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Group exhibition 'Architectural Healing' at De koepel, Haarlem
ARCHITECTURAL HEALING
De Koepel, Harmejansweg 1, Haarlem,
6 Oktober - 11 November, 2018,
OPENING: 5 Oktober, 5 - 8 pm,
VISIT: op zaterdagen (1 - 8 pm) en zondagen 1 - 6 pm), entreeprijs: € 7,50.
De Koepel van Haarlem is van 6 Oktober tm 11 November 2018 het sublieme decor van de expositie ‘ARCHITECTURAL HEALING’. De in 1901 op basis van het ‘panopticum-principe’ gebouwde Koepelgevangenis heeft een bewogen geschiedenis. Het verleden is zichtbaar aanwezig in de vorm van de tralies, graffiti en zware stalen deuren, maar ook ‘onzichtbaar’ in de sfeer van wanhoop, agressie en controle die in het complex nog steeds voelbaar is. Het is voor een duurzame ontwikkeling van De Koepel belangrijk dat traumatische herinneringen en littekens uit het verleden goed worden verwerkt. Om de renovatie en herontwikkeling van De Koepel met een flinke knal in gang te zetten organiseert Cityscapes Foundation, samen met de eigenaar van het gebouw Stichting Panopticon, kunstmanifestatie OPEN DE KOEPEL - ARCHITECTURAL HEALING. Kunstenaars met diverse achtergronden zijn gevraagd om zich in te leven in de voormalige Koepelgevangenis en kunstwerken te presenteren en performances uit te voeren die een bijzonder licht schijnen op heden, verleden en toekomst van De Koepel.
Deelnemende kunstenaars zijn ondermeer: Frederique Albert-Bordenave, Ivo Bol, Marissa Evers, Gijs Frieling, Allard van Hoorn, Hans van Houwelingen, Job Koelewijn, Charlotte Koenen, Krijn de Koning, Jeroen Kramer, Alexa Meyerman, Semna van Ooy, Anastasija Pandilovska, Marc Ruygrok, Marleen Sleeuwits, Sandro Setola, Agniet Snoep, Jean Marc Spaans, Studio LA, Marjan Teeuwen, Dickens van der Werff, Peter Zegveld.
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Solo exhibition 'NOT the Actual Site' at 38CC, Delft, The Netherlands
NOT the Actual Site in 38CC
Solotentoonstelling Marleen Sleeuwits
Expositieruimte 38CC
Hooikade 13
2627AB Delft
meer informatie op https://www.38cc.nl
Dagelijks komen we ze tegen. Ruimtes die zo weinig eigenheid hebben, dat ze inwisselbaar zijn of zelfs onopgemerkt blijven. Zulke non-descripte ruimtes vind je in kantoorpanden, in ziekenhuizen, in de verlaten gangen van een hotel of op een vliegveld. Marleen Sleeuwits is al zo’n tien jaar gefascineerd door dergelijke ruimtes. Ze legt ze vast op foto, deconstrueert ze als beeldhouwer en zet met bestaande fotowerken en sculpturen een nieuwe ruimte naar haar hand. Zo ook met haar solo bij expositieruimte 38CC: Not the Actual Site. De vervreemding die door haar ingrepen ontstaat, maakt dat de toeschouwer opnieuw gaat kijken. Plaats en ruimte krijgen daarbij een andere dimensie.
Marleen Sleeuwits (1980) legt sinds 2005 even ondefinieerbare als identiteitsloze (kantoor)ruimtes op foto vast. Daarmee krijgt ze rond 2012 landelijke bekendheid. Op die foto’s is bijvoorbeeld het plafond steeds minder vaak plafond, maar een geometrisch vlak in een compositie. Hetzelfde geldt voor een toevallig aanwezig gordijn of stopcontact. Sleeuwits streeft naar volledige functieloosheid en anonimiteit. Doordat ons oog en ons brein geen grip krijgt op de ruimte die Sleeuwits ons voorschotelt, bekruipt je al gauw een gevoel van onbehagen en onbegrip. De afwezigheid van mensen versterkt dat gevoel, want nergens wordt duidelijk welke schaal haar gefotografeerde ruimtes hebben.
In 2011 zet Sleeuwits de stap om zelf anonieme ruimtes te gaan bouwen. Als beeldhouwer. In eerste instantie trekt ze het behang van de muur om te kijken wat daarachter zit. Aan de uit elkaar gehaalde ruimte voegt ze vervolgens eigen materiaal toe: bergen tissues, stapels Tl-buizen, glinsterend folie. Zo creëert ze een nieuwe omgeving die vervreemdend werkt. Van die nieuwe ruimtes, maakt ze opnieuw foto’s. De laatste jaren bouwt ze plekgebonden installaties met behulp van bestaande fotowerken. Daar voegt ze weer nieuwe ingrepen aan toe. Zodanig dat er een onontwarbare opeenstapeling ontstaat, die uitnodigend is zonder dat je de ruimte daadwerkelijk kan (be)vatten.
Voor de tentoonstelling NOT the Actual Site bij 38CC bouwt Sleeuwits met bestaande werken en nieuwe toevoegingen een installatie die is toegesneden op de expositieruimte. Ze verwerkt onder meer foto’s van de vloer van 38CC in omhulsels voor de twee pilaren. In de kluis is het plafond met de TL-buizen het uitgangspunt voor een ruimtelijke ingreep. Sleeuwist doet dat zodanig dat de bestaande architectuur iedere keer naadloos doorloopt in de fotowerken en objecten. Telkens ontstaat er een nieuwe, even vreemde als intrigerende werkelijkheid: NOT the Actual Site.
