As described by Hartmut Rosa in Resonance: A Sociology of Our Relationship to the World (2019), in these modern times of acceleration, allowing yourself to be open to art creates the opportunity for a deeply meaningful encounter that results in a real connection to the world, something he calls ‘resonance’.
Art for Life's Sake
In this series, symbolically-charged objects, ranging from specifically designed tools and repurposed items to healing instruments associated with the New Age movement, as well as indigenous ceremonial implements, are arranged in the manner of a still life.
1. Eric Bell & Kristoffer Frick | Crystal Table | 2017 archival pigment print framed| 70 x 50 cm Ed. 1/3
2. Eric Bell & Kristoffer Frick | Etheric Vehicle | 2017 | archival pigment print framed | 70 x 50 cm Ed. 1/3
Édouard Vuillard | Nature Morte avec Leda | 1902 | oil on board | 60 x 79.5 cm
Vuillard lived his whole life in a series of modest, unassuming Paris interiors that he shared with his grandmother, his widowed mother, and elder sister and brother. His work was a record of these interiors, often including his mother (his muse), or in this case Leda, a sculpture by his friend Maillol.
“The circumstances I find myself in are naturally going to influence what ends up in my digestive system. Needs and desires fluctuate. So – the changing conditions of being in the world, I’d say. And play is important means of stomaching it all.”
Sophy Naess is an American artist, from El Paso, Texas, based in Brooklyn.
1. Sophy Naess | Sketch for Instabile #8 after Kees Van Dongen | 2019 | Colored pencil on collograph on rice paper | 28 x 20 cm
2. Sophy Naess | Sketch for Instabile #4 | 2019 | Watercolor on collograph on rice paper | 28 x 20 cm
Two clock-faces are staring at each other.
They are two sides of one thing, as different as they are the same.
They move as two bodies revolving around each other, into a tender embrace.
A kiss, made of time, in time.
Mirrored shape shifters, their hour-numbers climbing on each other’s shoulders.
Running up against the limits of their own usefulness, clocklikeness.
Katja Mater | Time is an Arrow, Error | 2020
Katja Mater | Time is an Arrow, Error (clockwise from top left) 65 Ed. 4/5, 13 Ed. 3/5, 8 Ed. 4/5, and 36 Ed. 2/5 | 2020 | each work is two C-prints mounted on aluminum, framed
“I come from the moon.”— Adolphe Monticelli
"What Gauguin will be doing, what I shall be doing as well, will be in keeping with Monticelli's fine work,
and we shall try to prove to the good people that Monticelli did not die slumped across the café tables of the Cannebiére, but that the little fellow is still alive."
Vincent van Gogh, in a letter to his brother Theo | 24 September 1888
Vanderheyden’s works rejected the self-involvement of abstract expressionism which dominated the art scene around him. One day he divided a small canvas into two halves, a partition between black and white. From this he took the fundamental principles of painting as his primary theme. He adopted a style in which no residue of the artist’s subjectivity was visible and focused on a repertoire of a limited number of abstract forms, namely the grid, the frame, the gate, and the partition of top and bottom. He dealt only with the organisation of the pictorial space and the investigation of painting itself.
“I made it, it doesn’t matter when”— JCJ Vanderheyden
Untitled (The Quality of Yellow)
Art for Life’s Sake
1. Sophy Naess | 1862 Cornelia Street | 2020 | oil on canvas | 35 x 27 cm
2. Adolphe Gottlieb | Untitled | ca. 1940 | oil on canvas mounted on board | 44.5 x 30 cm
The artists featured in the exhibition span generations and places, and whose juxtaposition reveals thought-provoking parallels. One example is a magical landscape painting of a small house silhouetted by twilight by Arthur Wesley Dow, who is attributed with starting the modernist movement in America. His method, founded on eastern philosophy and intuition, is juxtaposed with a photograph of the north pole’s midnight horizon by JCJ Vanderheyden, who’s work focuses on the infinite nature of the universe.
l. Pieter Laurens Mol | Vijf Lichten in de Put / Five lights in a put | 1969 – 1970 | oil paint on wood panel with relief surface contained in a steep frame | 41.3 x 38 x 5 cm
r. Pieter Laurens Mol | Our Sun is Growing Old (Reporting Rooster) | 2017 | oil paint on paper | 32.6 x 22.1 cm
Pieter Laurens Mol | Interieur van de Schimmelmachine / Interior of the Mold Machine | 1967 | pencil drawing in Indian ink on paper | 29.6 x 42 cm
Pieter Laurens Mol | Voorstudie Kelderschimmels | Sketch for Cellar Mold 1967 | pencil and colored pencil on photographically reproduced ink drawing and sticker on cardboard | 22.9 x 32.5 cm
Pieter Laurens Mol | Schimmelmachine /Mold machine | 1967 | electric victrola motor, light bulb, oil paint on polystyrene, tin toy top, plaster and whiskers, sky blue silk fibers glued on metal wire on a painted wooden base (A)
pencil drawing on cardboard in painted ramin wood frame (B)
124 x 44 x 33,7 cm (object size A)
43,5 x 59,5 cm (frame size B)
“This machine works at any time, no difference whatever between on and off”— Pieter Laurens Mol
Clemence La Tour du Pin visited the historic hotel Vic de Pontgibaud in 2019, which was owned by her family since the 1830’s. Her family’s history took place between those material walls yet the stories were shrouded in mystery. She became interested in how the present is shaped by the past, in how history is not linear but instead made up of an endless network of half forgotten stories.
1. Ardengo Soffici | Lidia | oil on canvas | 59 x 42 cm
2. Arturo Martini | Gli Amanti | 1941 | Bronze and wood | 43 x 30 x 24 cm
“With the use of colors I try to dictate an environment that evokes a certain emotion in the viewer. I point in a certain direction, but do not say explicitly what the destination is…”
Afra Eisma | Tongue Cabinet |
2017 | glazed ceramic
Eisma’s work is a gateway to a ‘bizarro’ world, a parallel universe overtly bursting with energy and bright colors, yet sometimes gloomy and grotesque.
Karel Appel | Comme les planètes | 1959 | oil on canvas | 129.5 x 194.4 cm
Clemence de La Tour du Pin | Endormies dans la poussière | 2020 | mixed media | 120 x 45 x 15 cm
Afra Eisma | Kettlebell | 2019 | glazed ceramic | 34 x 30 x 30 cm
1. Karel Appel | Dieren op Blauwgroen Fond (Animals on Blue-Green Background) | ca. 1948 | 40.3 x 30 cm
2. Afra Eisma | The Cave | 2019 | glazed ceramic | 22.5 x 28 cm