L'Olanda apre all'Estonia

Nel 2021, i Paesi Bassi lasceranno il padiglione Rietveld, la sede storica ai Giardini della Biennale d'Arte di Venezia. Questo approccio unico rompe con una lunga tradizione e segna una rivalutazione dell'intero processo che circonda l'ingresso olandese. Una mossa radicale di Eelco van der Lingen, direttore del Fondo Mondriaan che organizza l'evento.

L'innovazione è essenziale in un evento come la biennale secondo van der Lingen: 'È bello deviare di volta in volta da uno schema, senza negare ciò che abbiamo fatto in passato o ciò che faremo in futuro. Contrassegnando una rottura con il passato, possiamo ricalibrare e creare un nuovo punto di partenza ". Dal 1954, i Paesi Bassi presentano ogni due anni la loro partecipazione alla Biennale d'Arte di Venezia nel padiglione Rietveld, un edificio modernista situato nei Giardini - dove vari paesi hanno i loro padiglioni nazionali. Ora, Van der Lingen sta rompendo con questa tradizione. “È stato spesso detto che i Giardini riflettono un precedente equilibrio di poteri, ma nessun paese rinuncia al suo posto sul palco principale della biennale. Allo stesso tempo, è bene per noi uscire dalla nostra zona di comfort per una volta ed esplorare la libertà fuori dalle mura del padiglione. Ciò offre anche all'entrata olandese l'opportunità di elaborare un piano che non deve tener conto del contesto di Rietveld, del padiglione o dei Giardini. ”   Ingresso estone nel padiglione olandese Per l'edizione 2021 il Fondo Mondriaan ha invitato l'Estonia a utilizzare il padiglione olandese Rietveld nel cuore dei Giardini. L'Estonia espone all'evento dal 1997. Tuttavia, dal momento che dal 1996 non è possibile costruire nuovi padiglioni nei Giardini, le giovani nazioni non possono accedere a questo centro della biennale. La mostra dell'Estonia sarà organizzata dal Center for Contemporary Arts (CCA), che affitterà l'edificio dalla Fondazione Rietveld Pavilion di Venezia. In precedenza, la CCA aveva organizzato mostre di successo in varie località della città durante la biennale.   Fondo Mondriaan Il fondo Mondriaan, il fondo pubblico per l'arte visiva e il patrimonio culturale nei Paesi Bassi, è responsabile per l'ingresso olandese. La presentazione è finanziata dal bilancio internazionale che il fondo riceve dal Ministero dell'istruzione, della cultura e della scienza. La biennale inizia nel maggio 2021. Non appena la procedura relativa all'iscrizione nel 2021 sarà completata, il fondo annuncerà chi rappresenterà l'ingresso olandese e la sede alternativa.

www.venicebiennale.nl EnglisH In 2021, the Netherlands will leave the Rietveld Pavilion, its usual home in the Giardini at the Venice Art Biennale. Instead, it is temporarily stepping off the main stage of the world’s largest international visual arts event and will be exhibiting elsewhere in the city. This one-off approach breaks with a long tradition and marks a reevaluation of the entire process surrounding the Dutch entry. A radical move by Eelco van der Lingen, director of the Mondriaan Fund which organizes the entry.   Innovation is essential at an event such as the biennale according to van der Lingen: ‘It’s good to deviate from a pattern from time to time, without negating what we have done in the past or what we will be doing in the future. By marking a break with the past, we can recalibrate and create a new starting point.’ Since 1954, the Netherlands presents its entry for the Venice Art Biennale biannually in the Rietveld Pavilion, a modernistic building located in the Giardini – where various countries have their national pavilions. Now, Van der Lingen is breaking with this tradition. “It’s often been said that the Giardini reflects a former balance of powers, but no country gives up its place on the main stage of the biennale. At the same time, it’s good for us to step out of our comfort zone for once and explore the freedom outside the walls of the pavilion. This also gives the Dutch entry the opportunity to come up with a plan that doesn’t need to take into account the context of Rietveld, the pavilion, or the Giardini.”   Estonian entry in Dutch pavilion For the 2021 edition the Mondriaan Fund has invited Estonia to use the Dutch Rietveld Pavilion at the heart of the Giardini. Estonia has been exhibiting at the event since 1997. However, due to the fact that since 1996 no new pavilions can be built in the Giardini, young nations cannot gain access to this centre of the biennale. Estonia’s exhibition will be organized by the Center for Contemporary Arts (CCA), which will rent the building from the Foundation Rietveld Pavilion Venice. Previously, the CCA organized successful exhibitions at various locations in the city during the biennale.   Mondriaan Fund The Mondriaan Fund, the public fund for visual art and cultural heritage in the Netherlands, is responsible for the Dutch entry. The presentation is financed from the international budget that the fund receives from the Ministry of Education, Culture, and Science. The biennale begins in May 2021. As soon as the procedure surrounding the 2021 entry is complete, the fund will announce who will represent the Dutch entry and the alternative location.   www.venicebiennale.nl

