Longitudes

Longitudes cuts across Latitudes’ projects and research with news, updates, and reportage.

Mariana Cánepa Luna's Amsterdam Roundup for art-agenda.com

 Tue, Dec 17 2019
https://www.art-agenda.com/features/306593/amsterdam-roundup
“Many cities have adopted the gallery weekend format, and while there is a risk that this proliferation can lead to homogeneity, the particular strength and energy of Amsterdam Art Weekend lies in its steadfast commitment to art and artists, and to not limiting its remit to the commercial sector. Now in its eighth edition, the event grew out of the Rijksakademie Open, the yearly open studio presentations by the forty-plus artists in the institution’s two-year postgraduate residency program.”

→ Continue reading. 

Originally published in art-agenda on December 13, 2019.

Below a broader selection of images from the exhibitions and events mentioned in the review, as well as others that couldn't fit in the 1,000-word review, such as Andrei Tarkovski’s exhibition at the Eye Filmmuseum, AKINCI’s group exhibition, Rozenstraat — a rose is a rose is a rose, more Rijksakademie artists’ studios and a short visit to Rotterdam's Witte de With and the new space of Wilfried Lentz in the Port. 

 (Above and below) Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. All photos by Mariana Cánepa Luna (unless otherwise specified in the photo caption).
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann. 
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann. 
  (Above and below) Carlos Amorales, ‘Orgy of Narcissus’, 2019. Courtesy of the artist, kurimanzutto, Mexico City / New York, and Nils Stærk Gallery. These works were developed in collaboration with the TextielLab, the professional workshop of the TextielMuseum.
 Carlos Amorales during the press tour presenting ‘Life In The Folds’ a work produced for the Pavilion of Mexico at the 57th Venice Biennale in 2017.
 Carlos Amorales, Black Cloud, 2007 (installation view). Collection of Diane and Bruce Halle.
 Carlos Amorales, Aprende a joderte (Learn to Fuck Yourself), 2019. Courtesy of the artist and kurimanzutto, Mexico City / New York. 
  (Above and below) Patricia Kaersenhout, ‘Guess Who's Coming To Dinner Too?’, 2019, installation view, De Appel, Amsterdam.

(Above and below) Installation view of Andrei Tarkovski at the Eye Filmmuseum presented an interesting curatorial challenge: how to translate the oeuvre of a filmmaker into an exhibition. In the case of Tarkovski, his limited filmography (8 feature films, plus 3 short films) reduces the challenge considerably, yet the decision of screening 20-minute clips from each film and splitting those clips on two or three large screens simultaneously raises further artistic questions—how far can the immersive experience be stretched? Tarkovski’s unique imagery and tempo multiply throughout the exhibition space far from the durational, one-image-at-a-time consumption offered by the cinematic experience (not to mention the cacophony, which must be said, was reduced here thanks to state-of-the-art hovering speakers above visitor seats). The second challenge has to do with the institutional programme. The next exhibition at the Eye Filmmuseum will be dedicated to (yet another man) Belgium-born, Mexico-based visual artist Francis Alÿs, and in March 2020 to Chantal Ackerman, the Belgian avant-garde filmmaker who passed away in 2015. This will be the first institutional solo exhibition dedicated to a woman since the museum opened in 2012, which is quite eye-opening (intended pun) and significant in the context of the low number of institutions programming female artists solos — yet it's also important to take into consideration the larger picture of female representation in the filmmaking industry.
 Sander Breure & Witte van Hulzen, "Accidents Waiting to Happen", installation, sculpture, video, performance, 2019. Prix de Rome 2019. Courtesy tegenboschvanvreden, Amsterdam.
Femke Herregraven, "Diving Reflex (Because We Learned Not to Drown, We Can Sing)", multimedia installation, 2019-ongoing. Prix de Rome 2019.
Esiri Erheriene-Essi, "The Inheritance" (or Familiar Strangers), 2019. Prix de Rome 2019.
Rory Pilgrim, "The Undercurrent", multimedia installation, 2019-ongoing. Prix de Rome 2019. Courtesy the artist and andriesse eyck galerie. Pilgrim's film received the Prix de Rome Visual Arts 2019 award for his work, receiving 40,000 euros and a residency at the American Academy in Rome.

 Studio by Shahidul Zaman during the RijksakademieOPEN 2019.
  Studio by Christopher Manon during the RijksakademieOPEN 2019.
  Studio by Jude Crilli during the RijksakademieOPEN 2019.
 Studio by Aldo Esparza Ramos during the RijksakademieOPEN 2019.
Studio by Artor Jesus Inkerö during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Salim Bayri during the RijksakademieOPEN 2019.
Remco Torenbosch “Now” (2019), video, 180min, during the RijksakademieOPEN 2019.
 Studio by Antonio Vega Macotela during the RijksakademieOPEN 2019. 

Studio by Anderu Immaculate Mali during the RijksakademieOPEN 2019.
Studio by Dan Zhu during the RijksakademieOPEN 2019.

Studio by Lotte van Geijn during the RijksakademieOPEN 2019.

Studio by Özgür Atlagan during the RijksakademieOPEN 2019.
Studio by Arturo Kameya during the RijksakademieOPEN 2019.
  (Above and below) Claudia Martínez Ayala solo show ‘A las revoluciones, como a los árboles, se les reconoce por sus frutos’ [Revolutions, like trees, are recognized by their fruits], 2019, installation view, Courtesy the artist and GRIMM Amsterdam | New York.
Rozenstraat – a rose is a rose is a rose presented the multichannel video-installation “Beyond Index” (2017) by Dutch artist Gerald van der Kaap.

LA-artist Matthew Monahan at Fons Welters, Amsterdam.

Day trip to nearby Rotterdam to visit three unique solo shows at Witte de With, by Rossella Biscotti (above and two below).


(Above) Alejandro Cesarco and Cecilia Vicuña (below)


(Above and below) Also had a chance to visit the new venue of Wilfried Lentz in the Port area, next door to Atelier van Lieshout studio, which had a solo show of James Beckett.


(Above and below) Back in Amsterdam, kunstverein’s presented ‘Who's Werner?’ a group exhibition concerned with recognised authorship in collaborative artistic practices.


Next door, Martin van Zomeren presented a solo show of Marcel van Eeden.

Tahmina Negmat at Althuis Hofland.
Charbel-joseph H Boutros and Stéphanie Saadé at rongwrong.


Maarten Vanden Eynde's work at Cargo in Context, part of the group show "On-Trade-Off: The Weight of Wonders", an artistic trajectory initiated by the artists' initiatives Picha (DRC) and Enough Room for Space (BE).

And last but not least, the solo show presenting a site-specific sculpture by Belgian artist Leyla Aydoslu at P/////AKT.

→ RELATED CONTENT:
 2019, Amsterdam, art weekend, art-agenda, collaboration, Mariana Cánepa Luna, Oude Kerk, Remco Torenbosch, Rijksakademie, rongwrong, Rossella Biscotti, Rotterdam, roundup, Stedelijk museum, Witte de With, writing
Stacks Image 39



Cookies Advice: We use cookies. If you continue browsing, we consider that you accept their use. Aviso de Cookies: Utilizamos cookies. Si continua navegando, consideramos que acepta su uso.