Huib Haye van der Werf

  • Charlotte Dumas

    On Yonaguni, the westernmost inhabited island of Japan, live approximately 120 horses, animals particular to this place yet whose arrival remains somewhat of a mystery to this day. Their isolation however, has kept their existence unique and their bloodline pure. Charlotte Dumas first visited this island in 2015 with the intention—as with all her recent work—to photographically capture the profound and potentially supernatural relationship between humans and animals. What initially came of this visit was an elaborate series of delicately staged photographs as well as the video work Shio (Tide),

  • Bárbara Wagner and Benjamin de Burca

    In this exhibition, Bárbara Wagner and Benjamin de Burca presented You Are Seeing Things, a video triptych offering unpretentious insight into the multifaceted interconnectedness of Brazilian popular culture. The Brazilian duo showed that culture to be a composite of tradition, queerness, kinship, and proclamation. Dance, music, and belief all play a significant role in each of the videos, which focus on contemporary culture in Northeast Brazil, and particularly the city of Recife, where the artists are based. All of the performers and actors are real dancers, bystanders, MCs, singers, and

  • Meiro Koizumi

    For his fifth solo exhibition at Annet Gelink Gallery in Amsterdam, Meiro Koizumi continued the trajectory of his previous work, forcing viewers to reckon with their own personal value systems by setting individual ethics against the moral codes of the state and/or our collective culture(s). At the entrance to the show, the charcoal drawing Fog #3, 2019, greeted visitors with its unsettling depiction of a woman beaming serenely outward while holding something smoldering in her bare hands. On an adjacent wall was House, 2019, a trio of small frames, each containing nearly identical typed accounts

  • Patricia Kaersenhout

    In this exhibition, the Dutch artist and activist Patricia Kaersenhout poked at the power of portraiture to both enshrine and unseat. She paired images of privileged white men—traditionally guardians of the Western historical narrative—alongside new textile works that depict accomplished women of color, whom history has overlooked or possibly wished to let be forgotten. “Objects of Love and Desire,” her title for both the show and the latter series, foregrounded the personal urgency and commitment with which she portrays her subjects, while offering the audience a sense of (overdue) celebration.

  • TR Ericsson

    TR Ericsson’s “Industrial Poems—Poémes Industriels” was a very private yet despairing portrait of the relationship between a mother and son. The artist captures this relationship in two phases: the period during which he had to deal with his mother’s mental instability; and his life after her suicide. Ericsson’s art reflects his experiences with a great deal of intimacy, and at first this felt uncomfortable, as if one were intruding on personal affairs. Yet its resonance was more than just personal; rather, it was an eerie reminder of the socioeconomic wasteland of the postindustrial American

  • picks June 20, 2018

    Irene Kopelman

    Irene Kopelman’s latest exhibition is a compilation of works created between 2012 and 2016, all of which poetically underline yet systematically extrapolate the potential of the artist as the registrar of our diminishing natural world. Here, the artist’s role as both the objective witness and the lyrical interpreter on how to comprehend nature as a system unfolds on a metaphysical level.

    “Tree Lines”—four large abstract paintings made in 2015—is the result of a long stay in and around the Swiss town of Davos. During this period of research, Kopelman kept daily field notes on her reading of the

  • Evelyn Taocheng Wang

    The title of Evelyn Taocheng Wang’s second solo show at Galerie Fons Welters, “Four Season of Women Tragedy,” suggests a stability amid change as part of female identity. Pain is an inevitable part of the cycle, but it will pass. Entering the gallery, one immediately felt it was a space of intimacy. The soft pink–painted walls—inspired by the color of a room at the Gemäldegalerie in Berlin—were adorned with an array of drawn and painted works on paper alongside various garments and items such as shoes and handbags, all juxtaposed to form constellations soliciting a subtle kind of

  • picks December 04, 2017

    Anna Banana

    Anna Banana’s exhibition in Amsterdam is her first comprehensive retrospective in the Netherlands, a remarkably compact overview of her prolific practice as a performance artist, publisher, collector, costume designer, and integral contributor to the International Mail-Art Network (IMAN). The guiding principle of her work is interactivity, with the fruit of her nom de plume as the central visual element. A window display starts off the show with three illustrious costumes, including a rainbow patterned outfit made for her 1971–72 “Town Fool” project in Victoria, Canada, the piece which initiated

  • picks August 07, 2017

    Aurélien Froment

    Aurélien Froment’s solo exhibition is titled “Double Tales,” which is certainly apropos to the duality on display across four large rooms in this newly refurbished museum. Quodlibet II, 2017, is a sculptural rendition of a musical medley that takes the form of reed instruments suspended from nylon thread. It is presented alongside Non alignés (Fatim Diop) (Non-Aligned [Fatim Diop]), 2016, and Chant du Monde (Song of the World), 2017, which are intimate video portraits of Senegalese singer Amadou Badiane inspired by Bollywood music and dance sequences.

    These intersections demonstrate Froment’s

  • picks May 08, 2017

    Adriano Amaral

    Adriano Amaral’s first solo show in the Netherlands (and, due to austerity measures, the last show this space will host) is an all-encompassing installation. It features a minimal yet theatrical setting in which organic-looking objects have merged with industrial materials and processes. As the exhibition’s title, “Alloy Alloy,” suggests, here is a compound of substances finding their stability through a uniquely devised blend. The artist creates partially recognizable appendages and fashions disembodied internal organs from silicone, artificial resins, glass, plastics, and ultrasound gels, all

  • Gabriel Lester

    To classify Gabriel Lester’s “Unresolved Extravaganza” (also known as “Unhappen,” “Apple Z,” “Præmonitions,” “The Nine Day Week,” and “Seven Hills Secrets”) as a solo show would not be correct, but it is exactly this fallacy that reveals his distinctive métier. For this overview of Lester’s collaborative works of the past twenty years, the artist steadfastly continues to do what he’s always done—namely, work with others. The exhibition was curated and produced by the artist himself—Lester had been invited to do the show by de Appel’s director, Lorenzo Benedetti, but when Benedetti was

  • HowDoYouSayYaminAfrican?

    HowDoYouSayYaminAfrican?—or the Yams for short—is an international collective consisting of more than forty musicians, visual artists, poets, actors, and writers. Their constellation is the coming together of race-conscious, queer, feminist, and critically discursive producers in order to reveal a nonnormative creative and intellectual alternative that might actually influence what they see as the limited and prejudiced construct of contemporary art. Although they have been working together in various forms for twenty years, their formal collaboration was instigated a year ago when