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.

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. 

Padiglione Olandese, Mark Manders con “Room with Broken Sentence”

Ecco i dettagli del progetto di Mark Manders per il padiglione Olandese, titolo del progetto “Room with Broken Sentence”, curatoare: Lorenzo Benedetti

Mark Manders (1968) will represent the Netherlands at the 55th International Art Exhibition - la Biennale di Venezia. The Dutch pavilion will showcase Room with Broken Sentence, with Lorenzo Benedetti (1972) as curator. Benedetti and Manders are developing a visually layered event which will dialogue with the architecture of the Rietveld pavilion. The Netherlands are also celebrating the 100th anniversary of Dutch entries, first in a rented space at the Giardini and from 1953 onwards in the present pavilion designed by Gerrit Rietveld.

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. Many of the recurring features in his work are described in these floor plans – as though they were the artist’s DNA whose enigmatic code sparks off his sculptures and installations. Manders had solo exhibitions at the Art Institute Chicago and the Renaissance Society in Chicago, Berkeley Art Museum, the Irish Museum of Modern Art in Dublin, Carillo Gil Museum of Art in Mexico City, and in Musée Carré d’Art in Nîmes amongst others. In 2010 Manders’ first American exhibition tour started in the Hammer Museum in Los Angeles and travelled to the Aspen Museum of Art, the Walker Art Center in Minneapolis and the Dallas Museum of Art.

Room with Broken Sentence contains elements of Manders’ earlier work while highlighting new steps the artist is taking. The proposed works form a coherent whole, representing the fantastic aspects of his oeuvre: installations, sculptures, offset print on paper and architectural interventions. 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 brass and brass seems to be wood), enhances this enigmatic visual impact.

The larger installations developed specially for the Rietveld pavilion reveal significant new aspects of the artist’s formal and conceptual 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. His work directly confronts reality and is more than just hermeneutics. Leaving the shelter of the ‘white cube’, it infiltrates, blends into and seeks acknowledgement within a reality close to that of the general public.

The selection of Mark Manders places him in direct confrontation with the magnificent work of the great Dutch architect Gerrit Rietveld, whose Modernist pavilion, built in 1953, is one of the architectural jewels of the Giardini of the Biennale. The result will be a dialogue between two Dutchmen: 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.

Lorenzo Benedetti, since 2008 director of the Art Center De Vleeshal at Middelburg, The Netherlands, is internationally recognized for his inspired presentations. He studied Art history at the University La Sapienza in Rome and attended the Curatorial Training Program at de Appel arts centre in Amsterdam. He was curator in Marta Herford under the direction of Jan Hoet. He is tutor at the Jan van Eyck Academy in Maastricht and writes regularly for exhibition catalogues and art magazines.

Entitled Room with Broken Sentence, a fully illustrated catalogue will accompany the exhibition, with 40 contributions by internationally writers from Nancy Spector to Saskia Bos. This publication will have an unique character, the large number of contributions creating an interesting multiple perspective on the work of Manders. The catalogue will be published by Roma Publications.

