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HEXGALLERIES

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Meeting point on Contempory Art, Photography and Literature

ARCADIA REDESIGNED in PORI ART MUSEUM PORI FINLAND

PORI ART MUSEUM
ARCADIA REDESIGNED will be exhibited in PORI ART MUSEUM PORI 17 NOVEMBER 2008 FINLAND
ARCADIA REDESIGNED will be exhibited in PORI ART MUSEUM PORI
BACKLIGHT 08 | 8TH INTERNATIONAL PHOTOGRAPHIC TRIENNIAL
[10.10.2008 - 01.02.2009]
MEDIApoint

Pori Art Museum is involved in the International Photographic Triennial Backlight 08 and will exhibit the work of six triennial artists at the Museum’s MEDIApoint.
ARCADIA REDESIGNED
Herman van den Boom, Belgium, Holland / Mai Yamashita/Naoto Kobayashi, Germany

Installation view of the exhibition in Museum Centre Vapriiki Tampere
September 2008
BACKLIGHT FESTVAL VIDEOS TAMPERE 2008

INTERVIEW FOTOFEST HOUSTON about ARCADIA REDESIGNED 2006

AUCTION at VILLA GRISEBACH BERLIN

AUCTION OF TWO IMPORTANT VINTAGE PRINTS of
HERMAN VAN DEN BOOM at GRISEBACH BERLIN.
27 NOVEMBER 2008

Villa Grisebach Auktionen GmbH
Fasanenstraße 25
D-10719 Berlin

AUCTION 159

Lot 1521 BRUGES 1972 Vintage print 1977
Lot 1522 OSTEND 1973 Vintage print 1977

Works have been exhibited in Stedelijk Museum Schiedam, Museum het Kruithuis, Hedendaagse Kunst Utrecht, The Netherlands.

Villa Grisebach Auktionen GmbH
Fasanenstraße 25
D-10719 Berlin

Telefon +49-30-885 915-0
Telefax +49-30-882 41 45
E-Mail auktionen@villa-grisebach.de
AUCTION CATALOGUE
Öffnungszeiten:
Montag bis Freitag 10 bis 18.30 Uhr
Samstag 11 bis 16 Uhr
und nach Vereinbarung

Kwaggawerk - Cistusröschen
mit WOLFGANG ZURBORN 2008

ARNO RONCADA
at HEXGALLERIES
OPENING 14 SEPTEMBER 2008

Arno Roncada

Fault Trace Pictures

Erik Eelbode

'A photograph has edges;
the world does not.'
(Stephen Shore)

Arno Roncada doesn't take photographs. He invents them. Pictures or fragments of perspective. Sceneries and landscapes. Initially, there were locations. For example, just around the corner or extremely far away. The kind of places you usually pass, thoughtlessly and innocently, until you are aware of them as photographs.

- When do we start watching usual things in an unusual way?
Brecht's and Guy Debord's estrangement. Freud's uncanny. Close to home and yet frighteningly unreachable.
The "everyday" escapes our attention and asks us to look the other way, so wrote Georges Bataille. When something seems ordinary, when it is imperceptible or unperceived - part of the furniture -, that is precisely the moment when it is worthwhile to return and look closer.
This surely is one of the interpretations or possibilities offered by the "location" pictures of Arno Roncada.

This is possible because Arno Roncada is not an indifferent photographer. He does not adhere to the "anything goes" principle, which has been ruling the photographic world to a large extent for years now. More and more photographers have come to believe in a spatial nihilism, writes Dirk Lauwaert in his recent book Lichtpapier (Light paper). People do not 'leave' anymore, but are always 'on their way'. They do not give any form to space, but pass through as a distance between two points. That is how their pictures contend with the negation of the spot. They photograph space as an escape path, as an evacuation corridor, as a transit zone. -

Arno Roncada too has photographed such transitional locations, but not en passant (passing by). In fact, he already had the picture in mind before the spot presented itself. Furthermore the titles he systematically gives to each work reveal this.
And when such a location coincides with his thinking of a particular moment, he stops there. He literally takes the time to give form to a space; to show us in full what there is to see and - if possible - what he himself thought to see.

In Prop, for instance, we see thrice illuminated, a raster of black squares in different intensities, some type of rack, part of stage property in residual light.
Or: daylight is shining into an empty space through lace curtains from the right side. A schematic pattern in yellow lines is outlined on the messy grey floor. Inter as a memory or an omen of a drastic change?
Deep blue wall-to-wall carpeting is part of a modern standard hotel interior. Half of the bed has been folded out from a Murphy Bed, revealing a growing blood-red stain on a white mattress. Is Inn referring to a crime scene in a prototypical hotel room? Or is it about the remarkable dégradé (shading) of yellow?
Model on the other hand offers an inconceivable assemblage of insulating material and ceiling tiles hanging loose. Could this be a schematic presentation of a yet unknown planetary system? Those who have ever seen the science fiction film Close Encounters until the very end, possibly perceived in the backlit mountain something more than a fluorescent green diorama kind of model.

The pictures of Arno Roncada are - in changing gradations - already pre-constructed, invented - and pre-visualized - from a mix of instinctive ideas, critical considerations and rational models, existing or not. There is only a moment, a location, yet it is just a sampling or an archaeology of an empty space; an idea that seeks to be bitten.
In such a way, locations are found or sometimes even literally personally constructed. In Double, for instance, a new space is created through a double exposure forming a dominant central perspective. And the work Fault_Trace is a pure construction and represents his pictorial vocabulary. There is the tension between possibility and impossibility, between fake and real, the moment in time and duration, the crystal-clear illuminated spot and space nearly merging into the fog. Coincidence is curtailed. Finally, the literal interpretation of the title Fault_Trace suggests something else than the geological concept: tectonic plates beneath the earth's surface pushing across each other so that fault traces come into existence.

A number of full-blown mountain scapes are added to the locations and constructions as counterpoint and offer breathing space at the same time. These Gran_Turismo pictures also depart, in principle, from the existing possible reality (the volcano Etna, the Alps...), but soon make clear that that is not the point. Merely the very diversity of formal variations - from graded rock foregrounds in pastel colors and postcard aerial pictures through quasi-informal abstractions - indicate that these pictures want to lead their own lives passing by the concrete spot. This recalls the end of the eighteenth century in which for artists 'the landscape' did not really exist. The idealized mountains of William Turner or Caspar David Friedrich have nothing to do with the Pyrenees or the Alps. These artists were working by the motto 'le paysage est un état d'âme' (the landscape is a state of heart and soul). With his modern version of 'le sentiment de la montagne' (the sentiment of the mountains), Arno Roncada once more adds - accurately, dimensionally stable and not without any irony - a prolific extension to his arsenal of invented pictures. His 'fault trace pictures'.

With few exceptions there are no people in the works of Arno Roncada: the magisterial illuminating arm of Lara for instance or the tiny little figures running along the edge of the volcano in Gran_Turismo I. But are there really people in the paintings of Caspar David Friedrich? Or are these figures only there to look - backwards - into (or out of) the picture together with us? Just like a mirror waiting for its reflection.
(August 2007)

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ROB MOOREES

Curated a new exhibition in Amsterdam:

Spaarnestad Photo
The front and reverse side of photos
Curated by Rob Moorees and published by NRC Handelsblad, this show is an example of the vast possibilities of the Spaarnestad Photo archives. Every photo in its original archive has text and stamps on the backside. The text tells a story about the origin and the whereabouts of the photograph and functions as an provenance of the original print. By scanning both sides it becomes possible to read the photo in more ways then intended by the original maker of the image. All photographs are for sale during the show.
Quest show Spaarnestad Photo Archives
The front and reverse side of photos. Curator Rob Moorees
22 August - 7 September

Gepubliceerd door HEXGALLERIES om 13:33 | Permanente link | Reacties (0) | Reageer

CHAUSSEE d'AMOUR 2008
HERMAN VAN DEN BOOM

PREVIEW ARCADIA REDESIGNED for TICKLE ATTACK, BACKLIGHT Fotofestival TAMPERE Finland
Opening 19 september 2008
TAMPERE BACKLIGHT FESTIVAL

VALENCIENNES 2007

MADRID 2007

CAR TUNING SALON 2007

CAR TUNING SALON 2007

CRISNEE 2007

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ILYA RABINOVICH EXHIBITION IN HEXGALLERIES prolonged till 12 september

