Lives and works in Amsterdam - Ron Amir makes large charcoal drawings. The deep black charcoal powder rubbed into the paper not only absorbs the light, but also the viewer's gaze. The large formats help people to lose themselves effortlessly in a universe full of dark, dreamlike images. We see places where apocalyptic disasters have raged, submerged in nocturnal silence. We see the dead, the flood, a house in flames: the theater of destruction.
Tom Amoretti is an artist living in London since 2001, originally from Spain. He is been working in the field of Collage for many years; rather a necessity more than a choice.
Amoretti's works are the assembly of plundered memories, images and ephemera generated by the hands of others. His finished compositions are static moments within an unwritten narrative. They are a juxtaposition of mundane fragments in which new possibilities are suggested through the bizarre, the visceral and the symbolic.
Piotr Bockowski is a London-based body performer & video artist, as well as fungi media researcher at University of London. He curates Chronic Illness microbe performance event at his squatted sewage The Dungeons of Polymorphous Pan in Holloway. Loves violent dance to industrial sound.
As a filmmaker Pat van Boeckel already specialized in the documentaryfilm genre, when he developed his own path in video art. The majority of his documentaries have been broadcasted on Dutch public television and film festival, with topics varying from indigenous peoples to ecology, always with a philosophic thread.
His video installations often examine the intertwined relation betweenhumans and their (natural) environment. Aspects of contemporary life are being mirrored with values and other things that have been lost on the way of the ongoing modernization. In general his work is characterized by its apparent simplicity. Through its slow pace it contrasts with the speed and volatility of modern visual culture.
The embodied experience of time and place is central to both his documentaries and video art works. Rather than using a screen Pat van Boeckel projects his video art on objects or combines the projection with a building, thus adding new layers to the moving image. In doing so he twists and plays with meaning and expectations.
Baharak Dehghan was born in Tehran, Iran.
In 2001 she moved to Amsterdam for more artistic freedom. In 2006 she graduated in fashion design at the Gerrit Rietveld Academy. Baharak has always been fascinated by the mystery and ambiguity of surrealism. The last years she developed her own style in collage works and painting, in which old papers and pictures are torn and placed over one another. In her own words: The way old pictures and papers layered over each other remind me of the depth of memories in our minds, one behind the other, old and obscure. Baharak works currently as organizer and curator of the “L'Âge d'or” group exhibition. The Surrealistic film “L'Âge d'or” inspired her to creating a contemporary version of “L'Âge d'or” but with different media.
Baharak is searching around the world for Surrealistic artist's and Surreal lovers to bring them together at the L’AGE D’OR event.
Aukje Dekker is a visual and conceptual artist based in Amsterdam. Her practice is primarily characterised by an honest and often humoristic deconstruction of herself as an artist and the systems within the art world that determine value, meaning and authenticity. Dekker graduated from the Gerrit Rietveld Academy and completed a double MFA at Sandberg Institute, Amsterdam; and Central St Martins, London. Dekker’s works have been exhibited in various galleries and museums including Ultra Super New Gallery, Tokyo; Museum Boymans van Beuningen, Rotterdam; IMT Gallery, London; and the recent exhibitions at Gallery Vriend van Bavink and at Gallery Gabriel Rolt. Alongside her projects as an independent artist, she is a founder of the Eddie the Eagle Museum and Society SEXYLAND, a conceptual nightclub in Amsterdam North.
Willehad Eilers (1981, Peine, Germany) also works under the pseudonym Wayne Horse. Beginning his career in the German graffiti scene, Eilers later went on to graduate from the RijksAkademie in Amsterdam. He continues to live and work in the Dutch capital today. His eclectic body of work comprises video, drawing, performance and installation, and is distinctive for its lyrical quality, playful humour and expressiveness. A recurring narrative in his oeuvre revolves around the bizarre, occasionally ugly but always compelling aspects of humanity. Willehad Eilers is represented by Harlan Levey Projects, Galerie Droste, He.Ro. He is part of the Hunting group collection, the KGervas collection and the Lisser Art Museum collection.
Leonor Faber-Jonker (Amsterdam, 1987) is an author, researcher, and artist. Her work is characterized by a fascination for the relations between materiality, memory and meaning. In her work she explores the practices surrounding (colonial) objects, collections, human remains, photographs, statues, and places. She uses words, photography, collage, and drawings to uncover hidden layers of meaning behind the everyday, the ephemeral within the monumental. For Faber-Jonker, collage is the perfect angry art form. It has the power to deconstruct the mundane and to dissect existing visual languages, laying bare meanings, contexts, and materiality. Collage interrupts, reinvents. It offers another way of seeing, another way of looking. Her collages are the physical rendering of layers of meaning, of constraints and possibilities: serendipity follows sacrilege.