Since 1996, the Mondriaan Fund is responsible for the Dutch entry for the Venice Biennale. For this 55th edition the Mondriaan Fund introduced an open call to curators to submit a brief preliminary plan for this stately event. A specially appointed jury selected the Benedetti and Manders plan from four shortlisted proposals. The jury consisted of Hester Alberdingk Thijm (director of AkzoNobel Art Foundation), Defne Ayas (director of the Witte de With Center for Contemporary Art in Rotterdam), Jan Debbaut (freelance curator and former director of Van Abbemuseum in Eindhoven and director of Collections at Tate Museums, London), Rein Wolfs (director of the Bundeskunsthalle Bonn, Germany) and chairperson without a vote Birgit Donker (director Mondriaan Fund).

Ulteriori dettagli al sito www.venicebiennale.nl

Foto Figure with Three Piles of Sand, 2010 - 112 x 335 x 116 cm - Painted brass, wood, iron, rope, sand - Collection: Dallas Museum of Art, Dallas

Olanda con Mark Manders

L'Olanda ha selezionato Mark Manders. 

Il suo progetto è visivamente forte: ha diversi strutture e porterà un sacco di energia speciale al Padiglione.

Curator: Lorenzo Benedetti

Artisti : Mark Manders

Indirizzo: Giardini della Biennale

Web: www.venicebiennale.nl

Padiglione Olanda storia / history

Salendo sul viale si incrocia quello dell’Olanda dalle linee moderniste ideato da Gerrit Thomas Rietveld nel 1954, rimaneggiando un edificio del 1916, dove c’era il padiglione svedese venduto ai Paesi Bassi. Un modulo di misure m 16 x 16 di base e m 6 di altezza caratterizza questo pregiato edificio.


2013 — Mark Manders (Curatore: Lorenzo Benedetti)
2011 — Barbara Visser, Ernst van der Hoeven, Herman Verkerk, Johannes
2009 — Fiona Tan (Curatore: Saskia Bos)
2007 — Aernout Mik (Curatore: Maria Hlavajova)
2005 — Jeroen De Rijke / Willem de Rooij (Curatore: Martijn van Nieuwenhuyzen) Erik van Lieshout (Curatore: Rein Wolfs)
2003 — Carlos Amorales, Alicia Framis, Meschac Gaba, Jeanne van Heeswijk,
2001 — Liza May Post (Curatore: Jaap Guldemond)
1999 — Daan van Golden (Curatore: Karel Schampers)
1997 — Aernout Mik, Willem Oorebeek (Curatorei: Leontine Coelewij, Arno van Roosmalen)
1995 — Marlene Dumas, Maria Roosen, Marijke van Warmerdam (Curatore: Chris Dercon)
1993 — Niek Kemps
1990 — Rob Scholte
1988 — Henk Visch
1986 — Reinier Lucassen
1982 — Stanley Brouwn
1980 — Ger van Elk, Hans van Hoek
1978 — Douwe Jan Bakker, Sjoerd Buisman, Krijn Giezen, Hans de Vries
1976 — Jan Dibbets, Jerry de Keizer, Herman Herzberger
1974 — (no biennial)
1972 — Jan Dibbets
1970 — Willem Graatsma, Jan Slothouber
1968 — Carel Visser
1966 — Constant
1964 — Karel Appel, Lucebert, J. Mooy
1962 — Corneille, Rein Draijer, Shinkichi Tajiri, Jaap Wagemaker, Co Westerik
1960 — Roger Chailloux, Wessel Couzijn, Wouter van Heusden, Anton Heyboer, Willem Hussem
1958 — 8 artists, including Gerrit Benner, Pearl Couzijn-Perlmuter, Lotti van der Gaag, Charlotte van Pallandt, Carel Visser
1956 — Constant, Bart van der Leck, Piet Mondriaan, André Volten
1954 — Karel Appel, Corneille, Wessel Couzijn, Charley Toorop, Jan Wiegers
1952 — 26 artists, including Paul Citroen, M.C. Escher, H.N. Werkman, Jan Wiegers, Constant
1950 — 8 artists, including Raoul Hynckes, Pyke Koch, Jan Sluijters, Carel Willink, Mari Andriessen
1948 — 21 artists, including Kees Andrea, Leo Gestel, Joseph Mendes da Costa, Wessel Couzijn



Altre info al sito http://www.venicebiennale.nl/