Adam Broomberg, Nik Christensen, Shezad Dawood, Bertien van Manen and Lisette Ros

'DEFENDER' curated by Gabriel Rolt

 

Artists: Adam Broomberg, Nik Christensen, Shezad Dawood, Bertien van Manen and a performance by: Lisette Ros

why am i doing this? Failure
to keep my work in order so as
to be able to find things
to paint the house
to earn enough money to live on
to reorganize the house so as
to be able to paint the house &
to be able to find things and
earn enough money so as
to be able to put books together
to publish works and books
to have time

(fragment of Failures in Infinitives
by Bernadette Mayer)

Lisette Ros

Lisette Ros – …elk rondje is anders during Quarantine (installation view Galerie Barbara Thumm)

Lisette Ros – The Mirror ( installation view Galerie Barbara Thumm)

Lisette Ros (1991) is a conceptual performance artist from Amsterdam, The Netherlands.
„Where does my conditioning end and where does my (our) autonomy begin?“
 
Lisette Ros’ conceptual performance work challenges the basic conventions and routine behavior that form the bonds of human society. The starting point of Ros’ work always emerges for a confrontation with herself; a constant self-reflexivity that questions and challenges the normative values that she, as we all do, have internalized from society at large, manifest in impulses towards certain routines and behaviors. In her performances, Ros dramatizes and aestheticizes the confrontation that she subjects her body and spirit to, thus sharing her critical findings with her audiences. Ros materializes her work as live performances, performance video art, audio works and installation, depending on the context and concept. Becoming aware of one’s body is a fundamental pillar in this respect.
Ros poses questions by doing. 
Her Videos, performances and insallations were shown recently at MWoods  Museum Beijing, Amsterdam Museum,Amsterdam , Goethe Institut Amsterdam, EYE Filmmuseum Amsterdam, Van Abbemuseum Eindhoven, Stedelijk Museum Amsterdam, Van Gogh Museum Amsterdam, La Biennale de Architettura Venezia and Uncensored Film Festival, London.
 
© Lisette Ros, Nick Hackworth
 
LIVE PERFORMANCE  TUESDAY, 6TH OCTOBER, 10AM – 6PM
 
Lisette Ros
‘Reframing Conventions’ (2013/2020) at
De Stelling van Amsterdam
for INTERBELLUM #1,
a collaborative project by Lisette Ros and Gabriel Rolt
Camera: Joao da Costa
 
The work ‘Reframing Conventions’ by Lisette Ros is an 8-hour sitting performance which originates from 2013, in which she researches the convention of sitting as a part of INTERVENING SPACE. Back then, the focus was on the 8-hour workdays in the Netherlands and the act of sitting which causes a 40% increasement of premature death. The COVID-19 pandemic gave the research into the act of sitting a new layer. The empty offices could now represent the reframing of conventions. Worldwide spaces got alienated from their functions. This interbellum is about the loss of function and redefining of the space. In this live performance Ros solely sits for eight hours on the same chair which she has been using since 2013, without practicing any other human action. Same relevance, different context.
 
‘De Stelling van Amsterdam’ as a location offers an interesting decor as it was officially build as a part of Amsterdams defense mechanism for war, but has never served its original purpose.
 
About INTERBELLUM
Interbellum is a collaborative project by Lisette Ros and Gabriel Rolt:
The word ‘Interbellum’ commonly refers to the period Between the World Wars. It refers to a period in-between. Periods in which alienation effects life in general are also periods of opportunity in which one can redefine conventions. As the COVID-19 pandemic results in a political and economic crisis, the Interbellum project is framing and continuously questioning the function of art and behavior in this specific period. Interbellum covers 5 chapters: 5 performances on 5 different locations that all represent a different approach on this period in-between. Every chapter will be filmed by a different film maker, the 5 films will launch as a video exhibition in 2021.
 