ILYA RABINOVICH EXHIBITION IN HEXGALLERIES prolonged till 12 september

John Baldessari, Maastricht 2008

CURATOR'S BIRMINGHAM

FOTOKINA COLOGNE

MOSCOW BIENNALE, GRAND MANEGE KREMLIN

JOEL MEYEROWITZ MUSEUM for PHOTOGRAPHIE CHARLEROI 2008

ITALIAN OPERASINGER MAASTRICHT 2007

RHONDA WILSON BERLIN

CRITIC'S APPARTMENT BERLIN

GERRY BADGER PARIS 2007

JOHN GOSSAGE PARIS 2007

SUSAN LIPPER and PETER FRASER PARIS 2007

LOVENJOEL BELGIUM with STUDENTS 2007

DANISH PAINTER TALR MAASTRICHT

FRED BALDWIN ODENSE

ALISON NORDSTROM ODENSE

ALBERTO GARCIA-ALIX MADRID 2007

SEE ARTICLE ON "BECOMING DUTCH" In The VAN ABBEMUSEUM in NRC HANDELSBLAD
ILYA RABINOVICH
Ilya Rabinovich OPENING APRIL 20 at 15.00hrs
Contemporary photography has taken postmodernist alienation and disenchantment as its subjects – whether through the built environment or through the human subject. But no critique of today’s postindustralist capitalism or the disenchantment with our former utopias quite prepares one for the utterly desolate world presented by the photographs in this book.
There are three, loosely grouped chapters: non-places, places of memory, and chairs. The photographs have been taken over a span of thirteen years, from 1993 to 2006. The chapters together constitute a journey that takes us to Moldavia, Israel, Germany, the Netherlands, Russia and Mexico. The book is the receptacle of the artist’s life, of a lifetime spent in emigration, yet all its places look alike, and all are devoid of people.
There is no one word in any European language to describe the state of being that is exile. Exile not merely understood as a fact of biography, but exile as a permanent inner condition. It is not just a state of longing or of homesickness, but rather of being forever unhomed, of never quite belonging wherever you may have settled down. It is a state that cannot be cured or altered, for it springs from a deep uprootedness of the soul. Losing your home means not just the loss of a place and the subsequent relocation in a foreign country. It means losing one’s cultural and social identity, one’s status within a community, the value and context of memory. Even if you are physically able to return, home is the one place you can never go back to; home is the permanent presence of absence.
Ilya Rabinovich’s photographs comprise a double figure of both exile and estrangement. The first, the outer figure, shows us the collective utopia of a better life turned into the impersonal hell of the globally uniform. Those apartment blocks, corridors, interiors, parking lots, cinemas, hotels, schools, and waiting rooms, testify of a culturally estranged world that is by now terribly familiar to us all. These places could be everywhere – and, in fact, they are. Sometimes we know from a palm tree that we are not in some Northern country, from a patch of snow that this is not the South. But even whatever there is of nature in these images seems oddly displaced. The occasional personalized touch to a building or an interior -- a tree wedged in a corner, a vase of flowers -- seems like an uneasy prop, all the better to reveal the hopelessness of ever calling places like these ‘home’. Many photographs leave one with a suffocating feeling of confinement. Those buildings and spaces testify to the lifestyle of a global middle class, or those striving to emulate it, and its standards of luxury, higher education, the exclusive neighbourhood, the better car. What emerges, page after page, is anonymity and cultural impoverishment. Places bereft of memory, corrupted by the pretentious fake and, above all, obsessed with a certain propriety, a normative behaviour excluding all else.
Most terrifying of all, however, is that there are no people in any of those places. Nothing alive is stirring there, not even a bird. When looking at these images, you are abandoned to loneliness, as if everyone has gone away, turned their back on you. It makes you yearn for human warmth, for the crowd to occupy the seats of the cinema once again, for a boy with a football to come skipping around the curb of a road, even for the visual swoosh of a passing car. But there is something in each and every one of these images that bars access to the life one knows must be going on in these places, access even to the places themselves. This exclusion, this desolation, is the second, inner figure of exile in these images, the one that sets them apart from any other type of postmodern photography: the exile that speaks of the life of the emigré.
A very carefully chosen technique brings about these effects of barring, of estrangement, of never quite owning the world you see. Sometimes there is an ever so slight shift in centrality, making you feel that something is wrong, dislocated; often the viewpoint is very low, like a child’s perspective of a classroom or a home. Sometimes the horizon is halfway up the image, creating a sense of floating, of the entire space being upside-down. Or of access barred by a stretch of empty space so wide it defies crossing. Sometimes there is a technical disruption of the perfection of the image, a form of wilful optical destruction enhancing the senselessness of the place.
Most postmodern photography can allow itself to be dispassionate, objective and critical because the intrinsic point of departure of its critique is a feeling of ownership, of belonging, of being part of the culture it portrays.
In Rabinovich’s case, the photographs do not represent or target postmodern alienation and displacement as a kind of moral photographic subject, even though today’s alienated human condition unmistakably emerges from those desolate photographed environments. It is as if the photographs themselves are desperately looking for a place to inhabit, a world to belong to, but find none.

Marianne Brouwer, October 2006

Installation view of Ilya's work in the gallery

Ilya Rabinovich

At the opening april 2008

REACTIONS ON ILYA'S EXHIBITION

RE: hexgalleries
From:ron sluik
Date:April 21, 2008
To: Herman Van Den Boom
Status:Pending
Dag Herman,

Goede keus om een expo met werk van Ilya te maken.

bezoek mijn site ook eens www.sluik.info

Ik woon werk tegenwoordig in Bergen Noorwegen.

Ron Sluik.

BLAADJE 4

FESTES ST. ANDRE 1980
FOTO: HERMAN VAN DEN BOOM
Publication in BLAADJE 4

Blaadje 4 ziet het licht op 6 maart 2008!
persberichten
Submitted by Marije
Wednesday, 05 March 2008
Blaadje, het eigenzinnige blad voor bladenmakers, ooit bedacht door Rupert van Woerkom onder auspiciën van Totempaal Media, ligt vanaf medio maart in de winkels. Petra Boers en Suzanne Hertogs, de makers van DUF, voerden de hoofd- en eindredactie, Joachim Baan tekende voor de art-direction en Anouk Tates voor chef redactie. Het thema is dit jaar Vonkstof - inspiratieaandrijvingspakket.

Niet je vak maar je passie
Blaadje 4 begon met een oproep aan bladenmakers en creatieven uit o.a. film-, foto-, reclame- en theaterwereld om vrij werk in te zenden. Vrij werk, dat nog nooit eerder is gepubliceerd. Werk dat niet in opdracht is gemaakt, maar gewoon omdat mooie dingen maken niet je vak is, maar je passie. Een kleine 1500 inzendingen, ook uit het buitenland, kwamen er binnen, een ongekend aantal.

Vermogen te inspireren
Alle inzendingen werden anoniem gemaakt en de bestuursleden van Stichting The Black Tiger en de redactie van Blaadje 4 hebben de selectie gemaakt op basis van het criterium: het vermogen te inspireren. Maar stapels met van inspiratie uit elkaar spattend materiaal maken nog geen Blaadje. Daarmee ging de Blaadje 4 redactie bestaande uit Hoofdredactie: Petra Boers en Suzanne Hertogs (makers van Duf), Art director: Joachim Baan en als chef redactie: Anouk Tates. Zij werkten het inspiratieconcept van Rupert van Woerkom verder uit en kwamen met het idee om Blaadje 4 in te delen naar verschillende theorieën en onderzoeksconclusies van vooraanstaande denkers over het onderwerp inspiratie en creativiteit zoals Mihalyi Csikszentmihalyi, Edward de Bono en Nico Frijda. De redactie bestaat verder uit journalisten Paul van Liempt, Vittorio Busato, Victor Engbers, de hoofdredacteuren Fabian Takx (Credits), Willem Baars (JFK), Anneloes van Gaalen (Le Cool), filosoof Bas Haring, Mike Koedinger en Andrew Losowsky (oprichters Colophon 2007), Professor Samir Husni (Mr Magazine), Davi Renard (auteur The Last Magazine), Frank Wijlens (freelance journalist en docent tijdschriftenminor op het AMFI), Fidessa Docters van Leeuwen (auteur en journalist) en Georgette Koning (auteur van mode-boeken).

Gereedschapskist voor “out of the box” denken
Met Blaadje 4 heeft de redactie een gereedschapskistje voor je ontwikkeld om het grillige ding dat Inspiratie heet de baas te worden. Een soort ghostbusterskit voor flowkillers en verschillende manieren om het eens van een andere kant te zien. Er werden op de redactie van Blaadje 4 inspiratie vindsnelheden gemeten die de schaal van Beaufort te boven gingen. En menig weeralarm ging er af voor een heftige hersenstorm of inspiratie-tsunami. Met als resultaat een Blaadje vonkend van inspiratie.

VISITING ARTISTS

REGURLY WE HAVE THE HONOUR and PLEASURE of ARTIST'S VISITING and WORKING in HEXGALLERIES

DUTCH SCULPTOR HANS LEMMEN with Family and Friends

The PLAYWRIGHT and ACTOR SIERT VAN DEN BERG working on a new DOLL'S PLAY for THEATRE

SIMPLE PRESENT
BERT DANCKAERT
http://www.bertdanckaert.be

OPENING   MAY 6  15.00hrs

From May 6 till june 15

Saturdays and Sundays from 12.00-17.00hrs and by appointment

habo@telenet.be

003212745976

Clotted: the Cityscapes of Bert Danckaert   -- Ann Demeester 

"The relationship between language and painting is an endless relationship.  This doesn't mean that words are imperfect or deficient, or that, when they are confronted with the visual they are insuperably inadequate. The first cannot be converted to the second: we say in vain what we see and what we see never lies in what we say.  And it is in vain that we try, by using images, metaphors and comparisons, to show what we say...” So writes the philosopher the Americans call the great wizard of paradox, Michel Foucault in 'Les Mots et les choses'. The place where people speak and the place where people look, according to this philosopher, never coincide.  It is not necessary here to study carefully and analyse Foucault's thesis, which he also develops from another point of view in his essay 'Ceci n'est pas une pipe', referring to the work of René Magritte. It's enough to say that the 'place' where we look and the 'place' where we speak do not ever go together. This kind of incompatibility also occurs in the work of Bert Danckaert.  His images don't lend themselves to verbal or textual translation. They are determined in themselves, and recognizable elements, which we also experience as abstractions, are brought together.  The ordinary is lifted out of context and placed somewhere else.  It is isolated and shut off from the physical reality that we feel, hear and taste. It is like looking through peepholes in a thick wall, through a porthole in the bow of a ship.

Chilly, tight and impersonal, on first sight these are the main characteristics of Danckaert's photographs.  Banal street scenes in which all the elements are carefully positioned in relation to one another to create a feeling of harmony and balance, order and regularity.  The unreal character of everyday reality is brought to the surface in these images. They are too constructed to be 'true and real'.  It is as if every redundant detail has been eliminated and everything superfluous has been artificially removed. Yet manipulation is as good as absent here.  The cleaning operations and digital manipulations Danckaert performs with the computer are minimal, literal composing being strange to him.  Street scenes that we see every day and everywhere are transformed into layered 'situations' by framing.  A significant whole is created by zooming in on a partial aspect of the scene.  Danckaert opts for a form of erosion: the redundant is abraded and pared down.  What remains is a kind of naked essence, a loaded meaninglessness.

