In samenwerking met WARP (BE) presenteert Quartair twee kunstenaars in de tentoonstelling ‘Onze Nederlandse Maatjes’, Luis Maly en Yukari Nakamichi.
Opening zaterdag 29 april vanaf 16:00. De tentoonstelling is te bezoeken bij WARP in de Apostelstraat 20, 9100 Sint-Niklaas, België. ‘Onze Nederlandse Maatjes’ is een samenwerking met De Fabriek, Gallery O-68, Make Eindhoven, CBK Zeeland, EKWC, Quartair, Pennings Foundation en Theatre of Wrong Decisions.
Tentoonstellingsmaker Ilka De Wilde selecteerde samen met hen de kunstenaars: Eleye Boerenkamps, Ana Guedes, Dieke Venema, Roos Vogels, Charlotte Koenen, Bas Ketelaars, Luis Maly, Yukari Nakamichi, Lily Lanfemeijer, Marwan Bassiouni, en Jonas Wijtenburg.
Back to Normal is loosely based on the recurring idea of “normality” after the pandemic, and more recently challenged by the emergence of the war. The exhibition runs from July 1st to 24th, involving twelve artistic initiatives: Quartair, Billytown, Hgtomi Rosa, Trixie, Artisterium, Flux Factory, U10, Sandwich Gallery, 16/16, C5cnm, MA Project, Uniarte.
Raily Stiven Yance (Venezuela, 1989) likes to explore the edges of art with his oil paintings on paper, installations, and sculptures. Graduated in Plastic Arts from the University of Zulia, Venezuela. From an early age he has won awards and has participated in forty exhibitions and salons. In the past years Yance has given workshops and presented a solo show both in Curaçao and Aruba. He is now working on a new body of work whereby he makes studies of drawings of the nearby horizons and landscapes of Curaçao, Aruba, and between the Venezuelan coasts. His further references are also the characteristic architecture of the local heritage present on these islands. From this study, he makes unique syntheses through oil paintings on paper, exploring the ontological urgency he had since he was young.
Elene Rakviashvili (1966) multidisciplinary artist. Her practice utilizes all media and works with a conceptual approach. Her work is often site-specific and includes issues of identity, social status, gender, and ecology. Rakviashvili is interested in exploring the cultural differences, and present attitudes toward the social and environmental aspects in the relation to everyday life within the prism of history and cultural heritage. Graduated from the State Academy of Fine Arts, 1993, Painting. Lives and works in Tbilisi, Georgia.
Manuchar Okrostsvaridze (1974) multimedia artist. Field of activity includes painting, drawing, sculpture and installation. From the beginning of 2000th his art has been influenced by conceptualism and post-minimalism. His works vary from minimalist drawings to site-specific installations and public sculptures. Has been participating in exhibitions since 1996. Activities over the past decade include independent projects as well as co-operations with the art galleries and independent curators. Graduated from the State Academy of Arts, 1998 (MFA), Painting. Lives and works in Tbilisi, Georgia.
Lehna Huie (1988) is a multi-disciplinary artist and cultural worker of Jamaican heritage. Her work concentrates on themes such as soul, migration, nonlinear time and remembrance. as a means to recover untold narratives of those whose lived experiences have been erased and distorted by the chronicles of colonialism. Huies works are reflected through weaving multiple visual art forms as cultural vignettes rooted in an archival practice. Varying in scale, medium and surface, Lehna draws together clusters of accumulated art pieces, personal and found objects by using unique approaches to representational portraiture. Huie lives and works in New York City, USA
Dana LaMonda is a photographer and artist who captures images that only she is able to find through her a personal and upright way of working. In recent years she has immersed herself into the social groups she is seeking to portray. This form of research is intensely participatory and involves a great deal of sympathy for the subjects. This allows for the creation of a natural atmosphere where her subjects and their respective environments are released of any reserve. It is her candid frankness and sincere curiosity in people which enables her through photography to reveal to the viewers a social environment that would otherwise remain closed. One example is in project The Velvet Zone, where she became part of the “family” of a brothel.
Barney de Krijger (1944) has a long career as multimedia artist and initiator of former artist initiative Stichting Archief. De Krijger uses the idiom of recycling, slow analogue media (cinematography, photography, stereo-photography) and their diverse processes form the main issue in drawings, objects and installations. His method consists of recordings, perception and intriguing objects which were merged together into one installation. This assemblages go primarily by way of the association. Re-use and copying are the key, because both the objects and ideas have already been in other contexts and proven their worth. De Krijger works and lives in Lamswaarde, Zeeland NL.
Exhibition 2–17 October 2021 Ilona Senghore, Paul Donker-Duyvis, Rosh Abdelfatah & Rodi Khalil curated by Jessy Rahman & Blanka de Bruyne
Onder de Kerktoren / Under the Tower / تحت البرج Opening: Friday October 1st at 8pm Opening hours Friday, Saturday, Sunday 1–5pm
Extra event: Saturday, 09 Oct at 7pm Arab Film Festival Evening, presented by Rosh Abdelfatah
The church tower and the curfew
‘Onder de Kerktoren (Under the church tower)’ is a typical Flemish expression that means “small-scale” or “navel-gazing”. Universality and open-mindedness sit at the opposite end of the spectrum. These two extremes are diametrically opposed to one another. The concepts of local and global have a new ring to them. Western European citizens have experienced the reality of lockdowns for the first time since the Second World War. We were confronted, quite literally, with the perspective of our current location. How do we see things from such a position? Is there a difference between the digital and the physical experience?
