Remy Jungerman e Iris Kensmil per l'Olanda

Per il Padiglione Dutch ci saranno Remy Jungerman  e Iris Kensmil

CS 

The Dutch Pavilion at the Venice Biennale functions as an important podium which embraces the occasion of national representation as an opportunity to reflect on the Netherlands’ (inter)national image vis-à-vis the current rapid transformations in Dutch society. The Mondriaan Fund is responsible for the Dutch entry.

Remy Jungerman and Iris Kensmil selected for the Dutch Pavilion in 2019

Work of visual artists Remy Jungerman (1959) and Iris Kensmil (1970), brought together by Benno Tempel for a joint presentation, has been selected as the Dutch contribution to the 58thedition of the Venice Biennale, that is to take place in 2019. The selection of this exhibition, entitled ‘The Measurement of Presence’ has been made public by the Mondriaan Fund, that was advised in that regard by an international jury.

Curator Benno Tempel (director of the Gemeentemuseum, The Hague) brings together the work of Remy Jungerman and Iris Kensmil in a presentation that has developed as a tribute to conceptual artist stanley brouwn, who passed away last year. The way in which brouwn looked at the world and how he handled his art strategically form an inspiration to generations of young artists. Jungerman and Kensmil, too, use their work to go into the necessity for artists to position themselves and to take the proper measure of the world.

Together with Jungerman and Kensmil, Tempel has developed a plan in which they present us with different visions of the notion of identity, in a presentation that offers room to reflect on our relation to the other. The jury appreciates the way in which the three artists relate to these valuable  themes and considers the exhibition in the Dutch Pavilion as an appropriate recognition of their work.

The jury selected the proposal of Benno Tempel from among seventy proposals that were submitted at the beginning of this year after an open call from the Mondriaan Fund.

The jury of the Dutch entry of 2019 consists of: Carlos Amorales (artist and participant in the Dutch Pavilion in 2003 and solo-participant in the Mexican Pavilion in 2017), Zippora Elders (freelance curator and artistic director of Kunstfort Vijfhuizen), Xander Karskens (artistic director of the Cobra Museum of Modern Art in Amstelveen and curator of the Finnish Pavilion in 2017), Mirjam Westen (conservator contemporary art in Museum Arnhem and part of the jury in 2017) and Birgit Donker (director Mondriaan Fund) as chair.

The 58th Venice Biennale will run from 11 May tot en met 24 november 2019.

Padiglione Olanda

Dutch entry 57th Venice Biennale

Wendelien van Oldenborgh 

Cinema Olanda

An installation for the Dutch Pavilion

with a parallel program in the Netherlands

Curator: Lucy Cotter

Commissioner: Mondriaan Fund

13 May – 26 November 2017

Preview: 10 – 12 May 2017 (opening 10 May 12.00 hrs)

Cinema Olanda is a collaborative project by artist Wendelien van Oldenborgh (1962) and curator Lucy Cotter (Ireland, 1973) for the Dutch Pavilion at the Venice Biennale 2017. It embraces national representation as an opportunity to reflect on the Netherlands’ (inter)national image in relation to the current rapid transformations in Dutch society. The exhibition takes as its conceptual departure point Gerrit Rietveld’s Dutch pavilion (1953). Designed during the Postwar Reconstruction, when architecture was key to forging a new national image, the pavilion projects a progressive image of openness and transparency.

Van Oldenborgh has created a major new (filmic) installation engaging with the architectural and social vision of the Netherlands inherent in the pavilion and its resonance in Dutch society today. The installation enters into dialogue with Rietveld’s architecture, highlighting its aesthetics yet placed in tension with its underlying order. It houses three new ‘films’ by Van Oldenborgh in which architecture offers a departure point for individuals from different generations to address recent events and postwar developments from personal and professional perspectives. The films convey an alternative narrative to the Netherlands’ self-image as a tolerant nation, revealing the nation as a complex and rapidly transforming social, cultural and political space, both in the ‘50s and today.