From this point of view, Danckaert's work is conceptual. An insight is transformed into form and the underlying thinking process works as a structuring force.  By isolating ‘components' -- our view of the surroundings is always panoramic -- placing accents and using a kind of order and system, the photographer tries to retrieve sense from everyday visual reality. The significance of things in themselves and in relationship to each other along with the meaning of the 'artificial' image is what makes this relationship.  Danckaert's search for pattern, rhythm and cadence is equal to the search for a deeper explanation of the things we perceive every day.  It is an attempt to uncover meaning and insight in the world, an attempt that is doomed to fail.  The order and seeming cleanness of the 'found' images stands at the same time for the emptiness of significance.  For him “it is all senseless, it is about nothing, but nevertheless essential”.  He deals in a light and playful way with the absolute absurdness of existence, the so-called existential void.  "The world is a circulating movement, the maintenance of an activity that is completely useless."  And yet with his purified images he creates – against all odds – the illusion that there is something like an underlying total scheme, a framework of significance that gives content to what on first sight is meaningless and falling apart.

What intrigues me in these images from the series 'Make Sense!' are the internal tensions. The tension between abstraction and figuration, style and realism, representation and registration. The photographs have a formal quality. They can be seen as the conjunction of purified colour fields that have been placed against each other in a fragile balance.  But Danckaert plays with internal relationships, with open and closed forms, with the interaction of horizontal and vertical elements, interior and exterior, old and new.  By the careful placement of objects and the use of colour accents, connections are made.  A fence starts a dialogue with a blood red door at eye level, a leafless tree plays a game of resemblance and contrast with some small street posts, and red and white danger signs 'communicate' with closed rolling shutters.  While his outdoor scenes are inevitably figurative, human beings are always absent.  What we see is the residue of human activity, the traces that are left behind in the urban landscape.  In these silent 'street portraits', dirt bags, traffic signs, street tiles, cement skittles and electricity boxes have a sculptural quality.  The pictures are like found installations, the world as a preconceived composition. Little shifts and transformations are of the essence.  Everything has a logic.  It is natural and at the same time artificial, a well-considered balancing act. The ordinary is shown as it appears but on a higher level.  The pictures are like an extreme exercise in composition. Rigorous and consequential they are also fragile and vulnerable. It is as if the illusion could be stabbed like a colourful birthday balloon.  Paradox is the motor that drives everything.  

Ann Demeester 

-Bert Danckaert is POC-member :: click here
-Release January 2006: 'Make Sense!' (book)  ::   click here
-Release October 2006: 'Alone Together', catalogue of the touring POC show :: click here
-Bert Danckaert writes on photography for the Art Magazine <H>ART:: click here
-Bert Danckaert was nominated for the International Art Critic Award of the Moffarts Foundation (Nov 2006):: click here
-Bert Danckaert curated an exhibition with the work of Luc Tuymans, Rineke Dijkstra, Dirk Braeckman, David Claerbout, Karin Hanssen, Philip Aguirre, Cel Crabeels, Goele De Bruyn, Kris Fierens, Charles Fréger and Marc Steculorum in Koninklijk Atheneum Berchem:: click here

ARTICLE in "DE MORGEN" may 2007 WOLFGANG ZURBORN and BRUSSELS ART-INITIATOR JAN KNOPS at BERT DANCKAERTS'S OPENING

PETER SPAANS    PHOTOGRAPHS  of  HOLLAND                                                                                                     

OPENING: Oktober 28, 3 PM

Oktober 28-December 31 2006

and by appointment 

cream: contemporary art in culture, Phaidon Press, London, 1998, ISBN: 0714838012
text by Okwui Enwezor, New York, pages 372-376 

Peter Spaans' photographs are postcards dispatched from the frayed edges of the modern world. A world of commerce, decaying industrial buildings and machinery.
In these works, the vanquished relics of modern aspiration declare themselves like haunting monuments to man's desire to imagine a future unencumbered by the past. Where history is retained, it appears in the form of erased presences, such as abandoned, empty lots or gentrified ghettos.

These silent works turn the city into catacombs. But while there are recognizable, common elements in Spaans' work, it still cannot be summarized.
Though it has a documentary quality, a casual artlessness belies the tough investigative stance that asks us to look again at the surroundings of the city we thought we knew.

From the thousands of photographs Spaans has taken, it becomes apparent that major cities such as New York, Berlin and his native Amsterdam serve as character studies for his work.
Like a flaneur he trawls abandoned landscapes in these exhausted industrial worlds, treating the built structures like examples of nature. Instead of cornfields, however, we find concrete pavements, the rusting hulks of bridges, fading advertising signs, barricaded storefronts, shiny, phallic skyscrapers that are almost a condensation of power and ruthless aspiration, aerial views of the city, impersonal hotel rooms, paint peeling from the facade of buildings.
Or one may view these photographs as extended essays, in which the artist seeks to define his own personal relationship with a world that defamiliarizes itself with every encounter. In this sense, rather than looking at each photograph as an individual, autonomous work, it is best to see them as one great work in progress. Each single image is part of a discontinuous narrative providing different interpretations of the various aspects of the cities he visits.

Spaans' work is a rumination on the question of individual memory and identity within the complex processes of the modern city's transformation from a place of utopian desire to an alienating and anonymous entity. It raises such questions as: what can possibly be the identity of a city in the global moment of fast disappearing boundaries? Who are cities for? What is the meaning of place in defining a sense of community and identity? With the increasing loss of faith in the utopian ideals of modernity and the virtualization of space through digital dystopia, time and place are becoming not only irrelevant, but increasingly displaced and fragmented.

In this context, Spaans' silent photographs might seem quaint in their obsessive exactitude, which pinpoints the banality of our urban, built environments. But by fixing on those structures that monumentalize modernity and its triumph of reason and industry, Spaans' work stands as a measure of the way in which we encounter the spatial and temporal dynamics that define the global metropolis.

Okwui Enwezor.
See PETER SPAANS website here

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On ARCADIA REDESIGNED by Herman van den Boom
in EUROPEAN PHOTOGRAPHY.
Publisher: Andreas Muhler-Pohle, Berlin.

November 2006

Picturing the Landscape:
Of The Earth, Violence, and Approaches to Landscape Photography
FotoFest 2006   FotoFest 2006

"If the adaptation of modern materials to traditional designs is part of human experience, so is the adaptation of nature to human design in its broadest, even most ridiculous, creation. Images by Herman van den Boom from Belgium and the American Keith Johnson look at the extent to which Man has sought to control ³Nature² while retaining aspects its very naturalness. In his ³Landscapes of the Imagination² Van den Boom takes a look at the everyday surrealism of suburban Belgium.

Here, new housing developments are situated in a false ³Arcadia² of topiary constructions that point up Man¹s manipulation of ³Nature² as the ³Other² by reducing it to play toy proportions controlled and contorted by architects and designers who fancy themselves ³Masters of the Universe.²

This landscape of bitter fruit, sculpted hedges, and manicured lawns, becomes mere design elements in a completely artificial environment, denaturalized through the manipulation of Nature.

Bill Kouwenhoven
New York/Berlin

NEWS ON WOLFGANG ZURBORN

Ausser Haus

September 24th - October 22th 2006 September 24th, 3 p.m

Wed, Sat 2 p.m.- 6 p.m. Son 11 a.m. - 6 p.m

Schloss Burgau

Von-Aue-Str. 1, 5

2355 Düren

More NEWS on WOLFGANG ZURBORN

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images against war

Peace Museum, Chicago

September/October 2006

An exhibition organized by Gallery Lichtblick with statements of more than 600 artists from all over the world.

Curated by Tina Schelhorn

IMAGES AGAINST WAR

PARISPHOTO 2006 PARIS PHOTO 2006: 10th edition of the leading international photography fair Paris Photo celebrates its tenth anniversary with a sparkling selection of Nordic talent Guests of honour: Denmark, Finland, Iceland, Norway & Sweden From November 16-19, 2006, Paris Photo celebrates its first decade with an outstanding panorama of 19th century, modern and contemporary photography at the Carrousel du Louvre. Curator of Spotlight on Nordic countries: Andrea Holzherr, art critic and freelance curator Spotlight on Nordic countries Denmark, Finland, Iceland, Norway and Sweden are the guests of honour for 2006. During the 1990s, Copenhagen, Helsinki, Reykjavik, Oslo and Stockholm contributed to a rebirth of contemporary photography with an explosion of creativity that has been described as the “Nordic miracle.” Three events to highlight the best of Nordic photography: The Statement section will host eight selected galleries from the honoured countries, presenting solo exhibitions by emerging contemporary artists: Trine Søndergaard & Nivolai Howalt (Martin Asbaek Projects Copenhagen), Per Bak Jensen (Bo Bjerggaard Copenhagen), Heli Rekula (Anhava Helsinki), Axel Antas (Heino Helsinki), Hrafnkell Sigurdsson (i8 Reykjavik), Eline Mugaas (Riis ­ Oslo), Annee Olofsson (Mia Sundberg Stockholm) and Maria Hedlund (FlachGeiger Stockholm).

ROB MOOREES

Selected Photographs

Opening 20 august 15.00hrs

From 20 august till 20 september                           

HEXGALLERIES
Heks, Belgium

habo@telenet.be

                                                 

JESSE

    

 

WINDOW

 

 

GIRLS DRESS

 

 

WEDDING CAKE

 

HOMELESS IMAGES

photographs by THEO DERKSEN

1 july-15 august

opening 1 july 15.00hrs

"Theo Derksen is inspired by the many images from many countries. It
has nothing to do with the equality of the images, there is always
something that inspires him, in a positive or negative sense. He is extreme
curious, brimming with talent and energy" PROF. DR. JOHAN SWINNEN.

Neither documentary nor exotic work. No fixing place and time,
always trying to take those shots that are in between the lines. In
short, he tries to unravel the double layers."
POOL ANDRIES.
CURATOR
MUSEUM FOR PHOTOGRAPHY, ANTWERP WWW.THEODERKSEN.COMPROF. Dr. WILLEM ELIAS, philosopher and art critic.
He writes in his
Profiles of Paroxysm; " ....By going out of focus Theo Derksen
denationalised well-known geographical locations which after they have been mixed
up forms a new, admittedly non-existent country......".

