• Jan Dibbets

    Museum Fodor

    The “Saenredam-Sénanque” exhibition takes half its name from the 12th-century monastery of Sénanque in Provence. The monastery is almost ascetic in its architectonic structure, and its walls are unpainted and bare except for a minimum of sculptural decoration. The other part of the name comes from the 17th-century Dutch painter Pieter Jansz Saenredam, and this is the last in a series of “Saenredam” works expressing Dibbets’ thoughts on that artist. The complex but articulate structure of Saenredam’s paintings is refracted in Dibbets’ explorations of photographic space, his reconstructions of

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  • Richard Long

    Art & Project

    In his recent work, Richard Long unexpectedly appears as a kind of painter. On the white walls of the gallery are huge monochrome circles, two in brownish gray and one in a warmer reddish-brown; within the circles the white wall is left visible at intervals, thus implying not only a flat ornament but also structure and depth. Long painted with his hands, dipping his fingers in mud and clay with which he then covered the walls in a tense, rhythmic motion. Because of the supple and continuous movement of his fingers, the paintings have an overall structure that is both dynamic and controlled. On

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