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Current Exhibition

3 Sept 2016 to 22 Oct 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: Maria Barnas, Meiro Koizumi


Annet Gelink Gallery is proud to present The Planet O, the first solo exhibition of Maria Barnas with the gallery. Artist, poet and writer Maria Barnas has created an intriguing show that takes as its starting point the potential of language.  

At the heart of Barnas’ new body of work is the question of whether words can be trusted as carriers of anything solid. In the context of this exhibition,Barnas takes up the complex relationship between intention and interpretation of language as a source of possibilities, and contemplates this in the form of a wide range of objects and two films. She approaches language from different angles by presenting a variety of works.  

Language as shape - For Barnas language plays a crucial role in the development of objects. Does language consist of images? Can you pronounce a shape? In Rhubarb, Rhubarb Barnas developed a series of glass objects, in which she has spoke words into during the blowing of the glass. In the first group she chose words that are used to mimic distant group speech in films, words such as 'rhubarb' and 'watermelon cantaloupe’. Speaking this language of mimicry by herself, resulting in the first word group, and thereby extracting a single voice from the crowd, Barnas expresses an intense solitude of the individual as opposed to a group. The glass speech bubbles, frozen word splashes in space, reveal something of the absurdity of group behaviour and the spoken and unspoken language that goes along with it. In the second word group the words 'Home', 'Heim', and 'Heem', were pronounced, balancing between what is familiar and out of reach.  

Language as escapism - The film The International Cosmonaut is a compilation of three video clips that Barnas has found online, which she combines with lyrics about the rituals that cosmonauts perform to prepare for their journey into space, to force their fate. Belief in progress and thirst for knowledge and discovery are confronted with the dark side of the human soul, with all its doubt, uncertainty and existential fear.  

Language as power - The Planet O is a dry-ice speech-bubble machine, inspired by the essay/pamphlet Captive Words, Preface to a Situationist Dictionary(1966) by Mustapha Khayati,who called for a new language. 'Every critique of the old world has been made in the language of that world, yet directed against it and therefore automatically in a different language. Every revolutionary theory has had to invent its own terms, to destroy the dominant sense of other terms and establish new meanings in the “world of meanings” corresponding to the new embryonic reality needing to be liberated from the dominant trash heap.'  

Language as maker - In the 3-D animation The Great Hunger, 5 voices of shapes and sculptures by Barbara Hepworth, Henry Moore, Alfred Hitchcock, Martin Kippenberger and Michel Houellebecq, discuss their respective heritage, linked as they are, by actual and metaphoric holes in themselves. The humorous animation suggests that it is only language - and the interpretation of art history that the language is taken from - that sets them apart. The question of whether identity and supremacy is based on a choice of words underlies the conversation between the objects.  

Barnas builds narratives and alternative histories around history-as-we-know-it and what is presented as factual. An image, like a text, is not a closed container. It rarely depicts or describes what it sets out to. With the works on view, Barnas works against the notion that language should have a specific form, aware of the fact that our grasp of reality is closely linked to the words we (don't) choose to describe. Her work delves into the power structures that language exudes on a day-to-day, art-historical and political level. Moreover, her work sits at the heart of poetry's ability to both heighten and obscure our notion of reality.  

MARIA BARNAS (NL, 1973) lives and works in Amsterdam. She studied visual arts at the Rietveld Academie and was resident at the Rijksakademie in Amsterdam and The American Academy in Rome. Barnas is member of the Royal Netherlands Academy of Arts. She recently had a major solo exhibition at De Hallen Haarlem (2016) and participated in several group exhibitions amongst others at the Van Gogh Museum, Amsterdam (2015) and at Stichting Castrum Pellegrini, Amsterdam (2013).



In the Bakery, we are delighted to present In Between the Night and Sleepwalkers an installation by Meiro Koizumi in which two quintessential works, the video Untitled and the charcoal drawing Discovering the Night #2 meet in a singular installation.  

The video Untitled deals with the gesture of making image in an imageless world. It depicts Mr. Tomoya Tsukada while drawing a portrait of his father. Since he was a child his eyesight has deteriorated year by year, and as his sight weakened, his inner sight – the function to connect himself to the world through the visual image – has worn away as well. By now, he does not even remember what his parents look like. 

For this project Koizumi has asked Mr. Tsukada to try to recall the image of his parents, brothers, and friends, and to draw them on semi-transparent paper. This allows the portrait of his father and the shadow of his own face to overlap as if he draws a face to a faceless head. The video follows this process until the portrait is finished and then it starts playing backwards to the point when the portrait is erased.  

Discovering the Night #2 depicts the moment of life and death the way it is experienced through a FLIR camera. It is based on video registrations of drone operations, made using FLIR infrared thermal cameras. Without this technology the landscape by night would be just darkness, it wouldn't exist. Through the technology of the FLIR camera a new landscape is discovered, and this landscape is a nightmare for some (and spectacle for others). Koizumi presents us with a nightmarish vision of the zooming in of the FLIR camera as one continuous landscape.  

A parallel can be drawn between Untitled and Discovering the Night #2, where the image is once again created in a lightless situation through the technology of infrared light camera. Yet, at the same time, they are each other’s opposite: Untitled is highly personal whereas Discovering the Night #2 deals with an impersonal military situation one can encounter online or in the media.  

Meiro Koizumi often investigates his own surroundings: Japan’s ritualistic culture and past events. As part of this process the painful reality hidden behind serene facades is revealed, opening up a new reality and possibilities for new ways of resolving the past. In his recent work he broadened the spectrum of his investigation by reflecting on particular events in a way that they can be applied and understood on a global scale.  

Koizumi's body of work will be presented in a solo exhibition at De Hallen (Haarlem, NL) from September 24, 2016 to January 8, 2017.      

Meiro Koizumi (Gunma, Japan, 1976) lives and works in Yokohama. He studied at Chelsea College of Art and Design, London (1999-2002), and the Rijksakademie van Beeldende Kunsten, Amsterdam (2005-2006).  Koizumi had major solo exhibitions amongst others at Arts Maebashi (2015), Kadist Art Foundation (2014) and at the MoMA (2013).

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