THEO DERKSEN

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ELMA VAN HAREN and SEAMUS HEANEY at POETRY INTERNATIONAL ROTTERDAM

Elma van Haren, Curator of Hexgalleries will be reading at the International Poetry Festival in Rotterdam 17-23 june 2006

http://www.poetry.nl/

Poets:

Pegah Ahmadi Robert Anker Ama Ata Aidoo Gabeba Baderoon Isla Correyero F. van Dixhoorn Femi Fatoba Han Dong Elma van Haren Seamus Heaney Esther Jansma Jaan Kaplinski August Kleinzahler Elmar Kuiper Kojo Laing Taban Lo Liyong Jack Mapanje Karine Martel Charles Mungoshi Ioan Es. Pop Alfred Schaffer Jelena Schwarz Eva Ström Mario Suško Pia Tafdrup Ana Paula TavaresSigurbjörg Thrastardóttir Tomas Venclova Hans Verhagen Piet Gerbrandy

Opening by LAURA, may 13, 2006

Mayor Mr. Kindermans in conversation with Wolfgang Zurborn

Exhibition "DRIFT" photographs by WOLFGANG ZURBORN

All photographs Rob Moorees

DRIFT, recent photographs by WOLFGANG ZURBORN

Openings exhibition of the new wing of HEXGALLERIES. Opening 13 may 2006 at 15.00hrs By the Brassband of VECHMAAL , the Counselor of culture of the village HEERS, Mr MARC NEVEN and Dr. PETER V. BRINKEMPER from COLOGNE.

DRIFT1DRIFT 2DRIFT 3

"Drift" is representing a way of seeing the fractured modern world in its overlapping images and contexts. I am interested in finding the sublime in the ridiculous condition of modern life with a Dadaist awareness of the found object—the ready-mades of architecture, advertising, and the masses in the street, and with a surrealist sense of humour in the collision montage of juxtaposed, multi-layered images combined on a single picture plane. Biography of Wolfgang Zurborn 1956 born in Ludwigshafen/Rhein 1977-79 Bavarian State School of Photography in Munich 1979-84 Technical High School in Dortmund by Prof. Hans Meyer-Veden 1985 "Otto Steinert - Fellowship" of the DGPh since 1986 Coorganisator of the Gallery Lichtblick in Cologne 2005/06 Workshop at the Academy of Arts, Bremen Workshop at the school of the Fondazione Studio Marangoni, Florence 2005/06 Guest Professorship at the Academy of Arts in Bremen Bibliografie von Wolfgang Zurborn Financial Times Deutschland 24.3.2005 Kunstforum international Bd. 171 Juli-August 2004, S.153-154 PHOTONEWS Juli-August 2004, S.5 Het Parool Amsterdam, 12.5.2004 Ryuko Tsushin Tokyo, Dezember 2003, vol.486, S. 136 British Journal of Photography 27.August 2003, S.22-23 Frankfurter Allgemeine Zeitung 7.2.2002 Photography now 4/01 Otto-Steinert-Preis 1979-1998 DGPh, S.28-31 Aperture, Between Past and Future: New German Photography, Mai 1991 KUNSTFORUM, Bd. 105 Januar / Februar 1990, S. 289 Camera Austria 21/86, S.67

BRASILIAN COLLECTOR JOACHIM PAIVA

BRASILIAN FESTIVAL DIRECTOR KARLA OSORIO NETTO

HERMAN VAN DEN BOOM and KEITH JOHNSON at ONE ALLEN CENTER HOUSTON March 2006

ARCADIA REDESIGNED by HERMAN VAN DEN BOOM

FESTIVAL CURATOR WENDY WATRISS and CANADIAN GALLERIST STEPHEN BULGER

ARCADIA REDESIGNED by HERMAN VAN DEN BOOM

INTERVIEW on Radio KUHF HOUSTON by HERMAN VAN DEN BOOM

Birthday party at FOTOFEST

RUSSIAN Artist TATIANA ARZAMASOVA of AES+F

SEE MORE FOTOFEST ON FRED BALDWIN's WEBLOG

NEW YORK ARTIST SUSAN LIPPER and FLYING CRITIC BILL KOUWENHOVEN SUSAN LIPPER IS EXHIBITING ARTIST of HEXGALLERIES and BILL KOUWENHOVEN IS A CONTRIBUTING CRITIC of HEXGALLERIES !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! INCOMING MAILS ON FOTOFEST!!!!!!!!!!!!!!!!!!!!!!!!! Subject: Fotofest survivor party WEDNESDAY APRIL 19 from 6-9 825 > HAYES SF > HELLO FOTOFESTONIONS, FOTOPHOOLS, AND FELLO FOTO GEEKS, > In the spirit of past SF Fotofest events, I want to warmly invite you > to my studio/home on WEDNESDAY APRIL 19 from 6-9 or so. Come exchange tall tales from Houston and congratulate each other for finishing all follow-up efforts.(Or consider this party a good arbitrary deadline to finish follow-up efforts.)Either way, come over and please pass this invite along any Fotofest people not on this list. Past and future Fotofools are, of course, welcome. Hopefully we will all want to stay in contact with each other and the Fotophool phamily can continue to grow - we are almost 60 Bay Area people who have all been to Fotofest - we ought to get them to move closer to home.But in the meanwhile, we can celebrate surviving it: 825 HAYES (between Webster and Fillmore), APRIL 19, 6-9 pm Muni-friendly address. I less than one block from 21 and 22 bus stops. Driving is easy, parking is less easy. (Take the Octavia Blvd exit, go up Fell, right on Webster and look for parking). Carpool is cool, bicycles are welcome. The front gate will be unlocked, just give the gate a pull and come in. (But be sure to close the front door behind you - my roommates and I have three mischievous cats. If you are allergic, don't worry, most parties end up in the yard.) > PLEASE PASS THIS INVITE ALONG TO ALL YOUR LOCAL FOTOFEST FRIENDS. PLEASE BRING SOME FOOD OR DRINK IF YOU CAN. (There is usually too much food and drink - so we don't all need to do this - if you are short on time or dough, just come and allow yourself to be fed and drunk.) THE BBQ WILL BE READY FOR GRILLING. (weather permitting)Hope to see you all soon. Michael Michael Rauner Photography > www.michaelrphotography.com > m@michaelrphotography.com > 415-241-9261 > Luis Delgado 415-695-9060 info@ladq.com www.ladq.com

We visited last weekend N.Y.Chelsea Galleries ( MIKE KELLEY show at Gagosian gallery ), and New York Photographer SUSAN LIPPER SUSAN LIPPER will be exhibiting in HEXGALLERIES 2006 We also visited the beautiful show by COLLIER SCHORR , at ROTH (picture), 160 A East70th Street and "American Surfaces" by STEPHEN SHORE at PS 1

Interview in SEESAW with STEPHEN SHORE

Book Stephen Shore

Stephen Shore on PS 1 Radio

NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.

WINTER in ARCADIA 1
photograph Herman van den Boom 2005

WINTER in ARCADIA 2
photograph Herman van den Boom 2005

BOULEV'ART « by night »
La septième édition de la manifestation Boulev'art, artistes dans la rue se déroulera
à Cotonou (Bénin) du 8 au 20 décembre 2005, à la place de l'étoile rouge. Cette
édition réunit 34 artistes du Bénin, Togo, Burkina Faso, Mali, Cameroun, République
Démocratique du Congo, France, Suisse, Hollande et Belgique pour des ateliers de
peinture, sculpture, installation, vidéo et performance.

A l'initiative du plasticien ZINKPE, l'association AYÏZO organise Boulev'art dans le but
de permettre aux personnes absentes des galeries, des musées ou des centres
culturels de découvrir les oeuvres de leurs contemporains. L'objectif est de favoriser le rapprochement et les échanges entre les artistes du continent africain et des autres
continents mais également de susciter la réflexion sur l'évolution de l'art contemporain
en général et en Afrique en particulier.
more info:
alithi@planet.nl

ARTWEEKEND
Hotel Castell, Zuoz.
with SIMON STARLING
http:/www.hotelcastell.ch

Especially for our DUTCH Speaking visitors:

Read what Dutch Poets write about HEX/HEKS NOW!!!!!!!!!!!!!!!
and
Collumn by JOHAN SWINNEN on PHOTOGRAPHY in "WERF" (Photoq.nl)

ELMA VAN HAREN foto: Herman van den Boom EEN NOOT EEN WOORD in DE RODE HOED ELMA VAN HAREN POETRY READING on pianomusic of SCHUBERT and SCHUMAN

piano: David Kuykens & Bert van den Brink Friday november-11 -2005-20.30 De RODE HOED, Amsterdam "EEN NOOT EEN WOORD" Keizersgracht 102 1015 CV Other data: november 8, Groningen. "De Oosterpoort" november 12, Enschede. "Muziekcentrum" november 18, Markenbinnen. Ned. Hervormde Kerk ELMA VAN HAREN IS CURATOR of HEXGALLERIES. See here for more information on her new Book.

