Upcoming

NEW SPACE - OPENING 30 August
30.8.2014 The opening of the new gallery space at Justus van Effenstraat 130, Rotterdam 5-8 pm with two inaugural shows: Giorgio Andreotta Calò a solo exhibition La Scultura Lingua Morta with new works by the artist and Homing, a curated show with works by all the artists of the gallery.

4.10.2014-15.11.2014 Wendelien van Oldenborgh solo show at the gallery





> OTHER VENUES

Art Fairs
18-21.9.2014 abc in Berlin with in an installation by James Beckett

Giorgio Andreotta Calò
10.6.2014-21.9.2014 Portrait of the Artist as a Young (Wo)Man, Castello di Rivoli, Turin (IT)
30.8.2014-27.9.2014 Giorgio Andreotta Calò, La Scultura Lingua Morta, Wilfried Lentz Rotterdam (NL)
10.2014 Residency and Solo show at the Italian Cultural Institute, Paris (Fr)

Doug Ashford
30.8.2014-8.10.2014 Homing, Wilfried Lentz Rotterdam (NL)

James Beckett
9.2014-10.2014 Dowsing Schools, Physics Room, Christchurch (NZ)
30.8.2014-8.10.2014 Homing, Wilfried Lentz Rotterdam (NL)
18.9.2014-21.9.2014 KaVo Zahnarztstuhl, Regie 1520A, abc in Berlin (DE)

Rossella Biscotti
29.5.2014-17.8.2014 For the Mnemonist, S., Wiels, Brussels (BE) (solo)
25.6.2014-7.9.2014 The Journal, Institute for Contemporary Arts, London (UK)
10.6.2014-21.9.2014 Portrait of the Artist as a Young (Wo)Man, Castello di Rivoli, Turin (IT)
30.8.2014-8.10.2014 Homing, Wilfried Lentz Rotterdam (NL)
10.9.2014-18.01.2014 The Yellow Side of Society. Italian Artists in Europe, Bozar, Brussels (BE)
14.9.2014-15.2.2014 Mies van der Rohe Stipend, Museum Haus Esters, Krefeld (DE) (solo)

Josef Dabernig
6.6.2014 – 14.9.2014 Josef Dabernig. Rock the Void; mumok – Museum moderner Kunst Stiftung Ludwig Wien, curated by Susanne Neuburger and Matthias Michalka (AT)
28.6.2014 – 31.10.2014 Manifesta 10, St. Petersburg, curated by Kasper König (RU)
9.7.2014 – 24.8.2014 Art Is Freedom: Exhibition of Works from the MOCAK Collection; Lviv Art Palace, curated by Monika Kozioł
19.7.2014 – 28.9.2014 Desiring the Real. Austria Contemporary; NCCA National Centre for Contemporary Arts, Nizhny Novgorod, curated by Karin Zimmer
25.7.2014 – 14.9.2014 ARTONAUTICS_tranzit.org; Gdansk City Gallery, curated by Vít Havránek, Dóra Hegyi, Georg Schöllhammer and organized by Patrycja Ryłko
30.8.2014-8.10.2014 Homing, Wilfried Lentz Rotterdam (NL)
2.9.2014 – 27.9.2014 Josef Dabernig. 3x3; Galerie Andreas Huber, Vienna (AT)

Christian Friedrich
30.8.2014-8.10.2014 Homing, Wilfried Lentz Rotterdam (NL)
20.9.2014-30.11.2014 Christian Friedrich, De Hallen, Haarlem (NL), solo

Ulrik Heltoft
30.8.2014-8.10.2014 Homing, Wilfried Lentz Rotterdam (NL)