Solotentoonstelling Marleen Sleeuwits
2 september t/m 21 oktober 2018
Expositieruimte 38CC
Hooikade 13
2627AB Delft
Finissage zondag 21 oktober om 16 uur met lezing Marleen Sleeuwits
meer informatie op https://www.38cc.nl
Dagelijks komen we ze tegen. Ruimtes die zo weinig eigenheid hebben, dat ze inwisselbaar zijn of zelfs onopgemerkt blijven. Zulke non-descripte ruimtes vind je in kantoorpanden, in ziekenhuizen, in de verlaten gangen van een hotel of op een vliegveld. Marleen Sleeuwits is al zo’n tien jaar gefascineerd door dergelijke ruimtes. Ze legt ze vast op foto, deconstrueert ze als beeldhouwer en zet met bestaande fotowerken en sculpturen een nieuwe ruimte naar haar hand. Zo ook met haar solo bij expositieruimte 38CC: Not the Actual Site. De vervreemding die door haar ingrepen ontstaat, maakt dat de toeschouwer opnieuw gaat kijken. Plaats en ruimte krijgen daarbij een andere dimensie.
Marleen Sleeuwits (1980) legt sinds 2005 even ondefinieerbare als identiteitsloze (kantoor)ruimtes op foto vast. Daarmee krijgt ze rond 2012 landelijke bekendheid. Op die foto’s is bijvoorbeeld het plafond steeds minder vaak plafond, maar een geometrisch vlak in een compositie. Hetzelfde geldt voor een toevallig aanwezig gordijn of stopcontact. Sleeuwits streeft naar volledige functieloosheid en anonimiteit. Doordat ons oog en ons brein geen grip krijgt op de ruimte die Sleeuwits ons voorschotelt, bekruipt je al gauw een gevoel van onbehagen en onbegrip. De afwezigheid van mensen versterkt dat gevoel, want nergens wordt duidelijk welke schaal haar gefotografeerde ruimtes hebben.
In 2011 zet Sleeuwits de stap om zelf anonieme ruimtes te gaan bouwen. Als beeldhouwer. In eerste instantie trekt ze het behang van de muur om te kijken wat daarachter zit. Aan de uit elkaar gehaalde ruimte voegt ze vervolgens eigen materiaal toe: bergen tissues, stapels Tl-buizen, glinsterend folie. Zo creëert ze een nieuwe omgeving die vervreemdend werkt. Van die nieuwe ruimtes, maakt ze opnieuw foto’s. De laatste jaren bouwt ze plekgebonden installaties met behulp van bestaande fotowerken. Daar voegt ze weer nieuwe ingrepen aan toe. Zodanig dat er een onontwarbare opeenstapeling ontstaat, die uitnodigend is zonder dat je de ruimte daadwerkelijk kan (be)vatten.
Voor de tentoonstelling NOT the Actual Site bij 38CC bouwt Sleeuwits met bestaande werken en nieuwe toevoegingen een installatie die is toegesneden op de expositieruimte. Ze verwerkt onder meer foto’s van de vloer van 38CC in omhulsels voor de twee pilaren. In de kluis is het plafond met de TL-buizen het uitgangspunt voor een ruimtelijke ingreep. Sleeuwist doet dat zodanig dat de bestaande architectuur iedere keer naadloos doorloopt in de fotowerken en objecten. Telkens ontstaat er een nieuwe, even vreemde als intrigerende werkelijkheid: NOT the Actual Site.
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Solo exhibition 'NOT the Actual Site' at Contact Photo Festival
Not The Actual Site
Presented in partnership with Brookfield Place
Supported by the Mondriaan Fund
Curated by Bonnie Rubenstein
Brookfield Place Allan Lambert Galleria
181 Bay St, Toronto, Canada
April 30 – June 1 2018
14 inkjet prints, dimensions variable
Marleen Sleeuwits is inspired by impersonal environments—places that could be anywhere and nowhere—such as vacant zones in airports, unoccupied corridors of hotels, and empty rooms in office buildings. The Netherlands-based artist is attracted to these non-spaces for the lack of impression they leave on people; her work focuses on finding ways of visualizing the identity of these voids and connecting to them in novel ways. Through structural contradiction, illusion, and the manipulation of scale, she aims to transform viewers’ awareness of their surroundings.
Primarily working within abandoned office spaces, her process involves stripping the rooms down to their individual components, laying bare the layers found beneath the surfaces. She then re-assembles the room using materials found on-site, such as fluorescent tubes, paper towels, laminate, and tape, by adapting techniques of sculpture, painting and drawing. Experimenting with the variability of the commonplace substances she finds, Sleeuwits creates contradictions of spatial orientation, and then photographs the end results. Her compositions obscure a given room’s anatomy, yet she deliberately incorporates small clues that ground her works in reality; an electrical socket, for example, provides a subtle indication of scale that is otherwise difficult to comprehend, and close inspection reveals sheets of insulation, pieces of ceiling, and sparkling foam rubber.
In this site-specific installation at Brookfield Place, Sleeuwits combines her recent photographs with new images taken of the Galleria floor located precisely where these illusory compositions stand. Presented on freestanding walls positioned at either end of the Allen Lambert Galleria’s expansive thoroughfare, these images of architectural transformations reference the generic spaces endemic to office complexes yet offer something much more complex, puzzling and extraordinary. Her intervention alters the way that viewers navigate this wide-open passageway, adjusting scale to one that is surprisingly intimate. Heightening awareness of space and place, Sleeuwits provides the opportunity to pause and reconsider the hidden potential of office environments.
Presented in partnership with Brookfield Place
Supported by the Mondriaan Fund
Curated by Bonnie Rubenstein
Brookfield Place Allan Lambert Galleria
181 Bay St, Toronto, Canada
April 30 – June 1 2018
14 inkjet prints, dimensions variable
Marleen Sleeuwits is inspired by impersonal environments—places that could be anywhere and nowhere—such as vacant zones in airports, unoccupied corridors of hotels, and empty rooms in office buildings. The Netherlands-based artist is attracted to these non-spaces for the lack of impression they leave on people; her work focuses on finding ways of visualizing the identity of these voids and connecting to them in novel ways. Through structural contradiction, illusion, and the manipulation of scale, she aims to transform viewers’ awareness of their surroundings.