Suzanne de Graaf (1970) works and lives in Amsterdam,
Since 1995 she has been developing artworks which could be described as autonomous creatures. In her current studio, which is located in the harbor area of Amsterdam, she can work and contemplate, shut off from the outside world.
In her latest sculptures she invented a technique in which the model and te process of casting becomes part of the sculpture. This is, among other things, the result of her investigation into bodies, bats and marine life.
Her work shows things that are slightly uncomfortable. It's about moments you don't completely understand, or in some cases, circumstances in which something is distressful. The works present a tactile, sensual and seductive way to create order and to make incomprehensible emotions and contradictions visible. Sensuality runs like a thread through it. In her sculptures she attempts to hide her vulnerabilities and emotions. In this way she tries to protect them from the outside world.
Hans van der Ham studied autonomous art at the Academy of Visual Arts in Rotterdam where he graduated, in 1989, in painting, drawing and graphic. Since 1989 Van der Ham worked in Rotterdam as an independent creator of visual arts and has held regular exhibitions both at home and abroad. His work is represented in the Netherlands by galerie Nouvelles Images, The Hague and is respresented in various museum collections. In 2012, Van der Ham cofounded Garage Rotterdam, of which he was artistic director and curator until 2015. Van der Ham makes exhibitions on a regular basis, including for Museum Boijmans Van Beuningen: as a guest curator he worked on the exhibition ANIMA MUNDI.
In the work of Hans van der Ham his often atypical figures are not directly recognizable. Although most pictures are related to the human figure, they remain as such indefinable. From behind this ‘masquerade' however, they seem to expose in a different way. They often lack faces, but their attitudes speak all the more. Despite the robust clay they show a particular vulnerability, as if they question their own existence. Perhaps this says something about a possible hidden inner world? An adopted personae as a necessary protection against a ruthless outside world? The images do ask ourselves whether we survive as an individual in the crowd. Do we consciously hide ourselves behind a mask? Who can you trust? These are some questions Van der Ham asks himself.
Van Haver refers to her work as ‘loud’ paintings that sympathetically portray people on the fringes of society. She works on burlap, combining oil paint, charcoal, resin, hair, paper, tar and ash in heavily textured compositions. The paintings explore race and identity, drawing from African, Western, Caribbean and Latin American cultures within her community in the South-East of Amsterdam, Netherlands. More recently she has spent long periods abroad gathering source material in both West Africa and South America. Her works are often monumental in scale, at times dark and ominous and continue to negotiate boundaries between social hierarchies.
With her raw, narrative and figurative style of painting, Van Haver challenges the Euro-American canon. Her imagery is nurtured by art from ‘other’ regions and with that she tells ‘other’ stories. Although the format of her canvases is reminiscent of history painting, her compositions do not depict the exploits of figures from the west. At the heart of her work are the ‘spirits of the soil’, the central figures in the histories of colonialism, imperialism, migration and diaspora.
Van Haver was born in 1989 in Bogota, Columbia. She lives and works in Amsterdam, Netherlands. Solo exhibitions include ‘Spirits of the Soil’ at Stedelijk Museum Amsterdam, November 2018 – April 2019. Her work has also been exhibited at the Dordrechts Museum, Netherlands and BOZAR Centre For Fine Art Brussels. She recently won the prestigious Dutch Royal Prize for Painting. Van Haver graduated fromHKU, Fine Arts, Utrecht, in 2012.
Surrounded by books and images about dadaism and surrealism, Stéphanie Herremans grew up in an artists' family. She learned much from her father, a student of painter Paul Delvaux. Collage helps her understand who she is, inside and out. She likes to linger on an image, the touch of paper, and let chance work its magic. Geometry, lines, images added to other images, to create one. Old books is where she finds happiness, in sepia, black and white. She was born in Brussels in 1982, but have been living on the outskirts for a few years now.
Bettina’s art is not about grand gestures or goals but focuses on the small things.
The hidden vulnerability inherent to being human.
Vulnerability can show itself in darkness or be uplifted by humor.
Vulnerability is a friend of hers and connects her to the beholder.