Van Oldenborgh uses film as a medium and form of social production, and her oeuvre revolves around bringing contemporary situations and under-examined events from recent history together in unexpected constellations. She creates her work through live (public) film shoots, set in ideologically charged architectural location, in which script is generated collectively by polyphonic conversations between individuals with a personal or professional relationship to the work’s lines of enquiry.

68 proposals for the Dutch entry to Venice Biennale 2017

The Mondriaan Fund’s request for proposals for the Dutch entry to the 57th edition of the Venice Biennale has received a wide response. 68 proposals were submitted by curators and curator collectives. Along with freelancers, curators and directors of various museums, presentation spaces and art initiatives also entered proposals. Proposals for solo versus group presentations are evenly balanced.

The director of the Mondriaan Fund, Birgit Donker, considers this a good harvest of promising proposals. It highlights (demonstrates) the amount of talent and ambition in the Netherlands, and selecting the very best plan will be a considerable task for the jury, she added.

The proposals will be evaluated by an internationally oriented jury of experts, who will submit a selected shortlist of no more than 5 by the end of February. The selected curators will be assigned a budget with which to further elaborate their plan, and will present their plans to the jury at the end of May.

The jury consists of Lorenzo Benedetti (curator, e.g. Nederlands Paviljoen in Venice 2013), Nathalie Hartjes (director showroom MAMA), Aernout Mik (artist, participant in e.g. exhibitions in the Nederlands Paviljoen in 1997 and 2007) and Mirjam Westen (curator of contemporary art Museum Arnhem). Birgit Donker is chairperson, with no right of vote.

The jury members will select the most suitable plan after the presentations, and will subsequently formulate their choice of curator of the Dutch entry for the Mondriaan Fund. The Venice Biennale opens on May 13, 2017.

Herman de Vries per l'Olanda

La Fondazione Mondrian ha annunciato che Herman de Vries  è stato scelto per rappresentare l'Olanda alla Biennale di Venezia del prossimo anno, con la curatela di Colin Huizing e Cees de Boer.

L'artista presenterà un particolare progetto sulle "isole deserte e incolte della laguna veneta", secondo un comunicato stampa della Fondazione Mondrian. "De Vries considera la natura essere il modello di realtà ultima e il suo obiettivo è quello di dimostrare la sua qualità immanente-poetica". 

Press release

herman de vries to be all ways to be Dutch entry to the 56th edition of the Venice Biennale

Curators: Colin Huizing and Cees de Boer

Commissioner: Mondriaan Fund

9 May - 22 November 2015

Mondriaan Fund has announced that the presentation ‘to be all ways to be’ by visual artist herman de vries (1931) and curators Colin Huizing (1965) and Cees de Boer (1955) will be the Dutch entry for the 56th edition of the Venice Biennale, which is to take place in 2015. Mondriaan Fund is following the advice of a jury, which selected the herman de vries and Huizing and De Boer duo’s plan from five proposals.

They selected the presentation developed by herman de vries, Colin Huizing and Cees de Boer because of the artist’s quality and oeuvre and the relevance of the proposal. The Rietveld Pavilion will be filled with three-dimensional installations, including new work to be produced by de vries on deserted and overgrown islands in the Venetian Lagoon. de vries considers nature to be the ultimate reality model and his goal is to demonstrate its immanent-poetical quality.

The jury was fascinated by de vries’ engagement and is of the opinion that, in all its austerity and terseness, it will be a powerful, believable, intimate and topical presentation within the biennale spectacle. de vries himself considers this to be a unique opportunity to make his statement on a prominent international platform.

The relationship between man, culture and nature is increasingly becoming a subject of (artistic) research within the visual arts - a theme on which de vries has been working for decades. For more than 60 years now he has been developing a highly versatile oeuvre in which art, science and philosophy are confronted with the world’s, and especially nature's reality. The theme of his work is topical in an age in which ecological issues can count on an ever broadening attention from the general public.