Primarily working within abandoned office spaces, her process involves stripping the rooms down to their individual components, laying bare the layers found beneath the surfaces. She then re-assembles the room using materials found on-site, such as fluorescent tubes, paper towels, laminate, and tape, by adapting techniques of sculpture, painting and drawing. Experimenting with the variability of the commonplace substances she finds, Sleeuwits creates contradictions of spatial orientation, and then photographs the end results. Her compositions obscure a given room’s anatomy, yet she deliberately incorporates small clues that ground her works in reality; an electrical socket, for example, provides a subtle indication of scale that is otherwise difficult to comprehend, and close inspection reveals sheets of insulation, pieces of ceiling, and sparkling foam rubber.
In this site-specific installation at Brookfield Place, Sleeuwits combines her recent photographs with new images taken of the Galleria floor located precisely where these illusory compositions stand. Presented on freestanding walls positioned at either end of the Allen Lambert Galleria’s expansive thoroughfare, these images of architectural transformations reference the generic spaces endemic to office complexes yet offer something much more complex, puzzling and extraordinary. Her intervention alters the way that viewers navigate this wide-open passageway, adjusting scale to one that is surprisingly intimate. Heightening awareness of space and place, Sleeuwits provides the opportunity to pause and reconsider the hidden potential of office environments.
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Solo exhibition 'NOT the Actual Site' at LhGWR
NOT the Actual Site
At LhGWR
Stationsweg 137 in The Hague,NL
18 November 2017 - 20 January 2018
Opening Saturday 18 November at 15.00
More info at http://www.lhgwr.com/marleen-sleeuwits-not-the-actual-site/
A new site-specific installation in which photographic and sculptural works come together.
Marleen Sleeuwits is known for her photo works of constructed spaces that are recognizable by their time and placelessness. Through all the physical reconstructions and alterations of the skin of the rooms she leads the spectator to a more spiritual or psychic perception of space. Numerous transformations of one and the same space provide different perspectives and experiences of space and expose its true potential.
In recent years Marleen started to leave behind the use of her camera . The deformations and reconstructions have been further developed into sculptural works with their own power of expression. The space and, in particular, the skin of a space remains the starting point of the works, but is increasingly fragmented. By presenting the components together again a new layered installation is constructed. In the installation, originals, edits, reconstructions and new photographic interpretations are brought together into a new whole.
At LhGWR
Stationsweg 137 in The Hague,NL
18 November 2017 - 20 January 2018
Opening Saturday 18 November at 15.00
More info at http://www.lhgwr.com/marleen-sleeuwits-not-the-actual-site/
A new site-specific installation in which photographic and sculptural works come together.
Marleen Sleeuwits is known for her photo works of constructed spaces that are recognizable by their time and placelessness. Through all the physical reconstructions and alterations of the skin of the rooms she leads the spectator to a more spiritual or psychic perception of space. Numerous transformations of one and the same space provide different perspectives and experiences of space and expose its true potential.
In recent years Marleen started to leave behind the use of her camera . The deformations and reconstructions have been further developed into sculptural works with their own power of expression. The space and, in particular, the skin of a space remains the starting point of the works, but is increasingly fragmented. By presenting the components together again a new layered installation is constructed. In the installation, originals, edits, reconstructions and new photographic interpretations are brought together into a new whole.
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Apprentice Master #11 Marleen Sleeuwits
Apprentice Master exhibition #11:
17 mrt - 2 april 2017
OPENING Friday 17 March 19h30
at Kunstpodium T in Tilburg More info at www.apprentice-master.com
Marleen Sleeuwits (Master), Maureen Jonker (HKU), Machteld Steukers (SASK) and Bente Langendijk (HKU)
The exhibition 'OVERLAP' consist of four duo-presentations in which the different spaces of Kunstpodium T have been transformed into surreal environments. The four artist are all intrigued by contemporary and inexpensive materials like false ceilings, drain pipes or styrofoam. These materials form the basis of the site specific interventions. They create new perspectives on how to perceive the original space. Reality, fiction and copy all merge together just like it does in the work of all four artists.
The Apprentice Master project of Kunstpodium T connects graduating talented artists from eleven European art academies to inspiring contemporary artists. They work together, exchange knowledge and experience and exhibit together in a series of exhibitions.
The ninth edition of the Apprentice Master project 2016-2017 of Kunstpodium T consists of 64 young artists from 11 European art academies, 20 experienced contemporary artists exhibit together in a series of 20 exhibitions in 7 locations.
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Onomatopee, Eindhoven, The Netherlands
Cabinet project
On the Soft Edge of Space
Solo exhibition by Marleen Sleeuwits
3.09. till 20.11.2016
Onomatopee website
Is it possible for our direct sensual experience of a space to derive understanding from a different representation of space?
The solo exhibition On the Soft Edge of Space of Marleen Sleeuwits derives its title from her artists’ book, recently published by Onomatopee. Like the book, the exhibition is a stage on which space is placed at the centre by exploring it in a particular visual manner.
By means of architectural, site-specific interventions, Marleen Sleeuwits manipulates space’s artificial nature to put our sensual experience of space to the test. Although the site-specific works in the Onomatopee show merge into the space’s architecture, they remain individual, unrelated sculptural objects, as slight deformations of reality. This renders space itself contradictory – that is, like a tangible fata morgana. Her work tries to find a new horizon in these poetics.
Does this just create a widening of the existing space, or does she call it into question? Usually, spaces are created to serve man, but here space appears to impose a will of it’s own on reality. This gives rise to the question if we, in a functional space of a man-made architectural structure, can relate to the space’s autonomy itself. We may have to test this: put an ear to the wall and listen intently or put our hand on the floor to feel its temperature. Maybe we should do more to appropriate the perspective of the walls of the space we stand in, which determine the proportion of the vacuum radius around us – like a dancer toeing the edge of the dance floor with his eyes closed.
