amsterdam

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 layers of exposures. Where Saenredam grounded each of his works in the strict logic of linear perspective, Dibbets superimposes photographs to rearrange actuality, creating his own adjusted perspectives and panoramas.

Here there are none of the floors and grounds that usually pervade Dibbets’ work, but

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