Susanne Kriemann
06.05.2014 - 09.09.2014 Tea with Nefertiti, Staatliches Museum Ägyptischer Kunst München (DE)
27.06.2014 - 31.08.2014 Tempus Ritualis, Center of Contemporary Art Thessaloniki (GR)
12.07.2014 – 13.09.2014 Augment This, Cherry & Martin Gallery Los Angeles (US)
19.07.2014 – 05.10.2014 Kunstpreis der Böttcherstrasse, Kunsthalle Bremen (DE)
30.8.2014-8.10.2014 Homing, Wilfried Lentz Rotterdam (NL)
20.9.2014-7.12.2014 Allegory of the Cave Painting, Extra City Kunsthal, Antwerp (BE)

Matts Leiderstam
30.8.2014-8.10.2014 Homing, Wilfried Lentz Rotterdam (NL)
22.11.2014-24.1.2014 Matts Leiderstam, Wilfried Lentz Rotterdam (NL)

Wendelien van Oldenborgh
12.4.2014-29.9.2014 DordtYart, Collectie Dommering, Dordrecht (NL)
19.6.2014-21.9.2015 Smells like teen spirit, FAUX MOUVEMENT, Centre Pompidou Metz (FR)
30.8.2014-8.10.2014 Homing, Wilfried Lentz Rotterdam (NL)
30.9.2014-11.1.2015 Blue Times, Kunsthalle Wien (AT)
2.10.2014 Wendelien van Oldenborgh receives Dr A.H. Heineken Prize for Art 2014
2.10.2014-30.11.2014 El Contrato, curated by Bulegoa Z/B, Alhondiga Bilbao (ES)
4.10.2014-15.11.2014 Wendelien van Oldenborgh, Wilfried Lentz Rotterdam (NL)
21.11.2014 Confessions of the Imperfect, Van Abbemuseum, Eindhoven (NL)
12.12.2014 Kochi-Muziris Biennial ‘Dead Reckoning : Whorled Explorations’ curated by Jitish Kallat, Kochi (IN)
13.1.2015 Wendelien van Oldenborgh, Collective Gallery, Edinburgh (UK)

Michael Portnoy
10.5.2014-28.9.2014 Before Normal: Concept after Concept, Museum of Contemporary Art Roskilde (DK)
30.8.2014-8.10.2014 Homing, Wilfried Lentz Rotterdam (NL)
14.9.2014-28.9.2014 Crikoteca, Krakow (PL), 100 Beautiful Jokes

Hito Steyerl
23.3.14-21.12.2014 Time Pieces, Nordsternturm Videokunstzentrum, curated by Marius Babias, Kathrin Becker, Gelsenkirchen (DE)
20.7.2014-9.11.2014 Bad Thoughts - Collection Martijn and Jeannette Sanders
30.8.2014-8.10.2014 Homing, Wilfried Lentz Rotterdam (NL)
26.9.2014-12.10.2014 Adorno\'s Grey, 52nd New York Film Festival (US)
10.2014-2.2015 After Image, Galleria Civica, Trento (IT)
4.10.2014-6.12.2014 The Execution of Maximilian, MEAD Gallery, Warwick Arts Center (UK)
15.10.2014-18.10.2014 Screening HOW NOT TO BE SEEN A Fucking Didactic Educational .Mov File, Beursschouwburg, Brussels (BE)
11.2014 Bienal de la Imagen en Movimiento, Buenos Aires (AR)
12.11.2014-16.11.2014 Lo Schermo Dell\'Arte Film Festival VII Editiion, Florence (IT)


