Een gesprek met Nina Folkersma

Gepubliceerd op: 22 February 2018

Een jaar lang organiseerde gastcurator Nina Folkersma in Castrum Peregrini in Amsterdam het programma ‘The Female Perspective’, met onder meer een kortlopende expositie in het atelier en de woonruimte van kunstenaar Gisèle Van Waterschoot van der Gracht (1912-2013). Tijdens WOII stelde deze kunstenaar haar huis open voor een groep jonge mannen die er hun onderduikperiode studerend, tekenend en dichtend doorbrachten. Haar woonhuis is intussen uitgegroeid tot Castrum Peregrini, een culturele instelling die debatten en tentoonstellingen organiseert, en die opereert als denktank. Sluitstuk van Folkersma’s jaarprogramma is de groepsexpositie ‘Some Things Hidden’, over verbergen en onzichtbaarheid als strategie van verzet, in expositieruimte Framer Framed.

Machteld LEIJ

Praktische Info

‘Some Things Hidden’ tot 11 maart in Framer Framed in samenwerking met Castrum Peregrini. Framer Framed, IJpromenade 2, Amsterdam, NL. Open di-vr van 13-21 u., za-zo van 11-21 u. www.framerframed.nl, www.castrumperegrini.org. Bij de tentoonstelling  verscheen de publicatie ‘The Female Perspective’. 11 maart vindt de finissage plaats.

Keywords

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Een jaar lang organiseerde gastcurator Nina Folkersma in Castrum Peregrini in Amsterdam het programma ‘The Female Perspective’, met onder meer een kortlopende expositie in het atelier en de woonruimte van kunstenaar Gisèle Van Waterschoot van der Gracht (1912-2013). Tijdens WOII stelde deze kunstenaar haar huis open voor een groep jonge mannen die er hun onderduikperiode studerend, tekenend en dichtend doorbrachten. Haar woonhuis is intussen uitgegroeid tot Castrum Peregrini, een culturele instelling die debatten en tentoonstellingen organiseert, en die opereert als denktank. Sluitstuk van Folkersma’s jaarprogramma is de groepsexpositie ‘Some Things Hidden’, over verbergen en onzichtbaarheid als strategie van verzet, in expositieruimte Framer Framed.

Machteld LEIJ

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‘Some Things Hidden’ tot 11 maart in Framer Framed in samenwerking met Castrum Peregrini. Framer Framed, IJpromenade 2, Amsterdam, NL. Open di-vr van 13-21 u., za-zo van 11-21 u. www.framerframed.nl, www.castrumperegrini.org. Bij de tentoonstelling  verscheen de publicatie ‘The Female Perspective’. 11 maart vindt de finissage plaats.

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William Ludwig Lutgens: zijn naam duikt her en der op, het laatste jaar. Hij won in 2017 prijzen van de Boghossian Foundation, Drawing Room in Madrid en Art On Paper in Brussel, vulde recent een muur in De Warande in Turnhout en is begonnen met een residentie in het FLACC in Genk. Nog maar juist buiten uit het HISK heeft hij nu bovendien zijn eerste grote solo in een galerie, PLUS-ONE Gallery in Antwerpen. De ruim opgezette tentoonstelling schetst een overzicht van de heel diverse werken die de kunstenaar maakt en toont dat hij veel meer is dan ‘de schilder’ waarvoor hij niet zelden gehouden wordt. Een kleine selectie van zijn werk is ook te zien in kunstINgang in Merksem.

William Ludwig Lutgens: “Ik houd van het idee collage – als mensen vragen ‘schilder je?’ heb ik de laatste tijd meer zin om te zeggen ‘nee, ik doe aan collage’. Collage is iets moois: het gaat niet alleen over het knippen en plakken van papier, maar je kunt er in één ruimte verschillende dingen mee bijeen brengen. Dat creëert nieuwe betekenissen en nieuwe openingen.”

Anne-Marie POELS

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William Ludwig Lutgens ‘Eat me up and spit me out, Junior’ tot 17 maart in PLUS-ONE Gallery, Léon Stynenstraat 21, Antwerpen. Open do-zo van 14-18 u. www.plus-one.be

William Ludwig Lutgens kunstINgang #10 tot 30 maart in Cultuurcentrum Merksem, Nieuwdreef 135, Merksem. Open di-vr van 10-16 u. www.ccmerksem.be

Op do 22 februari voert Johan Pas in het M HKA een kunstenaarsgesprek met William Ludwig Lutgens. Op za 24 februari geeft Lutgens een exclusieve rondleiding in PLUS-ONE Gallery en wordt de 2de editie van Het Geïllustreerde Blad voorgesteld (14-18 u). Gratis mits inschrijving via CC Merksem.

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In deze rubriek laten we een kunstenaar aan het woord over het werk waar die mee bezig is of juist af heeft. Aurélien Froment gaat geregeld aan de haal met bestaande geschiedenissen. Nu werpt hij een licht op het vermaarde Wandtapijt van de Apocalyps.

Christine VUEGEN

“Het 14de-eeuwse wandtapijt van de Apocalyps is geëxposeerd in het kasteel van Angers in Frankrijk. Ik heb het ettelijke keren gezien, want Angers is mijn geboortestad. Op een dag stond ik ernaar te kijken en ik dacht: het zou toch opwindend zijn om daar iets mee te doen. Het wandtapijt visualiseert de tekst van de Apocalyps, de Openbaring van Johannes. In een heleboel opzichten is het een uniek object. Het is, voor zover geweten, het grootste wandtapijt ter wereld. Het is 450 m2, werkelijk gigantisch. De lengte is 100 meter en er zijn 73 taferelen, verdeeld over twee niveaus. Waarom het werd gerealiseerd, is nog altijd onduidelijk. Het is een vrij fascinerende geschiedenis. Maar wat me er vooral in aantrok, is de relatie tussen beeld en woord.”

“Wat je ziet in de fotoreeks zijn details van het wandtapijt, die door mij zijn verlicht. Het zijn voorstellingen van de spraak. (...)"

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Aurélien Froment, ‘Même rayé à mort, un simple rectangle’ tot 17 maart in Galerie Meessen De Clercq, Abdijstraat 2a, Brussel. Open di-za van 11-18 u. www.meessendeclercq.be

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