Lisette Ros
…elk rondje is anders during Quarantine, 2020
Single channel video, 1:12’
edition of 3 + 2AP
5.500 EUR incl. VAT

This work is about researching the convention of ‘rondjes lopen’ – ‘walking around in circles’ and originates from 2015.



During these times of the Corona virus outbreak, surviving mostly in our homes, Dutchies are allowed to get some fresh air outside, the so-called intelligent lockdown. This results in a lot of walking around the neighborhood, as well as a lot of walking in circles inside my small apartment. This action works very therapeutic, I do it a lot. It uplifts the convention of ‘rondjes lopen’.

Therefore I started to revise this work and present it again as a renewed version, now more relevant than ever and in collaboration with videographer Joao mb Costa.

What I find interesting about this animalistic act is the moment my compulsiveness turns into vulnerability, when I cross the lines. I really wanted to put focus on the act of ‘rondjes lopen’, and therefore I erased the aspects that could be disturbing: my clothing, the music, my sight.

 

 

 

 

.

 

Lisette Ros
The Mirror , 2019
Single channel video, 12:47’’
edition of 3 + 2AP
3.000 EUR incl. VAT

In this work ‘The Mirror’ I am researching narcissistic bodily behavior in its origin. The modern (Western) society is drenched with narcissistic behavior, as are we, as are you and as am I. Some have already announced the narcissism epidemic* years ago, and not only in a good way. Psychiatry is the reflective mirror of the world we are living in and patients are the symptom carriers of a disease where the entire society will be suffering from.

Launched inside a specific room, situated in what felt as a frigid, lonesome park villa I intervened space with my (light) installation and live performance of ‘The Mirror’: by saturating my skin with the black, diseased water I confront and isolate myself with my mirror image until I am entirely diseased by my own narcissism and begin to drown. The narcissism survives. Captured by myself, for myself, with myself and because of myself.

This work was especially developed for my performance in the villa as being part of The Living Museum. Though, this was only the start of the visualization of my research into narcissistic (bodily) behavior. The continuation of this research is ongoing, as always.

The process is the work.

*Twenge, J.M., Campbell, K.W., 2009, The Narcissism Epidemic: Living in the Age of Entitlement, Simon & Schuster

 

 

 

 

 

Lisette Ros
The Mirror , 2019
Single channel video, 12:47’’
edition of 3 + 2AP
3.000 EUR incl. VAT

In this work ‘The Mirror’ I am researching narcissistic bodily behavior in its origin. The modern (Western) society is drenched with narcissistic behavior, as are we, as are you and as am I. Some have already announced the narcissism epidemic* years ago, and not only in a good way. Psychiatry is the reflective mirror of the world we are living in and patients are the symptom carriers of a disease where the entire society will be suffering from.

Launched inside a specific room, situated in what felt as a frigid, lonesome park villa I intervened space with my (light) installation and live performance of ‘The Mirror’: by saturating my skin with the black, diseased water I confront and isolate myself with my mirror image until I am entirely diseased by my own narcissism and begin to drown. The narcissism survives. Captured by myself, for myself, with myself and because of myself.

This work was especially developed for my performance in the villa as being part of The Living Museum. Though, this was only the start of the visualization of my research into narcissistic (bodily) behavior. The continuation of this research is ongoing, as always.

The process is the work.

*Twenge, J.M., Campbell, K.W., 2009, The Narcissism Epidemic: Living in the Age of Entitlement, Simon & Schuster

 

 

 

 

Lisette Ros
INTERVENING SPACE: Het lege ogenblik / The empty time, 2016
Audio, 1:42 min

 

 

 

 

 

 

 

 

 

 

 

 

Adam Broomberg

These images are documentation of an exchange between Adam Broomberg and his publisher Michael Mack over the last decade. Michael would periodically send Adam books which he had published. Adam would reroute or hijack them, working into the books with his own drawings (in squid ink and his blood), fragments of the other books, and his own photographs into them. None of the books survived and these images are records of various stages of the destruction.