Artists


>GIORGIO ANDREOTTA CALò

WORKS / TEXTS / CV 

>DOUG ASHFORD

WORKS / TEXTS / CV / LINKS 

>JAMES BECKETT

WORKS / TEXTS / CV / LINKS 

>ROSSELLA BISCOTTI

WORKS / CV / LINKS 

>JOSEF DABERNIG

WORKS / CV / LINKS 

>CHRISTIAN FRIEDRICH

WORKS / CV 

>ULRIK HELTOFT

WORKS / TEXTS / CV 

>SUSANNE KRIEMANN

WORKS / TEXTS / CV / LINKS 

>MATTS LEIDERSTAM

WORKS / TEXTS / CV / LINKS 

>WENDELIEN VAN OLDENBORGH

WORKS / TEXTS / CV / LINKS 

>MICHAEL PORTNOY

WORKS / CV / LINKS 

>AND WORKS BY HITO STEYERL

WORKS / TEXTS / CV / LINKS 

Programme

Giorgio Andreotta Calò, 30 August -27 September 2014

Giorgio Andreotta Calò, 30 August -27 September 2014

Wilfried Lentz Rotterdam is very proud to host artist Giorgio Andreotta Calò (1979, lives and works in Venice and Amsterdam) for his second show at the gallery, which will also be the inaugural exhibition for our new venue.

La Scultura Lingua Morta

The opening will be Saturday, August 30, 5pm-8pm.

The show runs till Sunday, September 27th and will coincide with the opening of Homing a group show taking place in the context of the gallery program 4th Floor.
Opening times: Friday to Sunday from 1-6 pm or by appointment

For information and visuals, please contact the gallery: office@wilfriedlentz.com or + 31 (0)10 4126459.

click here to download press release as pdf


The show consists of sculptural pieces, prototypes made of wood and clay, showing us possibilities for a new series of sculptures in bronze and ceramic.

Giorgio Andreotta Calò is interested in the existential relation of man with his environment. Water, wood and fire often play an important role in his work. They stand for the processes of nature which are conditions for human life, but can also be the source of uncontrollable forces causing catastrophes that we can still witness today. The related esoteric and Biblical aspects, expressed throughout centuries by artists and writers in works of art, are also a source of inspiration. His work often ritualizes these existential relationships through visual symbols and metaphors of time, life and death. In the materialization he uses natural materials like wood, stone or bronze, as in his earlier series of Clessidras, which were ‘sculptured by nature and time’ in the form of an hour glass. (Read more about Scolpire il Tempo in a beautiful text by Marco Pasi). Through this way of working Calò can be placed in an Italian tradition of art making from the Renaissance up to modern movements like the Art Povera.

The new sculptures are prototypes produced in the last three months at Calò’s studio in Vignole, an artificial island made of clay, near Venice. The wood sculptures are made from huge remnants of deteriorated oak structures for marine engineering and the clay is extracted in small columns from the seabed in the laguna in Venice. They are formed by the artist in a process of experimenting, to develop potentialities for new series of work.

Calò’s work has been exhibited in numerous solo and group exhibitions. In recent years he has had solo exhibitions at Peep-Hole, Milan (IT), SMART Project Space, Amsterdam (NL), the Fondazione Galleria Civica, Trento (IT). Some Biennials and group shows he participated in recently are: Premio Italia Arte Contemporanea 2012 (laureate), Maxxi, Rome (IT), the Venice Biennial (2011), the XIV Carrara Biennial (2010), The Wight Biennial, in Los Angeles (2010), Sindrome Italiana at Le Magasin, Grenoble (FR), Nocturnes at Museion, Bolzano (IT). He has orchestrated public interventions in Rome (Temporaneo 2011 - Nomas Foundation) and Bologna (Monumento ai Caduti, 2010). Calò has won numerous prizes and he has had residencies at Villa Arson, Nice (FR) and the Rijksakademie Amsterdam (NL).

Giorgio Andreotta Calò, 30 August -27 September 2014
Homing,  inaugural group show at 4th Floor, 30 August  - 8 November 2014

Homing, inaugural group show at 4th Floor, 30 August - 8 November 2014

Wilfried Lentz is very pleased to present Homing, a group show with works by all the gallery artists to inaugurate the opening of the new gallery space.

The opening will be Saturday, August 30, 5pm-8pm.

The show will run till Sunday, November 8 and takes place in the context of the gallery program 4th Floor a series of curated shows, each running approximately three months. The opening coincides with the opening of a solo show by Giorgio Andreotta Calò.
Opening times: Friday to Sunday from 1-6 pm or by appointment

For information and visuals, please contact the gallery: office@wilfriedlentz.com or + 31 (0)10 4126459.