The site-specific play with space, in space, is supplemented with the presentation of a number of photo works, which render the sensual side of reality abstract, like a script. And finally you can explore the book, which again plays with various perspectives: the page margins, the edges of walls in a photographed scale model, the frames of the works in the scale model et cetera.
Curated by Freek Lomme
Made possible thanks to the Municipality of Eindhoven and the Mondiraan Fund
On the Soft Edge of Space
Solo exhibition by Marleen Sleeuwits
3.09. till 20.11.2016
Onomatopee website
Is it possible for our direct sensual experience of a space to derive understanding from a different representation of space?
The solo exhibition On the Soft Edge of Space of Marleen Sleeuwits derives its title from her artists’ book, recently published by Onomatopee. Like the book, the exhibition is a stage on which space is placed at the centre by exploring it in a particular visual manner.
By means of architectural, site-specific interventions, Marleen Sleeuwits manipulates space’s artificial nature to put our sensual experience of space to the test. Although the site-specific works in the Onomatopee show merge into the space’s architecture, they remain individual, unrelated sculptural objects, as slight deformations of reality. This renders space itself contradictory – that is, like a tangible fata morgana. Her work tries to find a new horizon in these poetics.
Does this just create a widening of the existing space, or does she call it into question? Usually, spaces are created to serve man, but here space appears to impose a will of it’s own on reality. This gives rise to the question if we, in a functional space of a man-made architectural structure, can relate to the space’s autonomy itself. We may have to test this: put an ear to the wall and listen intently or put our hand on the floor to feel its temperature. Maybe we should do more to appropriate the perspective of the walls of the space we stand in, which determine the proportion of the vacuum radius around us – like a dancer toeing the edge of the dance floor with his eyes closed.
The site-specific play with space, in space, is supplemented with the presentation of a number of photo works, which render the sensual side of reality abstract, like a script. And finally you can explore the book, which again plays with various perspectives: the page margins, the edges of walls in a photographed scale model, the frames of the works in the scale model et cetera.
Curated by Freek Lomme
Made possible thanks to the Municipality of Eindhoven and the Mondiraan Fund
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Punt WG, Amsterdam, The Netherlands
Curved side down
Marleen Sleeuwits en Femke Dekkers
Curator: Radek Vana
14.9 till 9.10.2016
Punt WG website
A unique collaboration project of two established young artists working with photography. Both Marleen Sleeuwits and Femke Dekkers transform interior spaces in order to lift these out of the everyday grayness and functionality. Curved side down will be opened during West Wednesdays.
The work of Sleeuwits and Dekkers creates on the one hand a confusing shift of perspective from space to photography and from photography to painting (Dekkers) and on the other hand a dazzling flattened experience in which a three dimensional space almost disappears (Sleeuwits).
For puntWG Sleeuwits and Dekkers have developed an installation using the architecture of the exhibition space as a starting point. This elaborate construction initially filled the space completely, only to be dismantled after having been photographed. However, an almost life size print of the temporary construction is presented in this very space.
A strange Droste-effect, a ghost space in which the boundaries between architecture and photography, colour and colourless, real and fictitious, below and above and between Dekkers and Sleeuwits seem to have been abandoned.
There will be an artist talk on the 24th of September at 17.00 o'clock with Marleen Sleeuwits en Femke Dekkers.
The exhibition has been partly funded by Gallery Bart, AFK and Stroom Den Haag.
Marleen Sleeuwits en Femke Dekkers
Curator: Radek Vana
14.9 till 9.10.2016
Punt WG website
A unique collaboration project of two established young artists working with photography. Both Marleen Sleeuwits and Femke Dekkers transform interior spaces in order to lift these out of the everyday grayness and functionality. Curved side down will be opened during West Wednesdays.
The work of Sleeuwits and Dekkers creates on the one hand a confusing shift of perspective from space to photography and from photography to painting (Dekkers) and on the other hand a dazzling flattened experience in which a three dimensional space almost disappears (Sleeuwits).
For puntWG Sleeuwits and Dekkers have developed an installation using the architecture of the exhibition space as a starting point. This elaborate construction initially filled the space completely, only to be dismantled after having been photographed. However, an almost life size print of the temporary construction is presented in this very space.
A strange Droste-effect, a ghost space in which the boundaries between architecture and photography, colour and colourless, real and fictitious, below and above and between Dekkers and Sleeuwits seem to have been abandoned.
There will be an artist talk on the 24th of September at 17.00 o'clock with Marleen Sleeuwits en Femke Dekkers.
The exhibition has been partly funded by Gallery Bart, AFK and Stroom Den Haag.
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Paleis Soestdijk, The Netherlands
BAL!
Curated by Anne van der Zwaag
25.6 till 25.09.2016
Paleis Soestdijk website
This summer I was commissioned to make a site specific work for the Royal Palace Soestdijk. The now empty palace has a rich history with colourful residents like Napoleon, Queen Mary and Prince Bernard.
Curated by Anne van der Zwaag
25.6 till 25.09.2016
Paleis Soestdijk website
This summer I was commissioned to make a site specific work for the Royal Palace Soestdijk. The now empty palace has a rich history with colourful residents like Napoleon, Queen Mary and Prince Bernard.
Soestdijk was the Palace where Queen Juliana of the Netherlands lived who reigned till 1980. Before her Soestdijk was the home of previous Dutch Kings and Queens. After the summer of 2016 the Palace will get another function. To celebrate a last time in the Palace the summer exhibition BAL! was set up hosting over 40 installations of dutch artists, photograpers & designers.
For this group exhibition I'm creating my own version of the French formal garden which was once there. It's interesting to me the original garden was in essence two-dimensional with the intention only to be viewed from a particular elevated point. Though also very different, the link with my own work is quite evident as I also try to convey both space and flatness, flipping between one and the other like an optical illusion.
