Koen van den Broek

Armco 
@ Figge von Rosen Galerie  
February 1 - March 29, 2014

Koen van den Broek is one of Belgium’s leading painters.  He has exhibited widely, including a major retrospective at SMAK in Ghent, 2010. The work bears strong affinities to European painting, while at the same time inhabiting the landscape of America's open spaces and the language of American abstraction. LINK koenvandenbroek

(ex)-Mêkh

Ellen Rodenberg, Kees Koomen, and Maarten Schepers @ Buro Rotterdam 
performances from: Topp&Dubio, Kees Koomen and Frans van Lent

EX-MÊKH is the name for the collaboration of visual artists Ellen Rodenberg, Maarten Schepers and Kees Koomen. These artists all have their individual professional practices as an artist but next to that they show their works in their mutual contexts and they try to develop a relation with the spaces in which exhibitions are held. Point of departure for the making of an exhibition is the physical and social nature of the exhibition space. Since 2006 these artists organized twelve exhibitions under the name EX-MÊKH. The exhibitions varied from an intense happening during one evening to a series of short exhibitions within a month. Depending on the specific nature of the venue and the subject of the exhibition visual artists, musicians, writers and designers were invited to participate. LINK (ex)-Mêkh

Bring Your own Beamer

Bring Your own Beamer 
Edinburgh | 2014 31 | 01 | 14 

Archive: BYOB meets the First Bos en Lommer DuoDisco in a Church Amsterdam 2013

BYOB, or Bring Your Own Beamer is a one-night exhibition inviting different artists from around the country to transform Edinburgh College of Art’s Sculpture Court into a dynamic and enveloping multi-sensory spectacle of moving image, digital art, performance art, sound art and music. BYOB is a commentary on the modern world which often generates overwhelming situations in which one is surrounded by a multiplicity of undulating, fluctuating, pulsating, digitised visuals and information. The exhibition format has been enacted by Rafaël Rozendaal and has been created worldwide since 2010. LINK byobworldwide

Ivan Klyun

Ivan Vasilyevich Klyun,  (born Aug. 20, [Sept. 1, New Style], 1873, Bolshiye Gorki village, Vladimir province, Russia - died Dec. 13, 1943, Moscow, Russia, U.S.S.R.), Russian artist and art theorist who was noted for his association with Russian Suprematist Kazimir Malevich and for his formulation of a theory of colour in painting. Klyun was born into a peasant family. As a young man he studied drawing on his own accord while he earned a living as a bookkeeper. From 1902 to 1907 he attended the studio of Fyodor Rerberg in Moscow, where he became friends with Malevich. During these years he also attended an artist’s studio and took classes in Anatoly Bolshakov’s art school. From 1908 to 1911 Klyun’s work was influenced by the Lithuanian Symbolist painter Mikalojus Konstantinas Čiurlionis, and he was drawn to Art Nouveau. In 1913 he turned to Cubism, and some of his best Cubist work dates from 1914 - 5: Gramophone and Ozonator (both 1914) and the relief Landscape Rushing By (1915). Between 1913 and 1917, he participated in most of the important avant-garde exhibitions. A major landmark for Klyun was the “0,10” exhibition in Petrograd (now St. Petersburg) during the winter of 1915 - 16, where he exhibited Cubist and nonobjective sculpture (including Cubist at Her Dressing Table, 1915, presumed destroyed). Influenced by Malevich, Klyun in 1916 created his first Suprematist compositions, and in 1917 he created a series of one-, two-, and three-coloured Suprematist works. He became a member of Malevich’s Supremus Group. LINK britannica

Kazimir Malevich and the Russian Avant-garde

@ Stedelijk Museum Amsterdam 
19 Oct 2013 - 2 Feb 2014

The Stedelijk Museum Amsterdam presents Kazimir Malevich and the Russian Avant-Garde, with selections from the Khardzhiev and Costakis collections, the largest survey in twenty years devoted to the work of the Russian avant-garde pioneer Kazimir Malevich (1879–1935). LINK stedelijk museum ams