As a show, Homing has developed and grown in response to the main characteristics of the new gallery space on the 4th floor. These attributes can be associated with those of a very intimate lookout, like that of a secluded environment, where the inhabitant lives in solitude and observes.

Since the new space towers above the neighbouring buildings one can secretly watch the surroundings, and in the process, the 4th floor begins to resemble a panopticon. This is reinforced when one sees the outer walls, which are punched with a series of little windows that cover three out of four sides of the space.

The panopticon, as a metaphor for the 4th Floor, is also the natural centre where one’s gaze is directed to. Homing is the instinctive reflex to direct oneself to its territory after travelling. That is in fact what the artworks in the show do, returning to their (new) home. The works are selected in anticipation of the intimate character of the space, becoming a domesticating virus, making the gallery space like that of a breeding ground.

The formal and structural play with image and viewing is a commonly used subject for most of the artists of the gallery. For example, by the use of viewing devices (such as the panopticon), appropriation of old imagery, the use of exotic technologies and the recirculation of image. In the selection of the works we show some exemplary pieces of which most have never been shown before.
Homing,  inaugural group show at 4th Floor, 30 August  - 8 November 2014
James Beckett, KaVo Zahnarztstuhl Regie 1520 A, 19 April - 14 June

James Beckett, KaVo Zahnarztstuhl Regie 1520 A, 19 April - 14 June

Wilfried Lentz is very proud to host artist James Beckett (Harare, Zimbabwe 1977 lives and works in Amsterdam) with his new installation

KaVo Zahnarztstuhl Regie 1520 A.

The opening will be April 19th from 5 pm till 7 pm and the show is running until June 14th.

The gallery is open Thursday - Saturdays from 1-6 pm and by appointment.
For further information and visuals, please contact the gallery;
office@wilfriedlentz.com or +31 (0)10 4126459.




click here to download press release as pdf



KaVo Zahnarztstuhl Regie 1520 A, 2014
Installation of dentist chair in cross-section with associated devices.
Original operating and promotional material in 10 frames (variable sizes).
Unique
This exhibition takes the form of a celebratory showroom for the innovative treatment unit of German dental company KaVo. As a focus on a technical feature of dentistry, this is the first in a series of projects by Beckett that explore the field in a vocational as well as scientific capacity.

Abbreviated as “Regie”, the 1520 A unit is displayed by Beckett in cross-section, a method common for the display of technical devices in order to reveal their inner workings. The longitudinal dissecting of the unit into two distinct pieces plays with the chair as a bulky yet complex mass, creating intricate shapes that in turn flirt with abstraction. Accompanied by the company’s original operating and promotional material, the arrangement is reframing the industrial branding and communications ethos - pursuing potential in its language as a basis for new corollary. Regie is a prelude to a new book that Beckett is working on in direct collaboration with twenty dentists, under the title Tooth: Twenty Personal Accounts. Revealing human as well as medical aspects of the profession, the project seeks to build a sort of anthropological compendium of dentistry.

As a prolific artist, editor and musician, Beckett covers a variety of media and subjects in his practice. As much physical as biographical, his investigations often explore minor histories concerned with the development (and subsequent demise) of industry. Museological display mechanisms are key in his presentation, with craft-like assembly placing the work uncomfortably between bourgeois decorative art and a crude social reality.

Solo shows in the last two years include TWAAS, New York; Blank Projects, Cape Town; Neuer Kunstverein, Vienna; T293, Rome. Recent group exhibitions in 2012 and 2013 include Wysing Arts Centre, Cambridge; Stedelijk Museum Bureau Amsterdam; Steirische Herbst, Graz; De Appel, Amsterdam; Wattis, San Fransisco; Stedelijk Museum, Amsterdam and Dak’art, African Biennale in Dakar. Beckett’s work has also been shown at GAM, Turin; ICA, London; Romanian Biennial, Bucharest; The Kitchen, New York and the Kölnischer Kunstverein in Cologne. He is a recipient of the Prix de Rome in 2003.