Pouyan is a multidisciplinary artist based in London, UK. For the past 5 years he has been working in New York, London and Stockholm. In the past two years he has worked on a multidisciplinary body of work called “Absent From the Light” that consists of several sculptures and installations. Pouyan’s life began in Iran on the day of the revolution in 1979. This, amongst other things, means having two birthdays; one biological birthday on the 11th of February and one legal birthday on the 21st of March, when his parents finally registered him with the authorities in 1980. Perhaps because of this he is most comfortable in the freedom of the in-betweens, where he is neither here nor there or this or the other. His work explores and contemplates dimensions into concepts such as self, depression, sexuality and time. He works from a free association technique where the work and the process become one entity. His work has been shown at several prominent festivals and galleries around the world such as Toronto International Film Festival, Images Festival, Mix NYC, EXPIFF and Surrealism on Film. Please go to pouyanworks.com for a full list of showcases and awards.
Evelyn Jean is a multimedia artist from London. He has a passion for making art that captures his innermost fears and pleasures, whilst questioning the actual purpose of these emotions.
After a music career spanning 13 years he became increasingly frustrated at limits of the medium and began practicing art as a method for performance and expression of his real feelings.
His work covers many mediums including painting, filmmaking, performance and installation.He is hugely influenced by a large diverse range of artists from many mediums.
Evelyn is a self-taught artist who has participated in several group shows throughout Europe, and aspires to create an emotional understanding over technical superiority in his work.
Atharva Kharkar (USA)
Atharva Kharkar was a filmmaker at The University of Michigan. Atharva has worked with many brands including Michigan Football and Sweetwaters Coffee and created several films that have won film festivals and premiered at a local theater.
Atharva Kharkar passed away in the summer of 2019.
Taravat Khalili is an experimental filmmaker and a multimedia artist, based in Toronto. She has studied filmmaking practices at Sheridan College. Earned her Bachelor's and Master's of Fine Arts from York University. She is the co-founder of KAJART, a multimedia studio that focuses on animation and visual arts.
Her films explore questions of self-awareness and emotional consciousness. She is the recipient of numerous awards from various film festivals, including MaGa Macon Film Festival, Tirgan Film Festival, Viva Doc International and her films have been officially selected for major festival's such as Hot Docs, International Film Festival Rotterdam, Edinburgh International Film Festival, Images Film Festival, Victoria Film Festival, Cinematheque Winnipeg and Pleasure Dome.
Visual artist Elise van der Linden is guided by the course of things that we often do not notice consciously. Whether it is about the growth of a plant, the movement of vehicles or the temporary world that people make for themselves: time continuously causes a tension between change and the human tendency to preserving. Van der Linden captures this field of tension in animations (in which time visually unfolds), or in spatial work (in which time seem to be frozen at a tipping point). With that her artworks show both the strength and the vulnerability of man.
William Mann (UK)
A newcomer to the art world, William Mann is from Milton Keynes, England, and makes his first contribution to the world of independent film making with his short film Taboo. Taking inspiration from mainstream directors such as David Lynch, he also draws influence from the large body of work from less know film makers online, such as David Firth, Shaye Saint John and Alan Resnick. He also incorporates themes from various horror influences, such as the work of Ari Aster and H. P. Lovecraft to communicate a sense of the otherworldly and the esoteric. He hopes his work invites viewers to indulge in a exploration which celebrates the grotesque and the bizarre. His film Taboo explores humanities quiet potential for cruelty and the milieu of events and consequence which can tempt this cruelty out and into the real world.
Mehdi Mansouri, born 1976 in Tehran, is a member of the Iranian Society of Photographers. With an eye on conceptual photography, he has been professionally working in visual arts since 14 years ago, holding dozens of exhibitions in Iran and abroad. Birth to death, the ultimate realization of consciousness, and the challenge contemporary human faces when questing for this conciousness shape the main theme of his collections. He takes photographs of a layout usually composed of elements like mirrors and humans and then he creates collages with photos. Works are finally presented as photocollages and usually displayed with a layout and performance in the gallery. Brilliant and industrial decorative colors, figures, everyday signs.
Images that are rather reflection than images and addressing sexual identity, enable us to observe characteristics of contemporary art in these works.
The art of Karin van der Molen revolves around the relationship between people and nature. Sometimes in a direct way, when she works on location and makes her site specific objects and installations with (natural) material that she collects in the environment. These works invite the visitor to be isolated from the rest of the world for a moment and to reflect. Recently Karin has been fascinated by processes of growth. How something grows, how growth can get out of hand, how the growth of one person changes or prevents that of another. That can happen between different species, but it can also refer to the tension between nature and culture. In her latest works, this translates into the use of "cultural" materials (such as broken porcelain or carpet) that, like fungi, mushroom and lichen, grow over various objects that are isolated from nature and daily life.
