Raquel van Haver overrompelt het Stedelijk Museum in Amsterdam

Gepubliceerd op: 24 January 2019

Een tiental grote schilderijen. Meer heeft de jonge, Nederlandse kunstenares met Columbiaanse roots Raquel van Haver niet nodig om de tot vervelens toe doodverklaarde schilderkunst een adrenalineshot te geven. Dat doet ze met levendige composities vol reliëf, die het vlakke doek verlaten voor een meer ruimtelijke benadering op het snijvlak met beeldhouwkunst. Werk dat bruist van energie en kleur. En dat leven brengt in het Stedelijk Museum in Amsterdam, historisch hét baken van conceptuele en minimalistische kunst.

Sam STEVERLYNCK

 

Praktische Info

Raquel van Haver, ‘Spirits of the Soil’ tot 7 april in Stedelijk Museum, Museumplein 10, Amsterdam, NL. Open ma-zo van 10-18 u., vr van 10-22 u. www.stedelijk.nl

Keywords

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Een tiental grote schilderijen. Meer heeft de jonge, Nederlandse kunstenares met Columbiaanse roots Raquel van Haver niet nodig om de tot vervelens toe doodverklaarde schilderkunst een adrenalineshot te geven. Dat doet ze met levendige composities vol reliëf, die het vlakke doek verlaten voor een meer ruimtelijke benadering op het snijvlak met beeldhouwkunst. Werk dat bruist van energie en kleur. En dat leven brengt in het Stedelijk Museum in Amsterdam, historisch hét baken van conceptuele en minimalistische kunst.

Sam STEVERLYNCK

 

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Raquel van Haver, ‘Spirits of the Soil’ tot 7 april in Stedelijk Museum, Museumplein 10, Amsterdam, NL. Open ma-zo van 10-18 u., vr van 10-22 u. www.stedelijk.nl

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De titel ‘Inscriptions of an Immense Theatre’ van de Ierse kunstenares Ailbhe Ní Bhriain refereert aan de geschriften van Samuel Quiccheberg (Antwerpen, 1529-München, 1567). Volgens Quiccheberg is de ‘verzameling’ of ‘theatre’ ‘een samenbrengen van kunstmatige en wonderlijke dingen’ waarbij er naar gestreefd wordt ‘de wereld in zijn geheel’ een plaats te geven. In 1565 publiceert de Antwerpenaar zijn ‘Inscriptiones vel Tituli Theatri Amplissimi’. De tekst is een 16de-eeuwse handleiding voor het creëren van museale collecties, privéverzamelingen en rariteitenkabinetten met een expliciete koloniale invulling. De verhandeling kan beschouwd worden als een van de eerste museologiegeschriften in de westerse wereld. ‘Quiccheberg combined the traditional fields of art and curiosities with the Naturalia, Mirabilia, Artefacta, Scientifica, Antiquities and Exotica to a unit that justifies the term museum. He designed a five-part classification system for his ideal museum (‘Theatrum’).’

Roland PATTEEUW

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Ailbhe Ní Bhriain, ‘Inscriptions of an Immense Theatre’ tot 2 februari 2019 in Temple Bar Gallery, Dublin.  www.templebargallery.com

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Tijdens de zomer van 2018 bezochten de drie curatoren van Marres Currents #6 in totaal 18 eindejaarstentoonstellingen van evenveel kunsthogescholen in België, Nederland en Duitsland. Met gezwinde tred en een helder, zelfopgelegd selectiecriterium als uitgangspunt weerhielden ze in totaal 17 kunstenaars. Of beter: 17 doordachte, zelfbewuste praktijken die getuigen van inzicht, kritische massa, doorzetting, en die de mogelijkheid kregen zich verder te ontwikkelen in de aanloop naar de tentoonstelling. Want behalve een jaarlijkse groepstentoonstelling omvat Marres Currents ook een ruimer begeleidingstraject, waarin training, netwerk en professionalisering centraal staan.

Stijn MAES

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Marres Currents #6 tot 10 februari in Marres, Capucijnenstraat 98, Maastricht
NL. Open di-zo van 12-17 u. www.marres.org
Tijdens de finissage op zondag 10 februari kun je o.m. deelnemen aan de performance ‘Sell your Soul’ van Pavel Balta.
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