James Beckett, KaVo Zahnarztstuhl Regie 1520 A, 19 April - 14 June
Beatrice Gibson, The Future Is Getting Old Like The Rest of Us

The Future's Getting Old Like the Rest of Us, 2010
Colour, Sound (stereo), 16 mm transferred to HD Video, 48 minutes
Courtesy Laura Bartlett Gallery and LUX, London

Beatrice Gibson, The Future Is Getting Old Like The Rest of Us

Wilfried Lentz proudly presents in a first collaboration with curator and International Film Festival Rotterdam programmer Peter Taylor, artist and filmmaker Beatrice Gibson (1978, lives and works in London) with her film

The Future’s Getting Old Like The Rest of Us


The première screening will be on Friday 14th March at 8.00 pm with the gallery open from 7.30 pm and cocktails served afterwards.

Following this first screening, Beatrice Gibson’s film will be shown in a loop until Saturday March 22. The gallery will be open on Thursday-Saturday from 1-6 pm and by appointment For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.



click here to download press release as pdf


The Future’s Getting Old Like The Rest Of Us is a 16mm film conceived in the format of a TV Play and set in an older people’s home. The film is part documentary, part fiction. The script for the film was a collaboration between Beatrice Gibson and writer and curator George Clark, and was constructed from transcripts of a discussion group held over a period of five months with the residents of four Care Homes. Taking B.S. Johnson’s 1971 experimental novel House Mother Normal as its formal departure point and employing the logic of a musical score, the script is edited into a vertical structure, featuring eight simultaneous monologues.

‘Beatrice Gibson’s films investigate the utterances that form people and places. They are composite works, exploring sound, literature, collective production, the slippery operations of language and problems in representation. She uses her interest in improvisation and experimental music in her films through open ended compositional structures, that are, to varying degrees, given over to a collective apparatus and blend social modes of working with a diverse range of references. This makes that Gibson’s films challenge conventional notions of authorship and filmmaking from their socially engaged foundations.’

Recent exhibitions include CAC Bretigny (2013), Index, The Swedish Contemporary Art Foundation, Stockholm; The Showroom, London (2012) ; Kunstlerhaus Stuttgart (2010), The Serpentine Gallery (Sackler Center) (2010). Gibson's films have screened at numerous experimental film venues and film festivals nationally and internationally including Light Industry, Anthology Film Archives NY; LA Film Forum; Rotterdam International Film Festival; London Film Festival; CPH: Dox, and Oberhausen Short Film Festival. Gibson has twice won the Rotterdam International Film Festival Tiger Award for short film. She was one of five artists shortlisted for the 2013-15 Max Mara Art Prize for Women and was nominated for the 2013 Jarman Award.


The Future’s Getting Old Like The Rest Of Us features B.S Johnson’s long time collaborator William Hoyland, pianist and AMM member John Tilbury, alongside actors Roger Booth, Corinne Skinner Carter, Janet Henfrey, Ram John Holder, Anne Firbank, and Jane Wood.Commissioned by The Serpentine Gallery, London. Funded by Arts Council England and Camden Council Homes for Older People. Developed with the Support of FLAMIN, Film London.




Beatrice Gibson, The Future Is Getting Old Like The Rest of Us
Josef Dabernig, River Plate, 1 February 2014 - 1 March 2014

Josef Dabernig, River Plate, 1 February 2014 - 1 March 2014

Wilfried Lentz Rotterdam is very proud to host the Austrian artist Josef Dabernig (1956, lives and works in Vienna) showing his film

River Plate


The opening will be during the last weekend of the 43rd edition of the International Film Festival Rotterdam on Saturday, February 1st from 5-7 pm.