Information on her new exhibition of paintings and installations coming soon. Gallery Ruimte Pieter de Hooghstraat 22 Amsterdam till 18 december 020-6734930 Show produced by HEXGALLERIES, HEKS

EMMA BLAU, Arles 2004

More Emma Blau

CATHERINE MILLET, Maestricht 2002 More Catherine Millet Much more Catherine Millet

CURATORS OPERATIONS MANAGER, BIRMINGHAM, 2003

ITALIAN CURATOR, MOSCOW 2002

CURATORS REVIEWING, BIRMINGHAM 2002

CURATOR FRIENDS, BIRMINGHAM 2003

MARKUS SCHADEN, ARLES 2004 photographs: herman van den boom

Autumn Hasselt 2005 photograph: Herman van den Boom, from the series "Arcadia Redesigned" "Arcadia Redesigned" will be seen at the main exhibition "The EARTH" of HOUSTON FOTOFEST 2006 3 positions of Lithuanian Photography Date: Mon, 24 Oct 2005 10:03:59 +0200 Subject: FW: Lichtblick News Lithuanian Photography From: "Wolfgang Zurborn" <zurborn@netcologne.de> Date: Sun, 23 Oct 2005 22:22:48 +0200 (MEST) To: habo@pandora.be Subject: Lichtblick News Lithuanian Photography Dear friends of Galerie Lichtblick Galerie Lichtblick proudly presents 3 positions of Lithuanian Photography Antanas Sutkus, born 1939, and Aleksandras Macijauskas , born 1938, are two of the well know masters of photography in Lithuania. Arturas Valiauga , born 1967 as one of the younger generations of Lithuanian photographers. With kind regards from Cologne - wish you could all be here-In cooperation with the Union of Lithuanian Art Photographers, Vilnius TINA SCHELHORN and WOLFGANG ZURBORN Aleksandras Macijauskas, Antanas Sutkus, Arturas Valiauga 10/29- 11/27/2005 Opening: Saturday 10/29/2005, 8.00 pm Talking: Dr. Peter V. Brinkemper

photograph: Herman van den Boom Dr. Peter V. Brinkemper Peter writes for uo. KUNSTFORUM, SCHIRMER & MOSEL and will be writing for HEXGALLERIES Other readings by Dr.PETER V. BRINKEMPER: Die Deutsche Fotografische Akademie lädt ein: Im Haus der Photographie, Deichtorhallen Hamburg Vorträge und Bildpräsentationen von Gästen am 26./27.11.2005 Vorträge von: Peter V. Brinkemper: "Inszenierung und Fotografie" Dr. Annabelle Görgen: "Photographie im Surrealismus" Stefanie Grebe: "Bye-bye Document, hello Document" Samstag 11 - 18 Uhr, Sonntag 11 - 16 Uhr Deichtorhallen Hamburg, Deichtorstraße 1-2, D-20095 Hamburg Tel. +49-(0)40-32 10 30, Fax +49-(0)40-32 10 3-230 http://www.deichtorhallen.de ------------------------------------------------------------------------------------------------------------------- Information about the exhibition: Union of Lithuanian Photographers TINA SCHELHORN is CONTRIBUTING CURATOR of HEXGALLERIES WOLFGANG ZURBORN will be exhibiting in HEXGALLERIES in 2006

WOLFGANG recently had shows and presentations in FOAM, Amsterdam and GALERIE VAN ZOETENDAAL, Amsterdam More information coming soon Galerie Lichtblick Steinberger Strasse 21 D-50733 Köln, Germany t+f 0049 221- 729 149 www.lichtblicknet.com www.imagesagainstwar.com

From: Vintage Galeria <galeria@vintage.hu> Date: Mon, 7 Nov 2005 19:03:58 +0100 To: herman van den boom <habo@telenet.be> Subject: Hungarian photography Hello Herman, Good to hear about your new activity. Here I collected some links for Hungary: http://www.maimano.hu http://www.photolumen.hu http://www.c3.hu/ http://www.fotoklikk.hu/ http://www.fotomuzeum.hu/ Bests, Attila www.vintage.hu 1053 Budapest Magyar utca 26 t/f 361 3370584 galeria@vintage.hu

MIKE MANDEL MYSELF 1971 Acquisition, 1976. HEXGALLERIES COLLECTION photograph: herman van den boom EVIDENCE REVISITED MIKE MANDEL & LARRY SULTAN 7 okt-20 nov 2005 PHOTOGRAPHERS GALLERY, LONDON Evidence Revisited re-examines, almost 30 years later, this chapter in the history of the original debate on the aesthetics of the documentary photograph. The exhibition aims to reconsider the relevance of found photography in gallery practice today. Evidence Revisited is organised by the Center for Creative Photography, University of Arizona, USA BBC Collective, in association with The Photographers' Gallery, has created an online gallery where you can curate your own exhibition from the BBC's archive. Click here to start curating.

MIKE MANDEL EVIDENCE REVISITED SHANE LAVALETTE

Recent pictures by HERMAN VAN DEN BOOM

CHAUSSEE d'AMOUR 2008
HERMAN VAN DEN BOOM

PREVIEW ARCADIA REDESIGNED for TICKLE ATTACK, BACKLIGHT Fotofestival TAMPERE Finland
Opening 19 september 2008
TAMPERE BACKLIGHT FESTIVAL

VALENCIENNES 2007

MADRID 2007

CAR TUNING SALON 2007

CAR TUNING SALON 2007

CRISNEE 2007

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ILYA RABINOVICH EXHIBITION IN HEXGALLERIES prolonged till 12 september

ILYA RABINOVICH EXHIBITION IN HEXGALLERIES prolonged till 12 september

HEXGALLERIES ON THE MOVE

John Baldessari, Maastricht 2008

CURATOR'S BIRMINGHAM

FOTOKINA COLOGNE

MOSCOW BIENNALE, GRAND MANEGE KREMLIN

JOEL MEYEROWITZ MUSEUM for PHOTOGRAPHIE CHARLEROI 2008

ITALIAN OPERASINGER MAASTRICHT 2007

RHONDA WILSON BERLIN

CRITIC'S APPARTMENT BERLIN

GERRY BADGER PARIS 2007

JOHN GOSSAGE PARIS 2007

SUSAN LIPPER and PETER FRASER PARIS 2007

LOVENJOEL BELGIUM with STUDENTS 2007

DANISH PAINTER TALR MAASTRICHT

FRED BALDWIN ODENSE

ALISON NORDSTROM ODENSE

ALBERTO GARCIA-ALIX MADRID 2007

ILYA RABINOVICH exhibition APRIL 20 till JULY 27

SEE ARTICLE ON "BECOMING DUTCH" In The VAN ABBEMUSEUM in NRC HANDELSBLAD
ILYA RABINOVICH
Ilya Rabinovich OPENING APRIL 20 at 15.00hrs
Contemporary photography has taken postmodernist alienation and disenchantment as its subjects – whether through the built environment or through the human subject. But no critique of today’s postindustralist capitalism or the disenchantment with our former utopias quite prepares one for the utterly desolate world presented by the photographs in this book.
There are three, loosely grouped chapters: non-places, places of memory, and chairs. The photographs have been taken over a span of thirteen years, from 1993 to 2006. The chapters together constitute a journey that takes us to Moldavia, Israel, Germany, the Netherlands, Russia and Mexico. The book is the receptacle of the artist’s life, of a lifetime spent in emigration, yet all its places look alike, and all are devoid of people.
There is no one word in any European language to describe the state of being that is exile. Exile not merely understood as a fact of biography, but exile as a permanent inner condition. It is not just a state of longing or of homesickness, but rather of being forever unhomed, of never quite belonging wherever you may have settled down. It is a state that cannot be cured or altered, for it springs from a deep uprootedness of the soul. Losing your home means not just the loss of a place and the subsequent relocation in a foreign country. It means losing one’s cultural and social identity, one’s status within a community, the value and context of memory. Even if you are physically able to return, home is the one place you can never go back to; home is the permanent presence of absence.
Ilya Rabinovich’s photographs comprise a double figure of both exile and estrangement. The first, the outer figure, shows us the collective utopia of a better life turned into the impersonal hell of the globally uniform. Those apartment blocks, corridors, interiors, parking lots, cinemas, hotels, schools, and waiting rooms, testify of a culturally estranged world that is by now terribly familiar to us all. These places could be everywhere – and, in fact, they are. Sometimes we know from a palm tree that we are not in some Northern country, from a patch of snow that this is not the South. But even whatever there is of nature in these images seems oddly displaced. The occasional personalized touch to a building or an interior -- a tree wedged in a corner, a vase of flowers -- seems like an uneasy prop, all the better to reveal the hopelessness of ever calling places like these ‘home’. Many photographs leave one with a suffocating feeling of confinement. Those buildings and spaces testify to the lifestyle of a global middle class, or those striving to emulate it, and its standards of luxury, higher education, the exclusive neighbourhood, the better car. What emerges, page after page, is anonymity and cultural impoverishment. Places bereft of memory, corrupted by the pretentious fake and, above all, obsessed with a certain propriety, a normative behaviour excluding all else.
Most terrifying of all, however, is that there are no people in any of those places. Nothing alive is stirring there, not even a bird. When looking at these images, you are abandoned to loneliness, as if everyone has gone away, turned their back on you. It makes you yearn for human warmth, for the crowd to occupy the seats of the cinema once again, for a boy with a football to come skipping around the curb of a road, even for the visual swoosh of a passing car. But there is something in each and every one of these images that bars access to the life one knows must be going on in these places, access even to the places themselves. This exclusion, this desolation, is the second, inner figure of exile in these images, the one that sets them apart from any other type of postmodern photography: the exile that speaks of the life of the emigré.
A very carefully chosen technique brings about these effects of barring, of estrangement, of never quite owning the world you see. Sometimes there is an ever so slight shift in centrality, making you feel that something is wrong, dislocated; often the viewpoint is very low, like a child’s perspective of a classroom or a home. Sometimes the horizon is halfway up the image, creating a sense of floating, of the entire space being upside-down. Or of access barred by a stretch of empty space so wide it defies crossing. Sometimes there is a technical disruption of the perfection of the image, a form of wilful optical destruction enhancing the senselessness of the place.
Most postmodern photography can allow itself to be dispassionate, objective and critical because the intrinsic point of departure of its critique is a feeling of ownership, of belonging, of being part of the culture it portrays.
In Rabinovich’s case, the photographs do not represent or target postmodern alienation and displacement as a kind of moral photographic subject, even though today’s alienated human condition unmistakably emerges from those desolate photographed environments. It is as if the photographs themselves are desperately looking for a place to inhabit, a world to belong to, but find none.

Marianne Brouwer, October 2006

Installation view of Ilya's work in the gallery

Ilya Rabinovich

At the opening april 2008

REACTIONS ON ILYA'S EXHIBITION

RE: hexgalleries
From:ron sluik
Date:April 21, 2008
To: Herman Van Den Boom
Status:Pending
Dag Herman,

Goede keus om een expo met werk van Ilya te maken.

bezoek mijn site ook eens www.sluik.info

Ik woon werk tegenwoordig in Bergen Noorwegen.

Ron Sluik.

