (NL) Lisbon (PT) Pescara short film festival, Pescara (IT) 2019 Haarlem Heroes, Frans Hals Museum - Hal, BudapestHaarlem international (NL) film festival, Budapest (HU) Östersunds Konstvideofestival, ÖstersundZurich (SE) (CH) Swiss Romanticism, Kunsthaus, Regensburg short film International festival, Regensburg (DE) Jimei x Arles Photo Festival, Xiamen (CN)(CH) Viper Festival, Basel
On Shadows, Earth – Imaging, Technology and(AT) the Illuminating Film festival, Vienna Natural World, curated by Foam, Rencontres d’Arles, Arles (FR)
+1 (646) 484-5223 INFO@GRIMMGALLERY.COM VAN BAERLESTRAAT 80 KEIZERSGRACHT 241 +31 (0) 20 675 24 65 202 BOWERY +1 (646)STATES 484-5223 WWW.GRIMMGALLERY.COM VAN BAERLESTRAAT KEIZERSGRACHT 241 THE +31NETHERLANDS (0) 20 675 24 65 NEW YORK 202 BOWERY INFO@GRIMMGALLERY.COM 1071BB AMSTERDAM80 1016EA AMSTERDAM NY 10012 UNITED 1071BB AMSTERDAM 1016EA AMSTERDAM THE NETHERLANDS NEW YORK NY 10012 UNITED STATES WWW.GRIMMGALLERY.COM
SELECTED COLLECTIONS
Guido van der Werve
Nummer veertien | Nummer zeventien, GRIMM Frans Halsstraat, Amsterdam (NL)
AMC Collection, Amsterdam (NL) b. 1977 in Papendrecht (NL) Collezione La Gaia, Busca (IT)
Lives and worksofinArt, Amsterdam Dallas Museum Dallas, TX(NL), (US)Berlin (DE), and Hassi (FI) Fondazione Giuliani, Rome (IT)
Frans Hals Museum - Hal, Haarlem (NL) EDUCATION / RESIDENCIES Galleria d‘Arte Moderna e Contemporanea, Turin (IT) 2011 Kunstlerhaus Bethanien, Berlin (DE) Hirshhorn Museum and Sculpture Garden, 2008 International Studio and Curatorial Washington, DC (US) Program, New York, NY (US) LVMH Moët Hennessy Louis Vuitton SE, Paris (FR) 2006 Rijksakademie van Beeldende Kunsten, Amsterdam (NL) London (UK) Mario Testino Collection, 2003 Russian language, culture and literature, Museum Boijmans Van Beuningen, Rotterdam (NL) University of Amsterdam, Amsterdam (NL) Museum Catharijneconvent, Utrecht (NL) 2003 Gerrit Rietveld Academie, Amsterdam (NL) Museum of Modern Art, New York, NY (US) 1999 Conservatory, Rotterdam (NL) Museum Voorlinden, Wassenaar (NL) 1998 Classical Archaeology, University of M WoodsAmsterdam, Museum, Beijing (CN) (NL) Amsterdam Nederlands Instituut voor Mediakunst, Amsterdam (NL) 1997 Industrial Design, Technical University, Delft (NL) Rabobank Collection, Utrecht (NL)
Stills, GRIMM Keizersgracht, Amsterdam (NL)
2012
Guido van der Werve, Fluentum Sammlung, Berlin (DE) 2018
Auto Sacramental, FuturDome, Milan (IT)
2017
Nummer zeventien, killing time, Marc Foxx Gallery, Los Angeles, CA (US)
2016
Nummer zestien, the present moment, Luhring Augustine Gallery, New York, NY (US)
2011
2015
Rachofsky Collection, Dallas, TX (US) AWARDS /Goetz, GRANTS Sammlung Munich (DE)
2010
Nummer acht, Kunstverein, Vienna (AT) 2014
Volkskrant Beeldende Kunst prijs, Centraal Museum, Utrecht (NL)
Guido van der Werve, Juliette Jongma, Amsterdam (NL)
Nummer twaalf, New Media Series, Saint Louis Art Museum w/ World Chess Museum, Saint Louis, MO (US)
Modern Times (volume 2), Museo d’Arte Provincia di Nuoro, Nuoro (IT)
Nummer twaalf, Juliette Jongma, Amsterdam (NL)
Minor Pieces, Charles H. Scott Gallery, Vancouver (CA) 2009
Blackbox, Hirshhorn Museum, Washington, DC (US)
Grant to Artists, Foundation for Contemporary Arts, New York, NY (US)
2007
Peter Paul Peterich Fonds, Prins Bernard Cultuurfonds, Amsterdam (NL)
Cultural Cartographies, Utah Museum of Contemporary Art, Salt Lake City, UT (US)
Volkskrant Beeldende Kunst Prijs (NL)
Room by Room, The Warehouse Dallas, Dallas, TX (US)
Minor Pieces, Kim? Laikmetïgäs Centrs, Riga (LV)
Nummer veertien, Davis Museum at Wellesley College, Wellesley, MA (US)
Minor Pieces, DHC Foundation for Contemporary Art, Montréal (CA )
As far away as home - Paris to Warsaw, collaboration w/ CCA Ujazdowski Castle, Warsaw (PL) and Kunstverein, Zurich (CH)
Minor Pieces, Marc Foxx Gallery, Los Angeles, CA (US)
Best Experimental Film, Kerry Film Festival, Blennerville (IE)
2004
Diamond Award, ZEBRA Poetry Film Festival, Berlin (DE)
2003