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Diehl Cube, Berlin, Germany
OBJECT_IF
as part of Prime Time: Archetypes of abstraction in photography
Curated by Ralf Hanselle
24.6 till 10.9.2016
Diehl Cube website
Other participating artist:
Richard Caldicott and
Luuk de Haan
The exhibition will be accompanied by an extensive catalogue that can be ordered online
ISBN 978-3-9817940-1-4
as part of Prime Time: Archetypes of abstraction in photography
Curated by Ralf Hanselle
24.6 till 10.9.2016
Diehl Cube website
Other participating artist:
Richard Caldicott and
Luuk de Haan
The exhibition will be accompanied by an extensive catalogue that can be ordered online
ISBN 978-3-9817940-1-4
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The Nederlands Fotomuseum, Rotterdam, The Netherlands
QUICKSCAN NL#02
23.1 till 8.5.2016
Nederlands Fotomuseum website
Five years on from its very successful first edition, the Nederlands Fotomuseum is proud to present QUICKSCAN NL#02, an exhibition that puts a finger on the pulse of Dutch photography to give the public a taste of the latest, most exciting trends in Dutch photography.
The exhibition will feature 15 to 20 photographers currently active in the Netherlands, showing work they have produced in the last two years that has mostly not yet been on show anywhere else. The photographers and artists set to contribute to QUICKSCAN NL#2 include: Laurence Aëgerter, Gwenneth Boelens, Jan Dirk van der Burg, Anne Geene, Jan Hoek, Stephan Keppel, Kasia Klimpel, Sjoerd Knibbeler, Ola Lanko, Willem Popelier, Jannemarein Renout, Jan Rosseel, Collectief Salvo, Marleen Sleeuwits, Batia Suter, Elisabeth Tonnard and Mariken Wessels.
Signalling new trends
As with the first exhibition, the focus of QUICKSCAN NL#02 is not so much on revealing promising new talent as on the innovative ways in which photographers, graphic designers and fine artists are currently using the medium of photography. What new ways and possibilities are they exploring? Can we discern new developments and how do we interpret these?
23.1 till 8.5.2016
Nederlands Fotomuseum website
Five years on from its very successful first edition, the Nederlands Fotomuseum is proud to present QUICKSCAN NL#02, an exhibition that puts a finger on the pulse of Dutch photography to give the public a taste of the latest, most exciting trends in Dutch photography.
The exhibition will feature 15 to 20 photographers currently active in the Netherlands, showing work they have produced in the last two years that has mostly not yet been on show anywhere else. The photographers and artists set to contribute to QUICKSCAN NL#2 include: Laurence Aëgerter, Gwenneth Boelens, Jan Dirk van der Burg, Anne Geene, Jan Hoek, Stephan Keppel, Kasia Klimpel, Sjoerd Knibbeler, Ola Lanko, Willem Popelier, Jannemarein Renout, Jan Rosseel, Collectief Salvo, Marleen Sleeuwits, Batia Suter, Elisabeth Tonnard and Mariken Wessels.
Signalling new trends
As with the first exhibition, the focus of QUICKSCAN NL#02 is not so much on revealing promising new talent as on the innovative ways in which photographers, graphic designers and fine artists are currently using the medium of photography. What new ways and possibilities are they exploring? Can we discern new developments and how do we interpret these?
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Gallery FeldbuschWiesner, Berlin, Germany
deLIGHT
13.2 - 12 -3 - 2016
FeldbuschWiesner website
FeldbuschWiesner Gallery presents deLight, featuring Susanne Rottenbacher, Marleen Sleeuwits and Sebastian Hempel. Oscillating between science, experimentation and aesthetic phenomenon, the exhibition explores the use of light as a primary medium.
13.2 - 12 -3 - 2016
FeldbuschWiesner website
FeldbuschWiesner Gallery presents deLight, featuring Susanne Rottenbacher, Marleen Sleeuwits and Sebastian Hempel. Oscillating between science, experimentation and aesthetic phenomenon, the exhibition explores the use of light as a primary medium.
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Museum Het Valkhof, Nijmegen, The Netherlands
Photography Extended
23.2. till 8.5.2016
Museum Het Valkhof website
Voor de derde keer toont Museum Het Valkhof in Nijmegen het werk van een aantal Nederlandse fotografen die zich bezighouden met geënsceneerde fotografie. Twaalf fotografen laten recent werk zien, dat veelal voor het eerst aan publiek getoond wordt. De expositie, die deze keer is samengesteld door gastcurator Nelly Voorhuis, geeft met meer dan 70 fotobeelden een kleurrijk overzicht van de diversiteit van het werk van kunstenaars die zich met deze vorm van fotografie bezighouden. Fotograaf Ruud van Empel is de initiator van deze reeks tentoonstellingen, waarvan de eerdere edities zeer succesvol waren.
Creatie van een nieuwe werkelijkheid
Bij de geënsceneerde fotografie legt de kunstenaar een beeld vast dat met zorg is gepland en voorbereid. Technische mogelijkheden worden benut om het proces maximaal te beheersen, het toeval wordt zoveel mogelijk uitgesloten. Met zorgvuldig gekozen objecten, figuren en achtergronden wordt een nieuwe werkelijkheid gecreëerd. De beelden zijn veelal bewerkt met digitale technieken, zodat er uiteindelijk een gemanipuleerde voorstelling ontstaat. Zowel het technische traject om het beeld te construeren, als het proces van waarneming van de toeschouwer - die zijn ogen bijna niet kan geloven - zijn bij geënsceneerde fotografie wezenlijk anders dan bij de traditionele vorm. Beide processen zijn uitgebreider en complexer: extended
Deelnemende fotografen
In totaal zal werk van 12 kunstenaars te zien zijn: Ruth van Beek, Kim Boske, Popel Coumou, Femke Dekkers, Scarlett Hooft Graafland, Csilla Klenyánszki, Juul Kraijer, Diana Scherer, Marleen Sleeuwits, Isabelle Wenzel, Manon Wertenbroek en Jacquie Maria Wessels.