Adam Broomberg (born 1970, Johannesburg, South Africa) is an artists living and working in Berlin. He is a professor at the Hochschule für bildende Künste (HFBK) in Hamburg. Together with Oliver Chanarin he has had numerous solo exhibitions most recently at The Centre Georges Pompidou (2018) and the Hasselblad Center (2017). Their participation in international group shows include the Yokohama Trienniale (2017), Documenta, Kassel (2017), The British Art Show 8 (2015-2017), Conflict, Time, Photography at Tate Modern (2015); Shanghai Biennale (2014); Museum of Modern Art, New York (2014); Tate Britain (2014), and the Gwanju Biennale (2012). Their work is held in major public and private collections including Pompidou, Tate, MoMA, Yale, Stedelijk, V&A, the Art Gallery of Ontario, Cleveland Museum of Art, and Baltimore Museum of Art. Major awards include the ICP Infinity Award (2014) for Holy Bible, and the Deutsche Börse Photography Prize (2013) for War Primer 2. Broomberg and Chanarin are the winners of the Arles Photo Text Award 2018 for their paper back edition of War Primer 2, published by MACK.

Adam Broomberg
Blood in the cut 2, 2020
C-type print
120 x 90 cm
Edition of 3
8.500 EUR incl. VAT

Adam Broomberg
Blood in the cut 3, 2020
C-type print
120 x 90 cm
Edition of 3
8.500 EUR incl.VAT

Adam Broomberg
Blood in the cut 4, 2020
C-type print
120 x 90 cm
Edition of 3
8.500 EUR incl. VAT

Adam Broomberg
Blood in the cut 5, 2020
C-type print
120 x 90 cm
Edition of 3
8.500 EUR incl. VAT

Adam Broomberg
Blood in the cut 6, 2020
C-type print
120 x 90 cm
Edition of 3
8.500 EUR incl. VAT

Adam Broomberg
Blood in the cut 7, 2020
C-type print
120 x 90 cm
Edition of 3
8.500 EUR incl. VAT

Adam Broomberg
Blood in the cut 1, 2020
C-type print
120 x 90 cm
Edition of 3
8.500 EUR incl. VAT

Adam Broomberg
Blood in the cut 8, 2020
C-type print
120 x 120 cm
Edition of 3
8.500 EUR incl. VAT

Nik Christensen

 

Nik Christensen was born in England and raised in The Netherlands where he attended Gerrit
Rietveld Academie in Amsterdam. Nature, and in particular man’s existence within it, has always
been a strong focal point in his work. Interested in the duality of destruction and resurrection and
exploring the friction between the real and imaginary, he looks for new interpretations,
reconfiguring that which looks familiar. The monochromatic drawings on paper are made with
sumi ink, often large format. The simplicity of materials and the immediacy of working with ink
allow for a certain stillness yet creates tension in its permanence.
Christensen currently lives and works in Amsterdam.

Nik Christensen
My Name’s A Thousand Steps From Patience, 2017
Sumi ink on paper
235 x 300 cm
26.000 EUR incl. VAT

Nik Christensen
All That Has Ever Been Said, 2017
Sumi ink on paper
215 x 300 cm
25.000 EUR incl. VAT

Nik Christensen
There’s A Ghost In The Basket Of Values, 2017
Sumi ink on paper
229 x 150 cm
17.000 EUR incl. VAT

Nik Christensen
A Little Advice (Goes A Long Way), 2017
Sumi ink on paper
250 x 190 cm
23.000 EUR incl. VAT

Shezad Dawood

Shezad Dawood works across the disciplines of painting, film, neon, sculpture, performance, virtual reality and other digital media to ask key questions of narrative, history and embodiment. Using the editing process as a method to explore both meanings and forms, his practice often involves collaboration and knowledge exchange, mapping across multiple audiences and communities. Through a fascination with the esoteric, otherness, the environment and architectures both material and virtual, Dawood interweaves stories, realities and symbolism to create richly layered artworks.