BLAADJE 4

BLAADJE 4

FESTES ST. ANDRE 1980
FOTO: HERMAN VAN DEN BOOM
Publication in BLAADJE 4

Blaadje 4 ziet het licht op 6 maart 2008!
persberichten
Submitted by Marije
Wednesday, 05 March 2008
Blaadje, het eigenzinnige blad voor bladenmakers, ooit bedacht door Rupert van Woerkom onder auspiciën van Totempaal Media, ligt vanaf medio maart in de winkels. Petra Boers en Suzanne Hertogs, de makers van DUF, voerden de hoofd- en eindredactie, Joachim Baan tekende voor de art-direction en Anouk Tates voor chef redactie. Het thema is dit jaar Vonkstof - inspiratieaandrijvingspakket.

Niet je vak maar je passie
Blaadje 4 begon met een oproep aan bladenmakers en creatieven uit o.a. film-, foto-, reclame- en theaterwereld om vrij werk in te zenden. Vrij werk, dat nog nooit eerder is gepubliceerd. Werk dat niet in opdracht is gemaakt, maar gewoon omdat mooie dingen maken niet je vak is, maar je passie. Een kleine 1500 inzendingen, ook uit het buitenland, kwamen er binnen, een ongekend aantal.

Vermogen te inspireren
Alle inzendingen werden anoniem gemaakt en de bestuursleden van Stichting The Black Tiger en de redactie van Blaadje 4 hebben de selectie gemaakt op basis van het criterium: het vermogen te inspireren. Maar stapels met van inspiratie uit elkaar spattend materiaal maken nog geen Blaadje. Daarmee ging de Blaadje 4 redactie bestaande uit Hoofdredactie: Petra Boers en Suzanne Hertogs (makers van Duf), Art director: Joachim Baan en als chef redactie: Anouk Tates. Zij werkten het inspiratieconcept van Rupert van Woerkom verder uit en kwamen met het idee om Blaadje 4 in te delen naar verschillende theorieën en onderzoeksconclusies van vooraanstaande denkers over het onderwerp inspiratie en creativiteit zoals Mihalyi Csikszentmihalyi, Edward de Bono en Nico Frijda. De redactie bestaat verder uit journalisten Paul van Liempt, Vittorio Busato, Victor Engbers, de hoofdredacteuren Fabian Takx (Credits), Willem Baars (JFK), Anneloes van Gaalen (Le Cool), filosoof Bas Haring, Mike Koedinger en Andrew Losowsky (oprichters Colophon 2007), Professor Samir Husni (Mr Magazine), Davi Renard (auteur The Last Magazine), Frank Wijlens (freelance journalist en docent tijdschriftenminor op het AMFI), Fidessa Docters van Leeuwen (auteur en journalist) en Georgette Koning (auteur van mode-boeken).

Gereedschapskist voor “out of the box” denken
Met Blaadje 4 heeft de redactie een gereedschapskistje voor je ontwikkeld om het grillige ding dat Inspiratie heet de baas te worden. Een soort ghostbusterskit voor flowkillers en verschillende manieren om het eens van een andere kant te zien. Er werden op de redactie van Blaadje 4 inspiratie vindsnelheden gemeten die de schaal van Beaufort te boven gingen. En menig weeralarm ging er af voor een heftige hersenstorm of inspiratie-tsunami. Met als resultaat een Blaadje vonkend van inspiratie.

VISITING ARTISTS

REGURLY WE HAVE THE HONOUR and PLEASURE of ARTIST'S VISITING and WORKING in HEXGALLERIES

DUTCH SCULPTOR HANS LEMMEN with Family and Friends

The PLAYWRIGHT and ACTOR SIERT VAN DEN BERG working on a new DOLL'S PLAY for THEATRE

"SIMPLE PRESENT" Photographs BERT DANCKAERT

SIMPLE PRESENT
BERT DANCKAERT
http://www.bertdanckaert.be

OPENING   MAY 6  15.00hrs

From May 6 till june 15

Saturdays and Sundays from 12.00-17.00hrs and by appointment

habo@telenet.be

003212745976

Clotted: the Cityscapes of Bert Danckaert   -- Ann Demeester 

"The relationship between language and painting is an endless relationship.  This doesn't mean that words are imperfect or deficient, or that, when they are confronted with the visual they are insuperably inadequate. The first cannot be converted to the second: we say in vain what we see and what we see never lies in what we say.  And it is in vain that we try, by using images, metaphors and comparisons, to show what we say...” So writes the philosopher the Americans call the great wizard of paradox, Michel Foucault in 'Les Mots et les choses'. The place where people speak and the place where people look, according to this philosopher, never coincide.  It is not necessary here to study carefully and analyse Foucault's thesis, which he also develops from another point of view in his essay 'Ceci n'est pas une pipe', referring to the work of René Magritte. It's enough to say that the 'place' where we look and the 'place' where we speak do not ever go together. This kind of incompatibility also occurs in the work of Bert Danckaert.  His images don't lend themselves to verbal or textual translation. They are determined in themselves, and recognizable elements, which we also experience as abstractions, are brought together.  The ordinary is lifted out of context and placed somewhere else.  It is isolated and shut off from the physical reality that we feel, hear and taste. It is like looking through peepholes in a thick wall, through a porthole in the bow of a ship.

Chilly, tight and impersonal, on first sight these are the main characteristics of Danckaert's photographs.  Banal street scenes in which all the elements are carefully positioned in relation to one another to create a feeling of harmony and balance, order and regularity.  The unreal character of everyday reality is brought to the surface in these images. They are too constructed to be 'true and real'.  It is as if every redundant detail has been eliminated and everything superfluous has been artificially removed. Yet manipulation is as good as absent here.  The cleaning operations and digital manipulations Danckaert performs with the computer are minimal, literal composing being strange to him.  Street scenes that we see every day and everywhere are transformed into layered 'situations' by framing.  A significant whole is created by zooming in on a partial aspect of the scene.  Danckaert opts for a form of erosion: the redundant is abraded and pared down.  What remains is a kind of naked essence, a loaded meaninglessness.

From this point of view, Danckaert's work is conceptual. An insight is transformed into form and the underlying thinking process works as a structuring force.  By isolating ‘components' -- our view of the surroundings is always panoramic -- placing accents and using a kind of order and system, the photographer tries to retrieve sense from everyday visual reality. The significance of things in themselves and in relationship to each other along with the meaning of the 'artificial' image is what makes this relationship.  Danckaert's search for pattern, rhythm and cadence is equal to the search for a deeper explanation of the things we perceive every day.  It is an attempt to uncover meaning and insight in the world, an attempt that is doomed to fail.  The order and seeming cleanness of the 'found' images stands at the same time for the emptiness of significance.  For him “it is all senseless, it is about nothing, but nevertheless essential”.  He deals in a light and playful way with the absolute absurdness of existence, the so-called existential void.  "The world is a circulating movement, the maintenance of an activity that is completely useless."  And yet with his purified images he creates – against all odds – the illusion that there is something like an underlying total scheme, a framework of significance that gives content to what on first sight is meaningless and falling apart.

What intrigues me in these images from the series 'Make Sense!' are the internal tensions. The tension between abstraction and figuration, style and realism, representation and registration. The photographs have a formal quality. They can be seen as the conjunction of purified colour fields that have been placed against each other in a fragile balance.  But Danckaert plays with internal relationships, with open and closed forms, with the interaction of horizontal and vertical elements, interior and exterior, old and new.  By the careful placement of objects and the use of colour accents, connections are made.  A fence starts a dialogue with a blood red door at eye level, a leafless tree plays a game of resemblance and contrast with some small street posts, and red and white danger signs 'communicate' with closed rolling shutters.  While his outdoor scenes are inevitably figurative, human beings are always absent.  What we see is the residue of human activity, the traces that are left behind in the urban landscape.  In these silent 'street portraits', dirt bags, traffic signs, street tiles, cement skittles and electricity boxes have a sculptural quality.  The pictures are like found installations, the world as a preconceived composition. Little shifts and transformations are of the essence.  Everything has a logic.  It is natural and at the same time artificial, a well-considered balancing act. The ordinary is shown as it appears but on a higher level.  The pictures are like an extreme exercise in composition. Rigorous and consequential they are also fragile and vulnerable. It is as if the illusion could be stabbed like a colourful birthday balloon.  Paradox is the motor that drives everything.  

Ann Demeester 

-Bert Danckaert is POC-member :: click here
-Release January 2006: 'Make Sense!' (book)  ::   click here
-Release October 2006: 'Alone Together', catalogue of the touring POC show :: click here
-Bert Danckaert writes on photography for the Art Magazine <H>ART:: click here
-Bert Danckaert was nominated for the International Art Critic Award of the Moffarts Foundation (Nov 2006):: click here
-Bert Danckaert curated an exhibition with the work of Luc Tuymans, Rineke Dijkstra, Dirk Braeckman, David Claerbout, Karin Hanssen, Philip Aguirre, Cel Crabeels, Goele De Bruyn, Kris Fierens, Charles Fréger and Marc Steculorum in Koninklijk Atheneum Berchem:: click here

ARTICLE in "DE MORGEN" may 2007 WOLFGANG ZURBORN and BRUSSELS ART-INITIATOR JAN KNOPS at BERT DANCKAERTS'S OPENING

HOLLAND by PETER SPAANS

PETER SPAANS    PHOTOGRAPHS  of  HOLLAND                                                                                                     

OPENING: Oktober 28, 3 PM

Oktober 28-December 31 2006

and by appointment 

cream: contemporary art in culture, Phaidon Press, London, 1998, ISBN: 0714838012
text by Okwui Enwezor, New York, pages 372-376 

Peter Spaans' photographs are postcards dispatched from the frayed edges of the modern world. A world of commerce, decaying industrial buildings and machinery.
In these works, the vanquished relics of modern aspiration declare themselves like haunting monuments to man's desire to imagine a future unencumbered by the past. Where history is retained, it appears in the form of erased presences, such as abandoned, empty lots or gentrified ghettos.

These silent works turn the city into catacombs. But while there are recognizable, common elements in Spaans' work, it still cannot be summarized.
Though it has a documentary quality, a casual artlessness belies the tough investigative stance that asks us to look again at the surroundings of the city we thought we knew.