Nederlandse fotografie internationaal geroemd
Nederland staat in de kunstwereld bekend om de hoge kwaliteit van de fotografie in verschillende disciplines. Met vernieuwende fotografische visies op de werkelijkheid maken Nederlandse fotografen ook internationaal naam.
23.2. till 8.5.2016
Museum Het Valkhof website
Voor de derde keer toont Museum Het Valkhof in Nijmegen het werk van een aantal Nederlandse fotografen die zich bezighouden met geënsceneerde fotografie. Twaalf fotografen laten recent werk zien, dat veelal voor het eerst aan publiek getoond wordt. De expositie, die deze keer is samengesteld door gastcurator Nelly Voorhuis, geeft met meer dan 70 fotobeelden een kleurrijk overzicht van de diversiteit van het werk van kunstenaars die zich met deze vorm van fotografie bezighouden. Fotograaf Ruud van Empel is de initiator van deze reeks tentoonstellingen, waarvan de eerdere edities zeer succesvol waren.
Creatie van een nieuwe werkelijkheid
Bij de geënsceneerde fotografie legt de kunstenaar een beeld vast dat met zorg is gepland en voorbereid. Technische mogelijkheden worden benut om het proces maximaal te beheersen, het toeval wordt zoveel mogelijk uitgesloten. Met zorgvuldig gekozen objecten, figuren en achtergronden wordt een nieuwe werkelijkheid gecreëerd. De beelden zijn veelal bewerkt met digitale technieken, zodat er uiteindelijk een gemanipuleerde voorstelling ontstaat. Zowel het technische traject om het beeld te construeren, als het proces van waarneming van de toeschouwer - die zijn ogen bijna niet kan geloven - zijn bij geënsceneerde fotografie wezenlijk anders dan bij de traditionele vorm. Beide processen zijn uitgebreider en complexer: extended
Deelnemende fotografen
In totaal zal werk van 12 kunstenaars te zien zijn: Ruth van Beek, Kim Boske, Popel Coumou, Femke Dekkers, Scarlett Hooft Graafland, Csilla Klenyánszki, Juul Kraijer, Diana Scherer, Marleen Sleeuwits, Isabelle Wenzel, Manon Wertenbroek en Jacquie Maria Wessels.
Nederlandse fotografie internationaal geroemd
Nederland staat in de kunstwereld bekend om de hoge kwaliteit van de fotografie in verschillende disciplines. Met vernieuwende fotografische visies op de werkelijkheid maken Nederlandse fotografen ook internationaal naam.
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Museum de Fundatie, Zwolle, The Netherlands
Danger & Beauty
Turner and the tradition of the sublime
Gevaar & Schoonheid.
Turner en de traditie van het sublieme
05.09. - 03.01.2016
Museum de Fundatie website
The Museum de Fundatie in Zwolle and Rijksmuseum Twenthe in Enschede will collaborate with Tate Britain on the dual exhibition Danger & Beauty – Turner and the tradition of the sublime. Turner is to Britain what Rembrandt is for the Netherlands. His work is only very rarely exhibited in the Netherlands. The dual exhibition in Enschede and Zwolle presents more than 50 paintings and watercolours by Turner in the context of European art history, from the late Middle Ages to the present, with works by Aelbert Cuyp, Claude Lorrain, Gustave Courbet, Claude Monet, Ernst Ludwig Kirchner, Armando, Gerhard Richter and many others.
Turner and the tradition of the sublime
Gevaar & Schoonheid.
Turner en de traditie van het sublieme
05.09. - 03.01.2016
Museum de Fundatie website
The Museum de Fundatie in Zwolle and Rijksmuseum Twenthe in Enschede will collaborate with Tate Britain on the dual exhibition Danger & Beauty – Turner and the tradition of the sublime. Turner is to Britain what Rembrandt is for the Netherlands. His work is only very rarely exhibited in the Netherlands. The dual exhibition in Enschede and Zwolle presents more than 50 paintings and watercolours by Turner in the context of European art history, from the late Middle Ages to the present, with works by Aelbert Cuyp, Claude Lorrain, Gustave Courbet, Claude Monet, Ernst Ludwig Kirchner, Armando, Gerhard Richter and many others.
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Gallery FeldbuschWiesner, Berlin, Germany
CUT FOLD REWRITE
AT THE INTERSTICE OF PHOTOGRAPHY AND SCULPTURE
2.5 - 14.6.2014
FeldbuschWiesner website
JESSICA EATON
CHRISTIANE FESER
LAURIE KANG
KASIA KLIMPEL
MARLEEN SLEEUWITS
CLARE STRAND
CARLY STEWARD
LETHA WILSON
In a modern world where digital photography and smartphones allow for instant
publishing and continuous reproduction, a new generation of artists are making a
conscious decision to adopt an artisanal approach, combining photography and
sculpture in an object-oriented photography.
If we look back at the history of sculpture we can see photographic principles
reflected in the sculptural process; here, the process is also visible vice versa. The
artists exhibited in Cut Fold Rewrite find ways to create colours and objects in
the camera, like Jessica Eaton, and construct spectacular landscapes and spaces
for their photographs, like Kasia Klimpel and Marleen Sleeuwits. Laurie Kang folds
and sculpts light-sensitive photographic paper into minimalist, sensuous sculptures;
Christiane Feser‘s multi-dimensional geometric object photographs create
a labyrinth of space and time.
The artists‘ studios become laboratories, where arranged still lifes and constructions
act asstatic subjects that are experimented on in a controlled environment.
This environment provides the conditions for the artists to search for new aesthetics
and forms for photography. They do not design within the picture, as for
example in the context of Bauhaus photography, but for the picture: with the
paper, with the camera, in the camera – basically, with the entire spectrum of
photographic material.
The subject and production process are not immediately obvious in their works,
as the artists turn their backs on classical forms of representation and capture
ephemeral moments and situations. The materialisation of processes is their primary
interest. Pictures no longer make reference to a single subject and a fixed
point in time, but create fictional places and times. The relationship between
object and representation forms a point of departure for their work, from which
the medium is put under scrutiny and the borders between photography and
sculpture are constantly renegotiated.
