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Current Exhibition

27 Nov 2015 to 16 Jan 2016
tuesday to friday 10 am - 6 pm
saturdays 1 - 6 pm
Laurierstraat 187-189
NL-1016 PL
T: 31 20 3302066
F: 31 20 3302065


Artists in this exhibition: Rezi van Lankveld, Sarah Pichlkostner, Mario Testino, Ed van der Elsken


27.11. 2015 - 16.01.2016  

Annet Gelink Gallery is delighted to present Si tu sors, je sors, the first solo exhibition of Dutch painter Rezi van Lankveld (1973, Almelo, NL) with the gallery. Van Lankveld starts at Annet Gelink Gallery with a series of striking fresh paintings that display a new evolution in the artist's work. Exchanging her style of fluid colors with the occasional use of brushstrokes, Van Lankveld here presents a series of paintings in a vivid array of painterly elements.   

Rezi van Lankveld's new body of work consists of singular and autonomous entities and it is neither a depiction of the world nor an illustration of a story. The motivation behind these paintings is the excitement and expectation of the unknown.  Each of them consist of several layers of paint that are being applied and removed continuously, adding and taking away at the same time, in order to build form and image that have to come to recognition. The liquidity of paint is used as the medium of constant improvisation: allowing the paint to flow and create something unexpected, which makes each painting a new experience.   

Figures are always present in Van Lankveld's paintings, as without a figure the painting would not exist. That they are ambiguous, not obvious at the first glance, is intentional: most important is first to see the painting as such. Finally, the picture bears a figure, which is its subject. Depicting the figure in a way that it allows the subject and the painting to become one.  

Brown Sun (2015), a painting about a new life, depicts a figure in a dress with white light falling on it, stepping towards the brown sun. This female character stands on top of two other figures depicted in yellow: a man holding his hand in front of the woman's mouth as though he gives her something to eat.  

Hence, these works are projections of the painter's inner world that draws the viewer into an imaginary realm. Each composition is densely inhabited with anthropomorphous figures arising from the layers of paint. They engage the viewer in an intimate and condensed dialogue. Focused and detailed, the paintings directly appeal to the senses and imagination of the onlooker:  they compel one to recall concealed memories.  The visual effects trigger that part of us that creates a complex feeling instead of a tale, without the viewer being aware of the initial inspiration behind the painting.  In other words, the viewer's subconscious automatically engages with the artist's suggestion of a certain existential mood.    

Rezi van Lankveld (1973, Almelo, NL) studied at the Jan van Eyck Academie and at the Gerrit Rietveld Academie. She had, amongst others, exhibitions at Spatiu Intact, Cluj-Napoca (2014), the Approach, London (2013), Centro per l'arte contemporanea Luigi Pecci, Prato (2013), De Nederlandse Bank, Amsterdam (2013), Petzel Gallery, New York (2010 and 2007), Contemporary Art Museum, St. Louis (2009), Museum van Loon, Amsterdam (2006/2007), GEM Museum Voor Actuele Kunst, Den Haag (2006/2007), Museum Kunst palast, Dusseldorf (2005), Kestnergesellschaft, Hannover (2008), Gemeentemuseum Den Haag (2001), Hedah, Maastrischt (2000). Her work is part of the collection of the Stedelijk Museum Amsterdam, Amsterdam; The Rabobank Art Collection, Utrecht; The Art Collection of the University of Chicago Booth School of Business, Chicago; Zabludowicz Collection, London and New York. Van Lankveld won the prestigious prize: The Royal Award for Modern Painting (2001).


M: I have two rooms
L: I have seen from different windows  

27.11. 2015 - 16.01.2016  

Annet Gelink Gallery proudly presents M: I have two rooms; L: I have seen from different windows Sarah Pichlkostner's (1988, Salzburg) first exhibition in the Bakery. In this installation the viewer faces contrasting aesthetics: softness and fragility mix with sharpness and edginess.

Pichlkostner has been researching the behavior of materials in her body of work for several years. Her working method always begins with examination and analysis of the materials used for her art works. For the first time in her career, Pichlkostner, here, experiments with the inclusion of water and light as equal partners to the other everyday materials used in this site-specific installation.

These objects extend further than their material limits, such as form and dimension, they are considered as characters. The specific manifestation of an object can only be fully grasped when taking into account the effects of the particular implications of production, material, perception, exhibition space and social behavior on us. At the same time, we have an effect on these elements as well as being effected by them. Within a certain setting or environment, they engage in a dialogue with the space, each other and the viewer. These objects, placed together in one space, are connected through this given surrounding: they are interrelated and inhabit the space to a level where one has to ask, is it the viewer looking at the objects or rather the other way around?