The show runs till March 1st. During Art Rotterdam (5-9 February) the gallery is open by appointment. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.


Click here to download press release as pdf


Josef Dabernig’s new film River Plate, 2013 (HDV, b/w, 16 min) displays a micro society in a fragmented body-narration. Knees, shoulders, feet and bellies are signifiers of articulated human presence, revealing nothing else against a claustrophobic background of cement, stone and water.

Flog style editing is accompanied by sound cascades of elementary noise from the river and the highway. Bodies are the antagonists of all compromising contextual frameworks. An existential plot is confronted by the bareness of body language, enclosed within itself and against everything else.

Dabernig initially started a career as a sculptor and has made films since 1996, often situated in a harsh, disciplined and existential environment. As in most of his works, we are confronted with a world running on idle, in waiting or inhibited.

His films have been shown at international venues like Manifesta, the Venice Biennial and the Centre Pompidou in Paris. Filmfestival participations include Locarno, Oberhausen, Rotterdam and Toronto. Solo exhibitions among others at MAK Vienna, MNAC Bucharest, BAK Utrecht and CAC in Vilnius. Last year Dabernig had a solo at the MOCAK Museum of Contemporary Art, Kraków (PL). In the summer of this year the mumok in Vienna will present a comprehensive retrospective of the artist with a large body of works, such as sculptures, drawings, photographs and films, accompanied with a monograph.

River Plate, 2013
35mm transferred onto HD Video, b/w, 16 min
Director, Script, Editing and Production: Josef Dabernig. Camera: Christian Giesser. Sound design: Michael Palm. Cast: María Berríos, Josef Dabernig, Wolfgang Dabernig, Isabella Hollauf, Ingeburg Wurzer, Otto Zitko. Support: if innovative film Austria, ORF - Film and Television Agreement



Josef Dabernig, River Plate, 1 February 2014 - 1 March 2014
Kennedy Browne, The Myth of the Many in the One, Installation

Kennedy Browne,The Myth of the Many in the One/The Wonder Years, 2012
Installationview @ Wilfried Lentz
Photo: John Bohnen

Kennedy Browne, The Myth of the Many in the One, Installation

Wilfried Lentz Rotterdam is very proud to host Kennedy Browne with their exhibition

The Myth of the Many in the One

Kennedy Browne is the collaborative practice of Gareth Kennedy (b.1979) and Sarah Browne (b. 1981). Kennedy Browne lives and works in Ireland.

The opening is Saturday, December 14th, 5pm - 7pm

The show runs till Saturday, January 25th, 2014.
Please note: Between December 23rd and January 9th, the gallery can be visited by appointment only.
For information and visuals, please contact the gallery: office@wilfriedlentz.com or + 31 (0)10 4126459.

Click here to download press release as pdf



Kennedy Browne, The Wonder Years, 2013
installation detail The Rocking Horse (1956-BG)
Wilfried Lentz Rotterdam is very proud to host Kennedy Browne, the collaborative practice of Gareth Kennedy (b.1979) and Sarah Browne (b. 1981) with their exhibition The Myth of the Many in the One. Both artists are based in Ireland and constitute an artistic collaboration, as well as maintaining solo practices. The exhibition consists of two intertwined works: The Wonder Years, 2013, an installation of objects with text, and The Myth of the Many in the One, 2012, a nineteen minute film.

Both works draw on extensive research into the business biographies of visionary tech leaders with a special relationship to Silicon Valley, California: men such as Bob Noyce, Bill Gates and Steve Jobs. Through the depictions of these men, in this niche area of publishing, a persistent narrative of paternal entrepreneurial genius emerges. Kennedy Browne attempts to decode the constructed myths surrounding such messiah figures – at the intersection of capitalism and technology – by returning to stories told of their formative boyhood years, until the age of eleven.