Ilona Senghore – “I am getting a cold and think I am infected. On the day that the Netherlands locks down, the norovirus reigns in my department. In the event of an outbreak, the nursing staff continues to work with the appropriate measures. Other disciplines do not come to the ward in order to limit further spread in the nursing home. I belong to the group of well-being counselors and work in a ward with 32 residents with dementia, half of whom are relatively young. Fortunately, after a week, the norovirus is gone. Unfortunately, the Coronavirus is spreading further across the Netherlands and is breaking out in nursing homes as well.
“It is very quiet on the street. I cycle through the quiet streets sobbing to work because I feel strongly that I am a source of contamination and the last thing I want is to infect the residents. The use of face masks will soon be made mandatory. Visitors are no longer allowed. Family and friends are not allowed to visit. That has a huge impact on everyone. Emotional dramas take place. A family secretly rows over the ditch with an inflatable boat to be able to be with their mother. Face-time calling is introduced. I take hundreds of pictures to show the family that they are doing well. Convinced that being outside is the best remedy, I walk for hours with the residents through the paradise garden, which seems more beautiful than ever. The sky is clear blue, there is no noise, no planes.”
Ilona Senghore graduated in 1989 as Monumental Designer at the Royal Academy of Art in The Hague. In addition to being active as an artist, she teaches painting and has been working since 1995 as a well-being counselor in a nursing home. Ilona makes symbolic drawings, paintings and socially critical ceramics. She draws associatively to understand everyday life, which puzzles her often. From random lines and shapes, a story unfolds that becomes known during the drawing, or even the day after.
Thus the trace appears in her work, the symbol of time. The train comes roaring unstoppably. The trumpet with its bell is the attention that is demanded. The animals can be themselves, but more often symbolize human actions. The water and the sea is the subconscious, a movement and the source from which it all begins.
The Corona outbreak was only a few months through when metastatic tumors were discovered in Paul Donker Duyvis body. Immediately three muses took care of him and became Angels, Caregivers and Comforters. Donker Duyvis decided to use the illness as a vehicle for a staggering, undisguised and moving series of self-portraits, which portray the comforting and warm contact with the three women.
The understanding treating physicians quickly turned to life-prolonging treatments: radiation, hormone injection and chemotherapy, but they are all physical treatments. Psychological help was also offered, but much more important than words was the indispensable touch – which produced an immediate comforting and magical effect.
The touch, the skin, the direct contact, the production of Oxytocin (known as the cuddle hormone) is an neglected part of medical and terminal care in the eyes of the photographer, who is seriously ill. The moving series of straight black and white self-images Corona Cancer Comfort 2021 is a plea for the return of the loving, healing touch, which was missed by many during the Corona pandemic.
Rosh Abdelfatah is a Kurdish-Syrian artist, filmmaker, artistic director of the Arab Film Festival Rotterdam, who graduated at the St. Joost Academy in Breda, 2006. Currently he makes freelance productions for different Arabic TV stations and works as an independent artist in Netherlands and Middle East.
“As an individual you hardly have any control over the environment. Reality forms while you look at it helplessly. As an artist and filmmaker I search for images where I can get a grip of time. In my work I look for moments of support. They are anchors in a deteriorating, changing environment. The search for what is in disappearance forms visual benchmarks that, if well done, can convey both pain and comfort.” – Rosh Abdelfatah
Rodi Khalil was born in Tal Hedat, Syria, studied art and design at the University of Damascus. He worked as an stage designer at the Theatre of Damascus, as well as in different TV films broadcast in Syria. He has exhibited his paintings and sculptures in London, Rotterdam, Beirut, Turkey, Spain, New York, Sweden and Germany. In Germany he was also involved in set design and became a member of the National Association of Artists (BBK Bremen) and the International Association of Art (IGBK, IAA, AIAP).
“I come from a land of myths and repression. For me these myths are building a connection to the present. They offer topics which are fascinating and ageless. I want to build a bridge from past to present for all those people who are open or can be interested for that. My images are showing elements of manifold cultures: those of the Assyric, Meder, Marer, which I am a child of.“ – Rodi Khalil
Hard Times is a Dutch edition of the international project Onder de Kerktoren / Under the Tower (underthechurchtower.org). The project links a range of artists, curators and locations so far in Belgium, the Netherlands and Palestine, as a response to the Corona times and the lockdown.
The church tower and the curfew
‘Onder de kerktoren’ (‘under the church tower’) is a typical Flemish expression that means “small-scale” or “navel-gazing”. Universality and open-mindedness sit at the opposite end of the spectrum. These two extremes are diametrically opposed to one another. The concepts of local and global have a new ring to them. Western European citizens have experienced the reality of lockdowns for the first time since the Second World War. We were confronted, quite literally, with the perspective of our current location. How do we see things from such a position? Is there a difference between the digital and the physical experience?
The second part of our cultural exchange with Fusion Art Gallery / INAUDITA takes place now Turin, Italy. With artists: Harold de Bree, Geeske Harting, Wieteke Heldens, Erik-Jan Ligtvoet, Astrid Nobel, Jessy Rahman, Mike Rijnierse, Ludmila Rodrigues, Pietertje Van Splunter, and Thom Vink.
“The hand of the human may be distinguished by the precision grip; however, the humanity of the hand, Heidegger argued, lies in its possession by the word. ‘Man does not “have” hands, but the hand holds the essence of man, because the word as the essential realm of the hand is the ground of the essence of man’ (Heidegger). Thus language holds the hand, and the hand holds man.” – Tim Ingold (Making Anthropology, Archaeology, Art and Architecture, 2013)
Fusion Art Gallery / INAUDITA is a gallery, project space and artistic residence, run by Barbara Fragogna, artist and former curator of KunstHaus Tacheles, Berlin.
Opening: Friday, Nov 9th at 19:00 Visit: Thursday until Saturday, from 16:00-19:30 until November 30th, 2018