 

Recent solo exhibitions include: New Art Exchange, Nottingham (2020), The Bluecoat Liverpool
(2019); MOCA Toronto (2019); FriezeLIVE, London (2019); Kunstverein, Munich (2019); A Lost Future: Rubin Museum of Art, New York (2018); Fondazione Querini Stampalia, Venice (2017); Timothy Taylor, London (2016); Galerist, Istanbul (2016); Pioneer Works, Brooklyn (2015); Fig.2 at the ICA studio, London
(2015); Parasol Unit, London (2014); Leeds Art Gallery and OCAT Xi’an, China (both 2014), Modern Art Oxford (2012).

 

Group exhibitions include: WIELS Bruxelles (2020), Manifesta 13 (2020), Lahore Biennial (2020), Dhaka Art Summit (2020), Sharjah Biennial 14, UAE (2019) – Jury Prize for Encroachments; Gwangju Biennale, Gwangju, South Korea (2018); Mori Art Museum, Tokyo (2016); Taipei Biennial (2014), Marrakech Biennial (2014), MACBA Barcelona (2014), Witte de With (2013), Busan Biennale (2010), Tate
Triennial: Altermodern (2009), and the Venice Biennale (2009). Selected collections include Tate; UBS; LACMA, Los Angeles; National Gallery of Canada; Government Art Collection, UK; US Government Art Collection; The British Museum, London; Sharjah Art Foundation; Kiran Nadar, Delhi; Rubin Museum of Art, New York; and Mathaf, Doha.

 

His film works have been screened internationally, including at the ICA, London; MoMA, New York and at various film festivals including CPH:DOX, Oberhausen, Aesthetica (winner of Artist’s Film Prize 2015); his 2013 Feature Film, Piercing Brightness, was released theatrically and on Blu-Ray/DVD by Soda Pictures.
Shezad Dawood was born in London in 1974 and trained at Central St Martin’s and the Royal College of Art before completing his PhD at Leeds Metropolitan University. Dawood is a Senior Research Fellow in Experimental Media at the University of Westminster. He lives and works in London

Shezad Dawood
The American Center, 2019
Resin, polychromatic paint
40,5 x 48 x 44,5 cm
Edition 1 of 3 + 3APs
26.000 EUR incl. VAT

Shezad Dawood
Invasion, 2019
Neon
198 x 186 cm
Edition 1 of 2 + 1AP
36.000 EUR incl. VAT

Shezad Dawood
Spacewar!, 2019
Tapestry in teak artist’s frame
159 x 116 cm
Edition 3 of 3 + 1AP
30.000 EUR incl. VAT

Shezad Dawood
Encroachments, 2019
VR environment
Duration variable
Edition 5 of 7
48.000 GBP incl. VAT

Bertien van Manen

Bertien van Manen
A hundred summers, a hundred winters

“Through her excellent photographs and her inquiring and humanistic temperament, and with powerful artistic expression, Bertien van Manen shows what historians, writers, sociologists and political scientists argue, that there exist at least two Russias. There is the official, imperial and external Russia, known to us from newspaper headlines, and the one within, the hidden, poor Russia of the anonymous, ordinary people of whose existence Bertien van Manen’s moving and revealing album tells.”

Ryszard Kapuscinski on A Hundred summers, a hundred winters

About Bertien Van Manen
Born in 1942 in The Hague, The Netherlands, Bertien van Manen lives and works in Amsterdam.

Bertien van Manen started her career as a fashion photographer, but Robert Frank’s photo book The Americans(1958) inspired her to concentrate on her own projects, taking a spontaneous, unforced approach. She made lengthy, repeated trips to the Appalachians in the US, the former Soviet Union and China. The collection of the Stedelijk Museum holds over 80 photos from various projects, including the generous donation that Van Manen made in 2013 from her series Lets Sit Down Before We Go, Give Me Your Imageand Vrouwen te Gast.