From the thousands of photographs Spaans has taken, it becomes apparent that major cities such as New York, Berlin and his native Amsterdam serve as character studies for his work.
Like a flaneur he trawls abandoned landscapes in these exhausted industrial worlds, treating the built structures like examples of nature. Instead of cornfields, however, we find concrete pavements, the rusting hulks of bridges, fading advertising signs, barricaded storefronts, shiny, phallic skyscrapers that are almost a condensation of power and ruthless aspiration, aerial views of the city, impersonal hotel rooms, paint peeling from the facade of buildings.
Or one may view these photographs as extended essays, in which the artist seeks to define his own personal relationship with a world that defamiliarizes itself with every encounter. In this sense, rather than looking at each photograph as an individual, autonomous work, it is best to see them as one great work in progress. Each single image is part of a discontinuous narrative providing different interpretations of the various aspects of the cities he visits.

Spaans' work is a rumination on the question of individual memory and identity within the complex processes of the modern city's transformation from a place of utopian desire to an alienating and anonymous entity. It raises such questions as: what can possibly be the identity of a city in the global moment of fast disappearing boundaries? Who are cities for? What is the meaning of place in defining a sense of community and identity? With the increasing loss of faith in the utopian ideals of modernity and the virtualization of space through digital dystopia, time and place are becoming not only irrelevant, but increasingly displaced and fragmented.

In this context, Spaans' silent photographs might seem quaint in their obsessive exactitude, which pinpoints the banality of our urban, built environments. But by fixing on those structures that monumentalize modernity and its triumph of reason and industry, Spaans' work stands as a measure of the way in which we encounter the spatial and temporal dynamics that define the global metropolis.

Okwui Enwezor.
See PETER SPAANS website here

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On ARCADIA REDESIGNED by Herman van den Boom
in EUROPEAN PHOTOGRAPHY.
Publisher: Andreas Muhler-Pohle, Berlin.

November 2006

Picturing the Landscape:
Of The Earth, Violence, and Approaches to Landscape Photography
FotoFest 2006   FotoFest 2006

"If the adaptation of modern materials to traditional designs is part of human experience, so is the adaptation of nature to human design in its broadest, even most ridiculous, creation. Images by Herman van den Boom from Belgium and the American Keith Johnson look at the extent to which Man has sought to control ³Nature² while retaining aspects its very naturalness. In his ³Landscapes of the Imagination² Van den Boom takes a look at the everyday surrealism of suburban Belgium.

Here, new housing developments are situated in a false ³Arcadia² of topiary constructions that point up Man¹s manipulation of ³Nature² as the ³Other² by reducing it to play toy proportions controlled and contorted by architects and designers who fancy themselves ³Masters of the Universe.²

This landscape of bitter fruit, sculpted hedges, and manicured lawns, becomes mere design elements in a completely artificial environment, denaturalized through the manipulation of Nature.

Bill Kouwenhoven
New York/Berlin

NEWS ON WOLFGANG ZURBORN

Ausser Haus

September 24th - October 22th 2006 September 24th, 3 p.m

Wed, Sat 2 p.m.- 6 p.m. Son 11 a.m. - 6 p.m

Schloss Burgau

Von-Aue-Str. 1, 5

2355 Düren

More NEWS on WOLFGANG ZURBORN

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images against war

Peace Museum, Chicago

September/October 2006

An exhibition organized by Gallery Lichtblick with statements of more than 600 artists from all over the world.

Curated by Tina Schelhorn

IMAGES AGAINST WAR

PARISPHOTO 2006 PARIS PHOTO 2006: 10th edition of the leading international photography fair Paris Photo celebrates its tenth anniversary with a sparkling selection of Nordic talent Guests of honour: Denmark, Finland, Iceland, Norway & Sweden From November 16-19, 2006, Paris Photo celebrates its first decade with an outstanding panorama of 19th century, modern and contemporary photography at the Carrousel du Louvre. Curator of Spotlight on Nordic countries: Andrea Holzherr, art critic and freelance curator Spotlight on Nordic countries Denmark, Finland, Iceland, Norway and Sweden are the guests of honour for 2006. During the 1990s, Copenhagen, Helsinki, Reykjavik, Oslo and Stockholm contributed to a rebirth of contemporary photography with an explosion of creativity that has been described as the “Nordic miracle.” Three events to highlight the best of Nordic photography: The Statement section will host eight selected galleries from the honoured countries, presenting solo exhibitions by emerging contemporary artists: Trine Søndergaard & Nivolai Howalt (Martin Asbaek Projects Copenhagen), Per Bak Jensen (Bo Bjerggaard Copenhagen), Heli Rekula (Anhava Helsinki), Axel Antas (Heino Helsinki), Hrafnkell Sigurdsson (i8 Reykjavik), Eline Mugaas (Riis ­ Oslo), Annee Olofsson (Mia Sundberg Stockholm) and Maria Hedlund (FlachGeiger Stockholm).

ROB MOOREES

Selected Photographs

Opening 20 august 15.00hrs

From 20 august till 20 september                           

HEXGALLERIES
Heks, Belgium

habo@telenet.be

                                                 

JESSE

    

 

WINDOW

 

 

GIRLS DRESS

 

 

WEDDING CAKE

 

HOMELESS IMAGES

HOMELESS IMAGES

photographs by THEO DERKSEN

1 july-15 august

opening 1 july 15.00hrs

"Theo Derksen is inspired by the many images from many countries. It
has nothing to do with the equality of the images, there is always
something that inspires him, in a positive or negative sense. He is extreme
curious, brimming with talent and energy" PROF. DR. JOHAN SWINNEN.

Neither documentary nor exotic work. No fixing place and time,
always trying to take those shots that are in between the lines. In
short, he tries to unravel the double layers."
POOL ANDRIES.
CURATOR
MUSEUM FOR PHOTOGRAPHY, ANTWERP WWW.THEODERKSEN.COMPROF. Dr. WILLEM ELIAS, philosopher and art critic.
He writes in his
Profiles of Paroxysm; " ....By going out of focus Theo Derksen
denationalised well-known geographical locations which after they have been mixed
up forms a new, admittedly non-existent country......".

THEO DERKSEN

=========================================================================================================================================================================================================================================================================================================================================================

ELMA VAN HAREN and SEAMUS HEANEY at POETRY INTERNATIONAL ROTTERDAM

Elma van Haren, Curator of Hexgalleries will be reading at the International Poetry Festival in Rotterdam 17-23 june 2006

http://www.poetry.nl/

Poets:

Pegah Ahmadi Robert Anker Ama Ata Aidoo Gabeba Baderoon Isla Correyero F. van Dixhoorn Femi Fatoba Han Dong Elma van Haren Seamus Heaney Esther Jansma Jaan Kaplinski August Kleinzahler Elmar Kuiper Kojo Laing Taban Lo Liyong Jack Mapanje Karine Martel Charles Mungoshi Ioan Es. Pop Alfred Schaffer Jelena Schwarz Eva Ström Mario Suško Pia Tafdrup Ana Paula TavaresSigurbjörg Thrastardóttir Tomas Venclova Hans Verhagen Piet Gerbrandy

OPENING NEW GALLERY

Opening by LAURA, may 13, 2006

Mayor Mr. Kindermans in conversation with Wolfgang Zurborn

Exhibition "DRIFT" photographs by WOLFGANG ZURBORN

All photographs Rob Moorees

WOLFGANG ZURBORN in HEXGALLERIES

DRIFT, recent photographs by WOLFGANG ZURBORN

Openings exhibition of the new wing of HEXGALLERIES. Opening 13 may 2006 at 15.00hrs By the Brassband of VECHMAAL , the Counselor of culture of the village HEERS, Mr MARC NEVEN and Dr. PETER V. BRINKEMPER from COLOGNE.

DRIFT1DRIFT 2DRIFT 3

"Drift" is representing a way of seeing the fractured modern world in its overlapping images and contexts. I am interested in finding the sublime in the ridiculous condition of modern life with a Dadaist awareness of the found object—the ready-mades of architecture, advertising, and the masses in the street, and with a surrealist sense of humour in the collision montage of juxtaposed, multi-layered images combined on a single picture plane. Biography of Wolfgang Zurborn 1956 born in Ludwigshafen/Rhein 1977-79 Bavarian State School of Photography in Munich 1979-84 Technical High School in Dortmund by Prof. Hans Meyer-Veden 1985 "Otto Steinert - Fellowship" of the DGPh since 1986 Coorganisator of the Gallery Lichtblick in Cologne 2005/06 Workshop at the Academy of Arts, Bremen Workshop at the school of the Fondazione Studio Marangoni, Florence 2005/06 Guest Professorship at the Academy of Arts in Bremen Bibliografie von Wolfgang Zurborn Financial Times Deutschland 24.3.2005 Kunstforum international Bd. 171 Juli-August 2004, S.153-154 PHOTONEWS Juli-August 2004, S.5 Het Parool Amsterdam, 12.5.2004 Ryuko Tsushin Tokyo, Dezember 2003, vol.486, S. 136 British Journal of Photography 27.August 2003, S.22-23 Frankfurter Allgemeine Zeitung 7.2.2002 Photography now 4/01 Otto-Steinert-Preis 1979-1998 DGPh, S.28-31 Aperture, Between Past and Future: New German Photography, Mai 1991 KUNSTFORUM, Bd. 105 Januar / Februar 1990, S. 289 Camera Austria 21/86, S.67