The title, M: I have two rooms; L: I have seen from different windows, refers to this dialogue between multiple characters from different time and space. Their engagement with each other creates an in-betweenness in time. Focusing on the representation of time (the need of time), space, self-optimalization, productivity, self-reflection and empathy created by objects, Pichlkostner determines the materials and methods of fabricating a setting. For example, here, water and light have an influence on the characters (every object in the room): they both add to and modify the character of the elements of the installation by which the viewer's experience is changing as well.  

Sarah Pichlkostner (1988, Salzburg, AT) lives and works in Amsterdam, The Netherlands. Her work has recently had her solo shows at Bar de Bois in Vienna (2014) and at the Royal Academy of Fine Arts, Vienna (2013). This year she has participated in group exhibitions at Josh Lilley Gallery, UK and at the Traklhaus in Salzburg. Furthermore, in 2014 Pichlkostner has received the prestigious grant of de Ateliers in Amsterdam.


Me and You: Mario Testino and Ed van der Elsken  

27.11.2015 - 05.03.2016    

The invitation for this exhibition sets the tone. The two photos rhyme with one another convincingly. Each catches two women going about their business - the one on the left, by Mario Testino (1954), the one on the right by Ed van der Elsken (1925-1990).  

In 1997, Testino photographed the models Stella Tennant and Kristen McMenamy while they were changing during a Dior fashion show in Paris. The unguarded moment undermines the glamour of fashion. In 1966, Van der Elsken saw two strikingly dressed young women in Dam Square in Amsterdam. He followed them, and took a number of shots, of which this is one. The photo documents the changing times in which women were beginning to dress more daringly, as skirts became shorter and the taboo against women wearing pants crumbled. The dialogue makes it immediately obvious that the fashion photographer Mario Testino also has an eye of a street photographer, and the street photographer Ed van der Elsken had an eye for fashion. Me and You also shows how photographers who come from different eras and different continents can be kindred spirits.  

Since the early 80s, Mario Testino has admired the work of Ed van der Elsken. Earlier this year he organized an exhibition of Van der Elsken's work at MATE, his own museum in his birthplace of Lima, Peru. Drawing from this exploration, he has now made a selection from his oeuvre, and from Van der Elsken's, for the Ed van der Elsken Archive of Annet Gelink Gallery. These selections zoom in on the photographer as flâneur, who is not out for that one perfect photo, but to capture unique and unforgettable moments. 'I always need to find that unique moment, not the perfect one,' says Testino. Those could have been Ed van der Elsken's words too.  

Ed van der Elsken's photo of a group of men in leathers, apparently motor mice, is one such unique moment; the photo by Mario Testino of the boys from Brazil on a boulevard in Rio de Janeiro in another. Though guys indeed, but right through all that display of masculinity, the photographers have also recorded the friendship between these macho men.

Me and You is a revue of unique moments. Both photographers for instance capture the intimacy of the sexual act and the passion that can accompany it. In the photos that Ed van der Elsken made in Japan and Surinam the couples having sex lose themselves in each other. Testino's photo of the couple having sex in a park reveals how irrepressible passion can be, that it must be consummated here and now, without a thought for where, or who might be watching. The lust for life is at the heart of these photos. The same empathy can be found in the nudes by both photographers. It is intimacy and vulnerability, and not the erotic or pornographic aspect that dominates these images.  

The unique moments that Mario Testino has selected for Me and You are comprised of never previously exhibited photos of his own, and less well-known images by Van der Elsken. That is what makes Me and You so unique.  

Mario Testino OBE is widely regarded as one of the most influential fashion and portrait photographers of our time. His photographs have been published internationally in magazines such as Vogue, V Magazine and Vanity Fair. His work has been exhibited at museums around the world, among them the Museum of Fine Arts in Boston (In Your Face, 2012), the Shanghai Art Museum (Private View, 2012), Museo Thyssen-Bornemisza in Madrid (Todo o Nada, 2010) and the National Portrait Gallery in London (Portraits, 2002). Solo exhibitions of his work have been presented at galleries such as Timothy Taylor in London, Mary Boone Gallery in New York and Yvon Lambert in Paris. More than sixteen books have been published on his work including, Any Objections? (Phaidon, 1998), Portraits (National Portrait Gallery, 2002), Let Me In! (Taschen, 2007), In Your Face (Taschen, 2012) and SIR  (Taschen, 2015).

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