Van Manen’s work is rooted in classic (social) photo reportage in serious of straightforward black and white which, up until the 1980s, was an important genre. Gradually, she evolved a personal, poetic form of colour photography that reveals her enduring, highly personal relationships with her subjects. The common thread running through the exhibition is the various series that Van Manen has produced since the 1970s, from her autobiographical work and the first series in Budapest in the 1970s, the black and white series about female migrant workers and nuns in the 1980s, the stories about Russian and Chinese people coping with changes in society in the 1990s, her series documenting other people’s family photos at the start of this century, to the sensitive (landscape) photos taken after losing her husband in 2010.

Her most recent monograph, Beyond Maps and Atlases, was published by MACK in 2016. She has released seven previous monographs includingA hundred summers, a hundred winters (1994); East Wind West Wind(2004); Give Me Your Image(2005); and Let’s sit down before we go (2011), among others. Van Manen’s work has been exhibited internationally at museums such as the Museum of Modern Art, New York; Fotomuseum Winterthur; Stedelijk Museum, Amsterdam; Photographer’s Gallery, London; and the Metropolitan Museum of Photography, Tokyo. Her work is held in the permanent collections of several major museums, including the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; and the Stedelijk Museum, Amsterdam.

Bertien van Manen
A hundred summers, a hundred winters: Novok Two Boys, 1991 / 1993
c-print
70,00cm x 100,00cm
edition of 10
6.000 EUR incl. VAT

Bertien van Manen
A hundred summers, a hundred winters: Siberia Pjotr + Michael Bathing , 1991 / 1993
c-print
70,00cm x 100,00cm
edition of 10
6.000 EUR incl. VAT

Bertien van Manen
A hundred summers, a hundred winters: Siberia Pjotr + Michael Bathing , 1991 / 1993
c-print
70,00cm x 100,00cm
edition of 10
6.000 EUR incl. VAT

Bertien van Manen
A hundred summers, a hundred winters: Rostov Maxim and Tanja, 1991 / 1993
c-print
70,00cm x 100,00cm
edition of 10
6.000 EUR incl. VAT

Bertien van Manen
A hundred summers, a hundred winters: Nuvokuznetsk Funeral, 1991 / 1993
c-print
70,00cm x 100,00cm
edition of 10
6.000 EUR incl. VAT

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Lisette Ros
‘Reframing Conventions’ (2013/2020) at
De Stelling van Amsterdam
for INTERBELLUM #1,
a collaborative project by Lisette Ros and Gabriel Rolt
Camera: Joao da Costa
 
The work ‘Reframing Conventions’ by Lisette Ros is an 8-hour sitting performance which originates from 2013, in which she researches the convention of sitting as a part of INTERVENING SPACE. Back then, the focus was on the 8-hour workdays in the Netherlands and the act of sitting which causes a 40% increasement of premature death. The COVID-19 pandemic gave the research into the act of sitting a new layer. The empty offices could now represent the reframing of conventions. Worldwide spaces got alienated from their functions. This interbellum is about the loss of function and redefining of the space. In this live performance Ros solely sits for eight hours on the same chair which she has been using since 2013, without practicing any other human action. Same relevance, different context.
 
‘De Stelling van Amsterdam’ as a location offers an interesting decor as it was officially build as a part of Amsterdams defense mechanism for war, but has never served its original purpose.
 
About INTERBELLUM
Interbellum is a collaborative project by Lisette Ros and Gabriel Rolt:
The word ‘Interbellum’ commonly refers to the period Between the World Wars. It refers to a period in-between. Periods in which alienation effects life in general are also periods of opportunity in which one can redefine conventions. As the COVID-19 pandemic results in a political and economic crisis, the Interbellum project is framing and continuously questioning the function of art and behavior in this specific period. Interbellum covers 5 chapters: 5 performances on 5 different locations that all represent a different approach on this period in-between. Every chapter will be filmed by a different film maker, the 5 films will launch as a video exhibition in 2021.