René Coelho Award, The Netherlands Media Art Institute, Montevideo/TBA, Amsterdam (NL)
SELECTED SOLO EXHIBITIONS 2020 2019
Guido van der Werve, SongEun Art Space, Seoul (KR)
2013
Guido van der Werve, Institute Néerlandais, Paris (FR)
Papendrecht, Monitor, Lisbon (PT)
Nummer veertien, CCA Ujazdowski Castle, Warsaw (PL)
Guido van der Werve, CONDO São Paulo, Casa Triângulo, São Paulo (BR)
Guido van der Werve, Secession, Vienna (AT) Nummer veertien, Stedelijk Museum, Amsterdam (NL)
We would feel much worse, if it wouldn’t be for the heavy sedatives, Galerie Olaf Stüber, Berlin (DE) 2004
Guido van der Werve, René Coelho Award 2003, Nederlands Instituut voor Mediakunst, Amsterdam (NL)
2003
Media Room, Melkweg, Amsterdam (NL) Video Event, Dieter Roth Academy, Boekie Woekie, Amsterdam (NL)
SELECTED GROUP EXHIBITIONS 2020
On Earth, Foam Museum for Photography, Amsterdam (NL) So wie wir sind 2.0, Weserurg Museum für Moderne Kunst, Bremen (DE) Des marches, démarches, FRAC, Marseille (FR) Nuovo Cinema Galleria, Galerie Vera Cortês, Lisbon (PT)
Minor Pieces, Site Gallery, Sheffield (UK) Minor Pieces, Monitor, Rome (IT) 2008
Nummer twee, La Maison Rouge, la Vestibule, Paris (FR)
Ville de Mérignac, Bordeaux (FR) [forthcoming] Beethoven Moves, Kunsthistorisches Museum, Vienna (AT) [forthcoming]
Minor Pieces, Frans Hals Museum - Hal, Haarlem (NL)
Guido van der Werve, GAMeC, Bergamo (IT)
Guido van der Werve, Monitor, Rome (IT) I don’t want to get involved in this, MUU Galleria, Helsinki (FI)
Minor Pieces, Das Weisse Haus, Vienna (AT)
Nummer acht, everything is going to be alright, Cortex Athletico, Bordeaux (FR) Nummer veertien, Marc Foxx Gallery, Los Angeles, CA (US)
2005
Minor Pieces, Prefix, Toronto (CA)
Nummer veertien, Home, UMMA, Black box Media Gallery, Dearborn, MI (US)
The clouds are more beautiful from above, Stedelijk Museum Bureau, Amsterdam (NL)
Nummer vier, Opera House Vita Kuben, Umeå (SE)
2009
2006
2006
Minor Pieces, Basis, Frankfurt (DE)
Guido van der Werve, Nummer veertien, M Woods, Beijing (CN)
Zabludowicz Collection d’Art Contemporain, 2010 Prix International Fondation Prince Pierre de Monaco (MC)
Emotional Poverty, Juliette Jongma, Amsterdam (NL)
Nummer twaalf, Foundation Prince Pierre de Monaco, Chapelle de la Visitation, Monaco (MC)
Guido van der Werve, Esker Foundation, Calgary (CA)
The clouds are more beautiful from above, TBA:07, Portland Institute for Contemporary Art, Portland, OR (US) Nummer acht, Frans Hals Museum - Hal, Haarlem (NL)
Nummer twaalf, Luhring Augustine, New York, NY (US)
Nummer zeventien, killing time, Monitor, Rome (IT) Nummer veertien, Seattle Art Museum, Seattle, WA (US)
2013 Gouden Kalf, Best ShortAmsterdam Film, Nederlands Stedelijk Museum Amsterdam, (NL) Film Festival (NL) Tema Celeste, Milan (IT) 2012 Charlotte Köhler Award, Prins Bernhard Van Abbemuseum, Eindhoven Cultuur Fonds (NL) (NL)
On parity of days, Kunsthalle, Basel (CH) 2007
Emotional Poverty, Kunstlerhaus Bethanien, Berlin (DE)
Minor Pieces, Models Arts and Niland Gallery, Sligo (IE)
Nummer zeventien, killing time, Juliette Jongma, Amsterdam (NL)
Guido van der Werve, numbers 2 6 8 14, Frist Center for Visual Arts, Nashville, TN (US)
Nummer veertien, Luhring Augustine, New York, NY (US) Works 2003-2009, Luhring Augustine Bushwick, Brooklyn, NY (US)
Nummer zestien, the present moment, Oude Kerk, Amsterdam (NL)
Guido van der Werve, Kyoto City University of Arts Gallery, Kyoto (JP)
Nummer acht, Gallery Marc Foxx, Los Angeles, CA (US)
Nummer veertien, Guilliani Foundation, Rome (IT)
2019
Haarlem Heroes, Frans Hals Museum - Hal, Haarlem (NL) Swiss Romanticism, Kunsthaus, Zurich (CH)
Everything is going to be alright, Hayward Gallery, London (UK)
Jimei x Arles International Photo Festival, Xiamen (CN)
Nummer acht, MTV television screen by Creative Time on Times Square, New York, NY (US)
On Earth – Imaging, Technology and the Natural World, curated by Foam, Rencontres d’Arles, Arles (FR)
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