AT THE INTERSTICE OF PHOTOGRAPHY AND SCULPTURE
2.5 - 14.6.2014
FeldbuschWiesner website
JESSICA EATON
CHRISTIANE FESER
LAURIE KANG
KASIA KLIMPEL
MARLEEN SLEEUWITS
CLARE STRAND
CARLY STEWARD
LETHA WILSON
In a modern world where digital photography and smartphones allow for instant
publishing and continuous reproduction, a new generation of artists are making a
conscious decision to adopt an artisanal approach, combining photography and
sculpture in an object-oriented photography.
If we look back at the history of sculpture we can see photographic principles
reflected in the sculptural process; here, the process is also visible vice versa. The
artists exhibited in Cut Fold Rewrite find ways to create colours and objects in
the camera, like Jessica Eaton, and construct spectacular landscapes and spaces
for their photographs, like Kasia Klimpel and Marleen Sleeuwits. Laurie Kang folds
and sculpts light-sensitive photographic paper into minimalist, sensuous sculptures;
Christiane Feser‘s multi-dimensional geometric object photographs create
a labyrinth of space and time.
The artists‘ studios become laboratories, where arranged still lifes and constructions
act asstatic subjects that are experimented on in a controlled environment.
This environment provides the conditions for the artists to search for new aesthetics
and forms for photography. They do not design within the picture, as for
example in the context of Bauhaus photography, but for the picture: with the
paper, with the camera, in the camera – basically, with the entire spectrum of
photographic material.
The subject and production process are not immediately obvious in their works,
as the artists turn their backs on classical forms of representation and capture
ephemeral moments and situations. The materialisation of processes is their primary
interest. Pictures no longer make reference to a single subject and a fixed
point in time, but create fictional places and times. The relationship between
object and representation forms a point of departure for their work, from which
the medium is put under scrutiny and the borders between photography and
sculpture are constantly renegotiated.
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Hyères International Festival of Photography, France
The 29th Hyères International Fashion and Photography Festival
25.4 - 23.5.2014
Hyères Photography Festivals' webite
SHORTLISTED PHOTOGRAPHERS
Anna Grzelewska, Poland
Osma Harvilahti, Finland
Arnaud Lajeunie, France
Orianne Lopes, France
Birthe Piontek, Germany / Canada
Virginie Rebetez, Switzerland
Marie Rime, Switzerland
Marleen Sleeuwits, Netherlands
Charlotte Tanguy, France
Lorenzo Vitturi, Italie / United Kingdom
25.4 - 23.5.2014
Hyères Photography Festivals' webite
SHORTLISTED PHOTOGRAPHERS
Anna Grzelewska, Poland
Osma Harvilahti, Finland
Arnaud Lajeunie, France
Orianne Lopes, France
Birthe Piontek, Germany / Canada
Virginie Rebetez, Switzerland
Marie Rime, Switzerland
Marleen Sleeuwits, Netherlands
Charlotte Tanguy, France
Lorenzo Vitturi, Italie / United Kingdom
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The Nederlands Fotomuseum, Rotterdam, The Netherlands
Exhibition Wit
14.9.2013 till 5.1.2014
14.9.2013 till 5.1.2014
Het Nederlands Fotomuseum kleurt WIT! Van 14 september 2013 tot en met 5 januari 2014 presenteert het museum de tentoonstelling WIT | FOTOGRAFIE, KUNST, DESIGN, MODE, FILM. In deze tentoonstelling is bestaand en nieuw werk te zien van nationaal en internationaal talent, gevestigde en opkomende kunstenaars. De tentoonstelling WIT is een totaalervaring met fotografie als leidraad. Wit staat voor een nieuw begin, een onbeschreven blad.
Deze kleur vormt het uitgangspunt voor een veelzijdige tentoonstelling waarin het publiek in aanraking komt met verschillende betekenissen van wit. WIT is multidisciplinair, presenteert documentaire-, portret- en landschapsfotografie, maar ook kunst, mode, design, architectuur, film, video en meer. WIT gaat over onze maatschappij, over verschillende culturen, religie en politiek. WIT is historisch en eigentijds; een ontdekkingstocht langs verhalen en belevenissen vol met tegenstellingen tussen licht en donker, open en dicht, leven en dood. WIT toont de relatie tussen fotografie als kunstvorm en actuele maatschappelijke thema’s, alsook de wisselwerking tussen de eigen collectie, bijzondere bruikleenstukken en unieke werken in opdracht. WIT is samengesteld door Anne van der Zwaag, curator en publicist op het gebied van kunst, design, mode, fotografie en kleur!
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Levallois Photography Prize, France
Special mention for the Levalois Photography Prize, France
4.10. - 16.11.2013
Website Prix levallois
Exhibition together with
Max Pinckers and Jonna Kina
4.10. - 16.11.2013
Website Prix levallois
Exhibition together with
Max Pinckers and Jonna Kina
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Belo Horizonte International Photography Festival, Brazil
Museu Mineiro
12.7. - 23.8.2013
FIF website
The first Belo Horizonte International Photography Festival (FIF-BH) has the purpose of, for the duration of a month, turn the city into a meeting center for debates and reflections on the photographic production in Brazil and the rest of the world, by means of lectures, exhibitions, workshops, portfolio reviewing sessions, projections on the city and a Photographic Marathon.
The event will gather important Brazilian and foreign thinkers and producers to the city, who are to develop all the activities which comprise the Festival, so as to build a space dedicated to reviewing and understanding this intense process of production, distribution and consumption of images, through a consistent reflection on photography and images in the world today
12.7. - 23.8.2013
FIF website
The first Belo Horizonte International Photography Festival (FIF-BH) has the purpose of, for the duration of a month, turn the city into a meeting center for debates and reflections on the photographic production in Brazil and the rest of the world, by means of lectures, exhibitions, workshops, portfolio reviewing sessions, projections on the city and a Photographic Marathon.