Autumn 2014 the Stedelijk Museum Schiedam will host the retrospective exhibition ‘herman de vries. all' (curator: Colin Huizing, advisor: Cees de Boer) in combination with the exhibition 'herman de vries. no thing' at the Schiedam Ketelfactory. Works by herman de vries are also included in this year's 'ZERO: Countdown to Tomorrow, 1950s-60s' at the Guggenheim Museum in New York; in 2015 this exhibition will travel to the Martin Gropius Bau in Berlin and the Stedelijk Museum Amsterdam.

The jury members were Hester Alberdingk Thijm (Director, AkzoNobel Art Foundation), Saskia Bos (Dean, Cooper Union for the Advancement of Science and Art), Aernout Mik (visual artist) and Martijn van Nieuwenhuyzen (Curator, Stedelijk Museum Amsterdam). The Chair is Birgit Donker, Director of Mondriaan Fund.

Padiglione Olanda - Mark Manders "Room with Broken Sentence"

Comunicato stampa dal sito http://www.venicebiennale.nl/

Mark Manders

Room with Broken Sentence

Dutch entry 55th Venice Biennale

Curated by Lorenzo Benedetti

Commissioner: Mondriaan Fund

1 June - 24 November 2013

The pavilion is » open! 

Mark Manders (1968) is representing the Netherlands at the 55th International Art Exhibition - la Biennale di Venezia. The Dutch pavilion showcases Room with Broken Sentence, curated by Lorenzo Benedetti (1972). The exhibition covers a 23 year span of Manders’ activity, combining existing installations with a monumental 4 meter high monumental new work. 

The larger installations developed specially for the Rietveld pavilion reveal significant new aspects of the artist’s vocabulary. Turning his back on the frenetic consumerist dynamics of today’s cultural system, Manders withdraws into sculptures that seem to have always been there. All works combine a certain mystery with tremendous visual appeal. Manders’ use of materials, in which nothing is what it seems (epoxy looks like clay, clay becomes bronze and bronze seems to be wood), enhances this enigmatic visual impact. Leaving the shelter of the ‘white cube’, it infiltrates, blends into and seeks acknowledgement within a reality close to that of the general public. In an interview Manders stated: 

“I don't often show my work in the public domain, rather in museums where people choose to go to see art. But since 1991 I always test a work that I've just finished in a supermarket. I just imagine a new work there and I check if it can survive where it doesn't have the label of an artwork. It is just a thing that someone placed in a supermarket. Now I am sure that all of my works can stand in that environment”. 

There is a satellite exhibition in a Venetian supermarket proving this aspect of his work.

2013 is a special year for the Netherlands at the Venice Biennale, as it celebrates both a 100th and a 60th anniversary. The Netherlands may have been present since the start of the Biennale, but only from 1913 onwards in their own exhibition space and since 1953 in the present pavilion designed by the great Dutch architect Gerrit Rietveld. The selection of Mark Manders places him in direct confrontation with Rietveld, whose Modernist pavilion is one of the architectural jewels of the Giardini of the Biennale. The result will be a dialogue between a Modernist architect and an artist who, a child of his time, sets out to decipher the enigmatic temporal dimension of our age and create a parallel, autonomous one of his own. 

The Dutch entry at the 55th International Art Exhibition is a solo exhibition by one of the Netherlands’ most representative contemporary artists. Mark Manders launched his career in 1986 with a work entitled Self-Portrait as a Building: a floor plan of a building realised with pencils, pens and other writing implements. From this point onwards his art has revolved around the exploration of this inner building. 

The Mondriaan Fund has been responsible for the Dutch presence at the Venice Biennale since 1996. This year the entry was determined through a » juriedopen call; 82 proposals were submitted from which the Manders & Benedetti plan was selected.