Sonja Hinrichsen

This large-scale Snow Drawing piece was created by San Francisco-based artist Sonja Hinrichsen with the help of generous assistance of 5 volunteers on Rabbit Ears Pass, Colorado. Her work is like a snow version of Amazing Sand Drawings on California Beaches by Jim Denevan. It’s amazing how many hours were spent creating something so big yet impermanent as these drawings. “I’m not so into making art that lasts,”  “The world is saturated with manmade projects. I don’t think I need to add more things to the planet.” On the other hand, Sonja’s work is not as impermanent as it seems. Eventually the snow will melt, but the pictures are here to stay. LINK

Antje Hanebeck

Antje Hanebeck (born in Braunschweig in 1968), master-class graduate at the Munich Academy of Fine Arts and currently assistant professor at the Chair of Photography, proves to be an unusual chronicler of contemporary urban phenomena. The subject of architectural innovation, encompassing as it does buildings celebrated in our era which at the same time mirror the logistics specific to them, informs on an elemental plane the aesthetic research conducted by the author in that it is the red thread running through her oeuvre. Photographs of architecture are legion and go back to the beginnings of the medium; however, Hanebeck is not concerned with the documentary approach. On the contrary, she uses her motif as the starting-point for complex aesthetic reflection, which is transformed into image through, and by the agency of, photography. LINK antjehanebeck

Katja Mater

Katja Mater's (1979, the Netherlands) work originates from a meta-perspective and confronts the possibilities and impossibilities of photography. Rather than documenting frozen moments in time, she records the numerous ways we can look at and think about photographic images. She turns the medium on itself, and in doing so, disturbs its status of accuracy. Instead of looking through photography as a transparent medium, Mater's work makes you look at photography itself. By visualizing areas in which technique yields images different from human perception she shows the intangible character of the medium, using photography as a creating rather than a documenting medium. LINK

Art Jam Vranje

“STREETS: Mapping and Connecting Young Creative Scenes in Europe”

Participants/Artists: Farah Rahman (Den Haag, NL), Steven van Lummel (Den Haag, NL), Conni Funkel (Erfurt, DE), Luise Limprecht (Leipzig, DE), Nikola Varenica (Vukovar, CRO), Zoran Bogdanovic Zox (Brčko, BiH), Béatrice André (FR/MKD), Michel Assier-Andrrieu (Beloey) (FR/UK), Giusy Chierchia (IT/NL), Nemanja Belić (VR/RS), Ivica Stošić (VR/RS), Milena Tošić (VR/RS), Marko Stamenković aka Mars (VR/RS), Slavoljub Slave Simonović (VR/RS) LINK vimeo

Lawrence Weiner

@ Stedelijk Museum 

Islands in the Storm, 1990

Weiner began his career as an artist as a very young man at the height of Abstract Expressionism. His debut public work/exhibition was at the age of 19, with what he called Cratering Piece. An action piece, the work consisted of explosives set to ignite simultaneously in the four corners of a field in Marin County, California. That work, as Weiner later developed his practice as a painter, became an epiphany for the turning point in his career. His work in the early 1960s included six years of making explosions in the landscape of California to create craters as individual sculptures. He is also known during his early work for creating gestures described in simple statements leading to the ambiguity of whether the artwork was the gesture or the statement describing the gesture: e.g."Two minutes of spray paint directly on the floor.." or " A 36" x 36" removal of lathing or support wall..." (both 1968). In 1968, when Sol LeWitt came up with his Paragraphs on Conceptual Art, Weiner formulated his "Declaration of Intent" (1968): 
1. The artist may construct the piece. 2. The piece may be fabricated.
3. The piece need not be built. 
Weiner created his first book Statements in 1968, a small 64-page paperback with texts describing projects. Published by The Louis Kellner Foundation and Seth Siegelaub, "Statements" is considered one of the seminal conceptual artist's books of the era. Since the early 1970s, wall installations have been Weiner's primary medium, and he has shown at the Leo Castelli gallery. LINK Stedelijk

William Klein

@ FOAM

An international jury at Photokina 1963 voted William Klein one of the 30 most important photographers in the medium\'s history. He became famous in Europe immediately upon publication of his strikingly intense book of photographs, Life Is Good for You in New York - William Klein Trance Witness Revels, for which he won the Prix Nadar in 1956. Klein\'s visual language made an asset out of accident, graininess, blur, and distortion. He has described his work as \"a crash course in what was not to be done in photography.\" Klein employed a wide-angle lens, fast film, and novel framing and printing procedures to make images in a fragmented, anarchic mode that emphasized raw immediacy and highlighted the photographer\'s presence in the scene. LINK foam