Moran Sanderovich is a Berlin-based multidisciplinary artist. Her work spans across various mediums, such as performance, sculpture, and installation. Some of her sculptures are standalone artworks and installations, and some are wearing material as prosthetics transforming her body. Sanderovich’s work seeks new ways to challenge the perception of the human body, and is highly complex, combining multiple materials, with high attention to detail. She uses silicone, fabric, industrial waste, and toys, organic objects such as bone and hair, latex, among other found objects. By doing so, she does not only tell a story, but uses substance as a carrier for deconstructing perception of materialism, and confronts the spectators with dissonant images that require our attention, both on the materialistic and narrative aspects.
Tinca Veerman, 1964, Eindhoven
Over the past years Tinca Veerman has been making black and white collages but last year she started working in soft colour tones while searching for the right materials. In her work she is searching for the balance between association and alienation. The subjects she chooses vary from interactions between people, interieurs and portraits. The physical presence of man is absent in these collages. All the time she is asking herself are we capable of receiving new images, or are we always hooking it up to the 'thing' we know from real life and try to connect with that? Looking at Veerman's work we redefine by watching what's real and what's not and that takes some time. She is forcing the viewer to slow down and unpack the construction, to test it's veracity.
Tinca's fascination with Bunuel's film L'Âge d'Or is reflected in her collages which you can see at this exhibition.
Miriam Tölke (Germany)
Getting hold of the world in its fast pace and volatility, to grab scraps and put everything back together, for a moment of peace and inner retreat - this is one of the concerns that pursues Miriam Tölke in her photo collages.
Born 1977 in Bielefeld, she completed her painting studies at the State Academy of Fine Arts in Stuttgart in 2000 and moved to Berlin. Already in her time in Stuttgart, she began to collect discarded things: magazines, notebooks, books, catalogs. Paper that has been deemed useless by others, but for her of incredible value. A treasure hunt in the city, which she continued in Berlin.
Miriam Tölke stacks everything in her studio, discovers, pulls individual leaves out of their bindings, rearranges them and cuts out first impressions as forms. Faces are halved, landscapes chosen - everything that is important to Miriam Tölke and what reflects her own impressions. Between Berlin and the surrounding countryside, the city itself as well as nature are a constant impulse for her. The pulsating, the compressed and the disturbing of a big city, the anonymity and hecticness through which one slides as a flaneur and absorbs moments in order to store them for oneself are just as relevant to the artist as the peace and harmony of nature outside of the turmoil.
Both are reflected in her work: her found faces seem to rest within themselves, as if they are floating, falling out of the gloss magazines and fashion magazines of a chaotic world that is only a touch of memory away. Reassembled with aspects of other faces and ideas, they bring the gaze to the very center, like a pull to steer out of the picture into the next landscape. Identity and balance, both guiding principles that play a major role for the artist.
As a mother of four, femininity is a natural theme for Miriam Tölke. But it's not just the only one. At the same time she feels her art as a reflection on states, community and society. Where is our place in the transience of the moment. How do we find our ways? The collage offers the perfect setting for her.
The idea of harmony is transferred to her forms, which always come together and build up a new formation. Nothing bumps into each other or repels, but quite the contrary happens: as if it had never been otherwise, the landscape in the background suddenly becomes a dress or waterfall cut out of a pitcher. The well-groomed head opens in a surreal way, but only to present an insight into the inner landscape in the same well-formed way. The surface is broken - not just that of the image - and makes us realize that the horizon line can be where we put it.
Dirk Zegel (1972) is on a continuing philosophical quest, in search of the limits and workings of this universe, always looking for underlying systems and processes. He uses art as an abstract way to communicate his findings to the general public. His conceptual work focuses primarily on the objective functioning of this universe. Philosophical ideas, with a scientific basis.
Experiments that create life or show the entire multiverse. With his visual work he mainly investigates the subjective human world, optimizing shapes and patterns to stimulate the brain.
Peter Zwaan (1968) lives and works in Den Haag, where he studied at the Royal Academy. He started as a painter but over time his works have become three dimensional.
A crumpled can covered in skin with tiny hairs, or a piece of paper in the process of transformation into human skin. Peter Zwaan is fascinated by the human urge to manipulate everything in the world surrounding us, including ourselves. In his sculptures the boundaries between animals, objects and humans disappear. Fish and other animals become humane creatures, familiar objects get a different meaning and start a life of their own. His works are made with great precision, which makes them look very natural, like they have been growing in a secret laboratory. This is the result of an elaborate working process which involves sculpting, moldmaking casting and painting. To achieve the right look and ‘feel‘ Peter Zwaan uses a lot of different materials: plastics like silicone, polyurethane, polyester and acrylics, but also human hair and parts of real devices.