The event will gather important Brazilian and foreign thinkers and producers to the city, who are to develop all the activities which comprise the Festival, so as to build a space dedicated to reviewing and understanding this intense process of production, distribution and consumption of images, through a consistent reflection on photography and images in the world today
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LhGWR, The Hague, The Netherlands
Transparency of appearance
1.3 - 19.4.2014
LhGWR website
In the exhibition Transparency of appearance Marleen Sleeuwits will present new works from her renowned series Interiors.
For the first time she will also present spatial works. For the past year Sleeuwits worked in a vacant sixteen stories high office building. She deformed and (re)-constructed several offices in a way that is most reminiscent of installations and sculptures with a temporary nature.
Interiors is a personal and layered research, which is not about the actual existing spaces, but is about mental spaces. It suggests they are in the twilight zone between reality and illusion. In the spatial works this experience becomes even more tangible.
1.3 - 19.4.2014
LhGWR website
In the exhibition Transparency of appearance Marleen Sleeuwits will present new works from her renowned series Interiors.
For the first time she will also present spatial works. For the past year Sleeuwits worked in a vacant sixteen stories high office building. She deformed and (re)-constructed several offices in a way that is most reminiscent of installations and sculptures with a temporary nature.
Interiors is a personal and layered research, which is not about the actual existing spaces, but is about mental spaces. It suggests they are in the twilight zone between reality and illusion. In the spatial works this experience becomes even more tangible.
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Jeonju Photofestival, South Korea
Tranquil Dynamism
고요한 역동:
Photography that captures space and architecture
24.4. - 6.5.2010
Jeonju Photo festival website
Re-presenting the very landscape and space you pass by every day by framing them through a lens, reveals the tranquillity, hidden behind frozen time and space. The tranquil nature existing within frozen time and space enlivens an emotion attached to it; dynamism once existed in architecture by housing human activities is transformed into tranquillity, yet, it invigoratingly blooms the flower called emotion. This animated emotion creates dynamism within tranquillity. Photo taker’s intention, either to document the architecture/space or emotion attached to architecture/space is dissociated by the viewers, and each and every viewer re-associates frozen time and space they see with their own collective memory. This whole process generates dynamism; the dichotomy between photo-takers and viewers embodies tranquil dynamism by an interaction.
The intention of the exhibition ‘Tranquil Dynamism,’ is to bestow an additional layer onto, already-known, dichotomy between the occidental and oriental, or Europe and Korea; photo takers and viewers. By introducing the imagery in which seemed to be familiar for one party to the other whom they have the different perception based on geographical and cultural upbringing, I would like the parties to exploit the differences between the two by oscillating intention and translation. Specifically with this exhibition, the two parties are the ones who live in Jeonju and who do not, and the other pair would be European photographer and Korean viewers.
Participating artist,
Lucie and Simon, France
David Picchiottino, France
Marleen Sleeuwits, the Netherlands
Stephan Zirwes, Germany
Guy Archard, UK
Filip Dujardin, Belgium
Marcin Sacha, Poland
Jose Javier Serrano, Spain
고요한 역동:
Photography that captures space and architecture
24.4. - 6.5.2010
Jeonju Photo festival website
Re-presenting the very landscape and space you pass by every day by framing them through a lens, reveals the tranquillity, hidden behind frozen time and space. The tranquil nature existing within frozen time and space enlivens an emotion attached to it; dynamism once existed in architecture by housing human activities is transformed into tranquillity, yet, it invigoratingly blooms the flower called emotion. This animated emotion creates dynamism within tranquillity. Photo taker’s intention, either to document the architecture/space or emotion attached to architecture/space is dissociated by the viewers, and each and every viewer re-associates frozen time and space they see with their own collective memory. This whole process generates dynamism; the dichotomy between photo-takers and viewers embodies tranquil dynamism by an interaction.
The intention of the exhibition ‘Tranquil Dynamism,’ is to bestow an additional layer onto, already-known, dichotomy between the occidental and oriental, or Europe and Korea; photo takers and viewers. By introducing the imagery in which seemed to be familiar for one party to the other whom they have the different perception based on geographical and cultural upbringing, I would like the parties to exploit the differences between the two by oscillating intention and translation. Specifically with this exhibition, the two parties are the ones who live in Jeonju and who do not, and the other pair would be European photographer and Korean viewers.
Participating artist,
Lucie and Simon, France
David Picchiottino, France
Marleen Sleeuwits, the Netherlands
Stephan Zirwes, Germany
Guy Archard, UK
Filip Dujardin, Belgium
Marcin Sacha, Poland
Jose Javier Serrano, Spain
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Brno House of Arts, Czech Republic
One on One
12.2. - till 21.3.2010
Stroom website
Curator: Radek Váňa
Exhibition featuring the artists who received the Stroom Premium subsidy in 2008. Dům umění města Brna presents the exhibition ‘One on One' curated by Radek Váňa.
Marleen Sleeuwits, Rachel Bacon and Zeger Reijers are presented alongside artists from the Czech Republic: Jan Nálevka, Kateřina Šedá and Milan Houser.
12.2. - till 21.3.2010
Stroom website
Curator: Radek Váňa
Exhibition featuring the artists who received the Stroom Premium subsidy in 2008. Dům umění města Brna presents the exhibition ‘One on One' curated by Radek Váňa.
Marleen Sleeuwits, Rachel Bacon and Zeger Reijers are presented alongside artists from the Czech Republic: Jan Nálevka, Kateřina Šedá and Milan Houser.
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MKgalerie, Berlin, Germany
Exhibition Transformations;
- Metamorphosis
- Changes
- Recreations
25.3 - 26.4. 2009
- Metamorphosis
- Changes
- Recreations
25.3 - 26.4. 2009
Group-exhibition with
Wim Bosch
Jan van Nuenen
Pim Palsgraaf
Danwen Xing