Huib Haye van der Werf

  • 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

  • picks September 29, 2014

    Jonas Lund

    Initially, the premise of Jonas Lund’s latest show in Amsterdam would seem to address a simple yet tangled question: Can a painting become art by following instructions from a book? Painted by four hired assistants following Lund’s specific book of guidelines during the gallery’s open hours, the finished works are then photographed and uploaded to the website A designated panel of artists, curators, dealers, and collectors reviews each piece and posts their judgments to the site as advice on which paintings should be signed and which to destroy. In this context, the gallery

  • picks April 04, 2014

    Thomas Rentmeister

    Thomas Rentmeister’s work has often been referred to as “dirty Minimalism” due to his unambiguous choice of materials and the way in which their forms become abstract when presented out of context as products rather than works of art. Nutella hazelnut paste, refrigerators, and Penaten cream are arranged and mixed together as if a child had determined their placement and form in the white cubic spaces. In fact, many of the ingredients Rentmeister uses are chosen based on his childhood memories of their smell, color, and consistency. For the artist, the translation of these memories is explicitly

  • picks February 26, 2014

    Rob Voerman

    Rob Voerman has taken to task a direct social and political engagement in the presentation of his latest exhibition, “The Fifth Season.” This is also the title of the large installation, which seems arranged like a workshop, that one reaches first when entering the gallery: It functions as a place for discussion and other programming open to artists, political lobbyists, art institutions, and neighborhood community groups. The hanging lamp above the work’s invitingly large table is made up of slides of images culled from news coverage of war, slain animals, and crashed financial charts, among

  • picks November 12, 2013

    Navid Nuur

    Navid Nuur’s “Lube Love” presents an artist who unperturbedly incorporates the basic foundations of Conceptual art in his work, while at the same time modifying these into a completely new language. Nuur’s exhibition showcases a very personal etymology that allows room for humor, failure, beauty, sensuality, and even a hint of anthroposophism.

    The first room viewers encounter is dedicated to Nuur’s personal regard for the color black. On the wall is an large-scale text piece that details a candid fictitious interview between him and black, in which he professes his faith in its formal as well as

  • interviews July 02, 2013

    Ryan Gander

    Ryan Gander is an artist based in London and Suffolk, UK. Over the past decade, he has gained international acclaim for his works that question the limits of language and knowledge. He speaks here about an artist residency he has founded with Simon Turnbull named Fairfield International, which is set to open in 2014.

    AFTER I GRADUATED ART SCHOOL IN 1999, I worked at a carpet shop in Chester for some time. It was only by going to the Jan Van Eyck Academy later that year that I was prevented from the possibility of working at that shop the rest of my life. It really saved me. But there aren’t many

  • picks May 01, 2013

    Joe Scanlan

    In the press release for Joe Scanlan’s third exhibition at this gallery, he asks why an artist should “choose the materials of painting” during a time in which artists may work without any “obligation to a medium.” This leaves the viewer to wonder: What is the role of the painter today? The answer to this inquiry, for Scanlan, has much to do with abstracted labor. Throughout the show, he presents works that examine the labor of painting before painting actually begins.

    Installed on the walls are clusters and pairs of variously sized semipainted wooden stretchers without canvases. All have cryptic

  • picks February 24, 2013

    Jan De Cock

    Jan De Cock’s sixth solo show at this gallery reveals that he now stands at exciting point in his career, and that his work is taking on a new direction. The exhibition is an adaptation of “Jacqueline Kennedy Onassis: A Romantic Exhibition,” which was on view at the Staatliche Kunsthalle Baden-Baden last year. In this iteration, eleven works, all from De Cock’s “JKO” series, 2012, are divided between the gallery’s two rooms.

    The show comprises two complementary kinds of works. The aesthetic of De Cock’s signature quasi-Constructivist architectural assemblages—built up of an amalgam of wood,

  • picks December 15, 2012

    “The Future That Was”

    Participating artist Heman Chong contributed the title of this ambitious group show, curated by the artist Gabriel Lester, at the recently renamed New Art Space Amsterdam (NASA), formerly Smart Project Space. The exhibition “seeks out the role that faith, fortune, and fate play in our experience of time and space,” a project that is helped greatly by Lester’s impressive installation of white curved walls that grant visitors a curious scenographic experience of the works on display. Surasi Kusolwong’s 1 Euro Amsterdam Suitcase Market (As Long as It Lasts), 2012, for instance, recalls a market

  • picks November 10, 2012

    “Recent British Painting”

    While the title “Recent British Painting” sounds rather customary, this group exhibition organized by writer and curator Tom Morton in Grimm Gallery’s two separate spaces is quite vivid. What makes these works British is difficult to pinpoint; not all of the eleven contributing artists are even British, although most are based in the UK. What all the works do have in common—and makes them “recent”—is an explicit relationship with painterly traditions as well as a certain risk in their materiality and realization.

    Milena Dragicevic presents canvases from her 2011 series “Erections for Transatlantica,”

  • picks May 11, 2012

    Charles Avery

    Since 2004 Charles Avery has been working on his ever-more elaborate Islanders project. On display now at the gallery’s two locations in Amsterdam are works made over the past six months. Considerable focus is given to the large drawings depicting “The Island,” his fictional world (and its inhabitants)— from the Jadindagadendar, the Central Park of Avery’s island, to the Qoro-Qoros, the miasmic doldrums of mounds and pools that separate the island from its colonizers Triangland. Here Avery’s sovereign draftsmanship is visible in the sweeping lines that mark a figure’s bodily presence, the

  • picks February 28, 2012

    Angela Bulloch

    Angela Bulloch is well known for questioning the informational status of art, and undoubtedly, the works on view in her current survey exhibition reveal an examination of the place and purpose of an artwork (and therefore the artist) in our exceedingly nonlinear information age. How can artists organize, re-present, and therefore influence the changing perceptions of contemporary society? It is no small task.

    In the exhibition, three seemingly independent “Drawing Machines,” from 2011 and 2012, perform a systematic choreography of marking lines on the gallery wall, but they are in fact activated