Old, Young & New
14 March 2019
The occasion for this evening is provided by two exhibitions currently to be seen in The Hague: On show are the paintings of Dutch artist Koos Flinterman (The Hague, 1950) and the works of English artist Alex Farrar (Leeds, 1986), at twelve twelve gallery and gallery Dürst Britt & Mayhew respectively.
Dürst Britt & Mayhew
Van Limburg Stirumstraat 47
2515 PB The Hague
Gilius van Bergeijk
The artists, with a significant age difference, have an affinity with each other's work. Undoubtedly, this originates in a shared mildly ironic perspective on ‘The Painting’. Not as a phenomenon pertaining to an artistic discipline, but as an object. In an essay on Flinterman’s work Marlies Levels writes: “It is not about painted paintings or ‘pushing paint forward on a surface with a brush’ but about ‘things’ which are supposed to enter into a relationship with physical space.”
For Farrar something similar holds true. His paintings — “Sweat Paintings”, as he calls them — constitute but one of the instruments he uses. His paintings come into existence by applying thin paint on a stretched, lightly translucent, wool-like canvas, upon which monochrome silhouettes appear. He presents the ‘Sweat Paintings’ in constellation with ordinary objects manipulated by him, giving his work a performative potential.
Both oeuvres are characterised by the reuse of artistic or iconic material. With the work of Flinterman this is quite literally the case, as the tittle of the exhibition already indicates: ‘Portraits of Sculptures’ — or of ‘icons’ from late modernistic sculptural art, such as the works of Henry Moore, Barbara Hepworth and Jean Arp.
In the case of Farrar, reuse in less evident. However, in one of his publications, DUEL, two artist battle each other with iconic quotes by famous artists. The Sweat Painting, with their silhouttes of laying people, also bring to mind the Anthropometrics by Ives Klein.
Alex Farrar (left) and Koos Flinterman (right)
Maria Barnas - Author, poet and visual artist.
She will reflect on the work of the artist in a form that is characteristic of her style.
Egbert Dommering - Jurist, art connoisseur and collector.
The reason to invite him as a speaker is a recent post on his blog, a review of the latest “Open Studios” at the Rijksacademie. He concludes that “all views on (post)modernism and/or what an object of art is supposed to be can be put away in a cupboard since Duchamp exhibited an urinal and Warhol a Brillo Box“. His lecture bears the title: “Ho, ho, what is this supposed to mean?!“.
Carel Blotkamp - Art historian and visual artist.
He will reflect on the phenomenon of ‘reuse’ described above. This is also an important aspect of Blotkamp’s own art, in which existing paintings are copied using a colorful variety of spangles.
Gilius van Bergeijk — Musician and composer.
As in the visual arts, the reuse of existing materials is also common in music. Based on a variety of examples, mainly from his own work, Gilius van Bergeijks sheds a light on ‘reuse’ in musical practice.
Koos Flinterman, Portetten van sculptuur, installation view twelve twelve gallery