FOTOFEST HOUSTON 2006

BRASILIAN COLLECTOR JOACHIM PAIVA

BRASILIAN FESTIVAL DIRECTOR KARLA OSORIO NETTO

HERMAN VAN DEN BOOM and KEITH JOHNSON at ONE ALLEN CENTER HOUSTON March 2006

ARCADIA REDESIGNED by HERMAN VAN DEN BOOM

FESTIVAL CURATOR WENDY WATRISS and CANADIAN GALLERIST STEPHEN BULGER

ARCADIA REDESIGNED by HERMAN VAN DEN BOOM

INTERVIEW on Radio KUHF HOUSTON by HERMAN VAN DEN BOOM

Birthday party at FOTOFEST

RUSSIAN Artist TATIANA ARZAMASOVA of AES+F

SEE MORE FOTOFEST ON FRED BALDWIN's WEBLOG

NEW YORK ARTIST SUSAN LIPPER and FLYING CRITIC BILL KOUWENHOVEN SUSAN LIPPER IS EXHIBITING ARTIST of HEXGALLERIES and BILL KOUWENHOVEN IS A CONTRIBUTING CRITIC of HEXGALLERIES !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! INCOMING MAILS ON FOTOFEST!!!!!!!!!!!!!!!!!!!!!!!!! Subject: Fotofest survivor party WEDNESDAY APRIL 19 from 6-9 825 > HAYES SF > HELLO FOTOFESTONIONS, FOTOPHOOLS, AND FELLO FOTO GEEKS, > In the spirit of past SF Fotofest events, I want to warmly invite you > to my studio/home on WEDNESDAY APRIL 19 from 6-9 or so. Come exchange tall tales from Houston and congratulate each other for finishing all follow-up efforts.(Or consider this party a good arbitrary deadline to finish follow-up efforts.)Either way, come over and please pass this invite along any Fotofest people not on this list. Past and future Fotofools are, of course, welcome. Hopefully we will all want to stay in contact with each other and the Fotophool phamily can continue to grow - we are almost 60 Bay Area people who have all been to Fotofest - we ought to get them to move closer to home.But in the meanwhile, we can celebrate surviving it: 825 HAYES (between Webster and Fillmore), APRIL 19, 6-9 pm Muni-friendly address. I less than one block from 21 and 22 bus stops. Driving is easy, parking is less easy. (Take the Octavia Blvd exit, go up Fell, right on Webster and look for parking). Carpool is cool, bicycles are welcome. The front gate will be unlocked, just give the gate a pull and come in. (But be sure to close the front door behind you - my roommates and I have three mischievous cats. If you are allergic, don't worry, most parties end up in the yard.) > PLEASE PASS THIS INVITE ALONG TO ALL YOUR LOCAL FOTOFEST FRIENDS. PLEASE BRING SOME FOOD OR DRINK IF YOU CAN. (There is usually too much food and drink - so we don't all need to do this - if you are short on time or dough, just come and allow yourself to be fed and drunk.) THE BBQ WILL BE READY FOR GRILLING. (weather permitting)Hope to see you all soon. Michael Michael Rauner Photography > www.michaelrphotography.com > m@michaelrphotography.com > 415-241-9261 > Luis Delgado 415-695-9060 info@ladq.com www.ladq.com

HEXGALLERIES IN NEW YORK

We visited last weekend N.Y.Chelsea Galleries ( MIKE KELLEY show at Gagosian gallery ), and New York Photographer SUSAN LIPPER SUSAN LIPPER will be exhibiting in HEXGALLERIES 2006 We also visited the beautiful show by COLLIER SCHORR , at ROTH (picture), 160 A East70th Street and "American Surfaces" by STEPHEN SHORE at PS 1

Interview in SEESAW with STEPHEN SHORE

Book Stephen Shore

Stephen Shore on PS 1 Radio

NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.NEWS.

WINTER in ARCADIA 1
photograph Herman van den Boom 2005

WINTER in ARCADIA 2
photograph Herman van den Boom 2005

BOULEV'ART « by night »
La septième édition de la manifestation Boulev'art, artistes dans la rue se déroulera
à Cotonou (Bénin) du 8 au 20 décembre 2005, à la place de l'étoile rouge. Cette
édition réunit 34 artistes du Bénin, Togo, Burkina Faso, Mali, Cameroun, République
Démocratique du Congo, France, Suisse, Hollande et Belgique pour des ateliers de
peinture, sculpture, installation, vidéo et performance.

A l'initiative du plasticien ZINKPE, l'association AYÏZO organise Boulev'art dans le but
de permettre aux personnes absentes des galeries, des musées ou des centres
culturels de découvrir les oeuvres de leurs contemporains. L'objectif est de favoriser le rapprochement et les échanges entre les artistes du continent africain et des autres
continents mais également de susciter la réflexion sur l'évolution de l'art contemporain
en général et en Afrique en particulier.
more info:
alithi@planet.nl

ARTWEEKEND
Hotel Castell, Zuoz.
with SIMON STARLING
http:/www.hotelcastell.ch

Especially for our DUTCH Speaking visitors:

Read what Dutch Poets write about HEX/HEKS NOW!!!!!!!!!!!!!!!
and
Collumn by JOHAN SWINNEN on PHOTOGRAPHY in "WERF" (Photoq.nl)

EEN NOOT EEN WOORD in DE RODE HOED

ELMA VAN HAREN foto: Herman van den Boom EEN NOOT EEN WOORD in DE RODE HOED ELMA VAN HAREN POETRY READING on pianomusic of SCHUBERT and SCHUMAN

piano: David Kuykens & Bert van den Brink Friday november-11 -2005-20.30 De RODE HOED, Amsterdam "EEN NOOT EEN WOORD" Keizersgracht 102 1015 CV Other data: november 8, Groningen. "De Oosterpoort" november 12, Enschede. "Muziekcentrum" november 18, Markenbinnen. Ned. Hervormde Kerk ELMA VAN HAREN IS CURATOR of HEXGALLERIES. See here for more information on her new Book.

Information on her new exhibition of paintings and installations coming soon. Gallery Ruimte Pieter de Hooghstraat 22 Amsterdam till 18 december 020-6734930 Show produced by HEXGALLERIES, HEKS

CURATORS

EMMA BLAU, Arles 2004

More Emma Blau

CATHERINE MILLET, Maestricht 2002 More Catherine Millet Much more Catherine Millet

CURATORS OPERATIONS MANAGER, BIRMINGHAM, 2003

ITALIAN CURATOR, MOSCOW 2002

CURATORS REVIEWING, BIRMINGHAM 2002

CURATOR FRIENDS, BIRMINGHAM 2003

MARKUS SCHADEN, ARLES 2004 photographs: herman van den boom

AUTUMN ACTIVITIES

Autumn Hasselt 2005 photograph: Herman van den Boom, from the series "Arcadia Redesigned" "Arcadia Redesigned" will be seen at the main exhibition "The EARTH" of HOUSTON FOTOFEST 2006 3 positions of Lithuanian Photography Date: Mon, 24 Oct 2005 10:03:59 +0200 Subject: FW: Lichtblick News Lithuanian Photography From: "Wolfgang Zurborn" <zurborn@netcologne.de> Date: Sun, 23 Oct 2005 22:22:48 +0200 (MEST) To: habo@pandora.be Subject: Lichtblick News Lithuanian Photography Dear friends of Galerie Lichtblick Galerie Lichtblick proudly presents 3 positions of Lithuanian Photography Antanas Sutkus, born 1939, and Aleksandras Macijauskas , born 1938, are two of the well know masters of photography in Lithuania. Arturas Valiauga , born 1967 as one of the younger generations of Lithuanian photographers. With kind regards from Cologne - wish you could all be here-In cooperation with the Union of Lithuanian Art Photographers, Vilnius TINA SCHELHORN and WOLFGANG ZURBORN Aleksandras Macijauskas, Antanas Sutkus, Arturas Valiauga 10/29- 11/27/2005 Opening: Saturday 10/29/2005, 8.00 pm Talking: Dr. Peter V. Brinkemper

photograph: Herman van den Boom Dr. Peter V. Brinkemper Peter writes for uo. KUNSTFORUM, SCHIRMER & MOSEL and will be writing for HEXGALLERIES Other readings by Dr.PETER V. BRINKEMPER: Die Deutsche Fotografische Akademie lädt ein: Im Haus der Photographie, Deichtorhallen Hamburg Vorträge und Bildpräsentationen von Gästen am 26./27.11.2005 Vorträge von: Peter V. Brinkemper: "Inszenierung und Fotografie" Dr. Annabelle Görgen: "Photographie im Surrealismus" Stefanie Grebe: "Bye-bye Document, hello Document" Samstag 11 - 18 Uhr, Sonntag 11 - 16 Uhr Deichtorhallen Hamburg, Deichtorstraße 1-2, D-20095 Hamburg Tel. +49-(0)40-32 10 30, Fax +49-(0)40-32 10 3-230 http://www.deichtorhallen.de ------------------------------------------------------------------------------------------------------------------- Information about the exhibition: Union of Lithuanian Photographers TINA SCHELHORN is CONTRIBUTING CURATOR of HEXGALLERIES WOLFGANG ZURBORN will be exhibiting in HEXGALLERIES in 2006

WOLFGANG recently had shows and presentations in FOAM, Amsterdam and GALERIE VAN ZOETENDAAL, Amsterdam More information coming soon Galerie Lichtblick Steinberger Strasse 21 D-50733 Köln, Germany t+f 0049 221- 729 149 www.lichtblicknet.com www.imagesagainstwar.com

HEXGALLERIES, NEW WING.

From: Vintage Galeria <galeria@vintage.hu> Date: Mon, 7 Nov 2005 19:03:58 +0100 To: herman van den boom <habo@telenet.be> Subject: Hungarian photography Hello Herman, Good to hear about your new activity. Here I collected some links for Hungary: http://www.maimano.hu http://www.photolumen.hu http://www.c3.hu/ http://www.fotoklikk.hu/ http://www.fotomuzeum.hu/ Bests, Attila www.vintage.hu 1053 Budapest Magyar utca 26 t/f 361 3370584 galeria@vintage.hu

RECENT EVENT

MIKE MANDEL MYSELF 1971 Acquisition, 1976. HEXGALLERIES COLLECTION photograph: herman van den boom EVIDENCE REVISITED MIKE MANDEL & LARRY SULTAN 7 okt-20 nov 2005 PHOTOGRAPHERS GALLERY, LONDON Evidence Revisited re-examines, almost 30 years later, this chapter in the history of the original debate on the aesthetics of the documentary photograph. The exhibition aims to reconsider the relevance of found photography in gallery practice today. Evidence Revisited is organised by the Center for Creative Photography, University of Arizona, USA BBC Collective, in association with The Photographers' Gallery, has created an online gallery where you can curate your own exhibition from the BBC's archive. Click here to start curating.

MIKE MANDEL EVIDENCE REVISITED SHANE LAVALETTE