The Myth of the Many in the One is crafted through Kennedy Browne's distinctive process of redaction; compressing an extensive catalogue of anecdotal and biographical material gleaned from the biographies and crafting it into a single, complex narrative. The two key spaces represented in the film are a green-screen studio set and a pre-Silicon Valley peach orchard, each evocative in their own way of 'origin myths'. These locations form a significant mental and emotional backdrop to the central performances in the film by a precocious child actor and a voice-over artist. The boy in the film is an avatar, an incarnation of the redacted text. He also performs a Biblical recitation for his own ends.

The Wonder Years is a collection of objects of critical significance to the childhood years of the boy avatar in the film. These objects include: Dave Packard’s pipe bomb and Bill Hewlet's brass doorknob grenade from 1923 and 1924; Bill Gates’ rocking horse from 1956; and Mark Zuckerberg’s bar mitzvah light sabre from 1997. These artefacts were carefully reconstructed, primarily using resources such as online fabrication services and auction sites. They are then displayed together as relics related to the genesis of the digital age.

Recent solo exhibitions by Kennedy Browne include How Capital Moves, Limerick City Gallery of Art Offsite (2011) and 167 at the Centre Culturel Irlandais, Paris (2010). Group exhibitions include Liquid Assets at the 2013 Steirisher Herbst Festival in Graz, Austria; Upending at Limerick City Gallery of Art, Ireland; CAMP, at AGORA, the 4th Athens Biennale, Athens, Greece; KAPTIAL, the Bern Biennial, Switzerland; Seeking Silicon Valley, Zero1 Biennial, San Jose, USA; the touring exhibition The United States of Europe (all 2012); L'Exposition Lunatique, Kadist Foundation, Paris, and the Lodz Biennale, Poland (all 2010). In 2009 Kennedy Browne co-represented Ireland at the 53rd Venice Biennale along with their solo practices.

The Myth of the Many in the One was produced with funding from the Arts Council / An Comhairle Ealaíon and supported by the Kadist Foundation, San Francisco. The Wonder Years was commissioned for Liquid Assets as part of the 2013 Steirischer Herbst festival in Graz, curated by Katerina Gregos and Luigi Fassi.

Website of Kennedy Browne: www.kennedybrowne.com
Website of Sarah Browne: www.sarahbrowne.info
Website of Gareth Kennedy: www.gkennedy.info
Kennedy Browne,The Myth of the Many in the One, 2012

HD video, 19’, image still

Kennedy Browne The Myth of the Many in the One, 2012

HD video, 19’, image still

Kennedy Browne, The Myth of the Many in the One, Installation
THRILLOCHROMES, 2013

THRILLOCHROMES, 2013
film still

THRILLOCHROMES, 2013

Wilfried Lentz Rotterdam is very proud to host artist, performer and director of behavior Michael Portnoy (b.1971, based in New York) with his second gallery exhibition

THRILLOCHROMES

The opening is Saturday, November 2nd, 3.30pm-6pm



The show runs till Saturday, December 7th, 2013.
For information and visuals, please contact the gallery: office@wilfriedlentz.com or + 31 (0)10 4126459.

Click here to download press release as pdf



Michael Portnoy, THRILLOCHROME 2, 2013
video, color and sound, 4:04 min
trenchcoat on canvas
80 x 80 cm
In a world where everything looks the same, it ain't easy making monochromes...

What are the war cries of Neo-Formalism? Are there any? Or are its fighters and agents doggedly anti-dogmatic?
THRILLOCHROMES imagines a subterranean world where such overblown directives (Dismantle... ! Infiltrate... !) are the scores for a collection of trench-coated operatives in a series of abstract thriller films which lead to the creation of excruciatingly beige monochromes.

The show consists of six monochromes and six corresponding short films playing on tropes of TV procedurals and espionage films. Accompanying the show is an artist publication - in the series published by the gallery - with texts by Tirdad Zolghadr and Diane Bent commenting on the phenomena of the contemporary monochrome and the blood battle between hermeneutics and hermeticism.

The six short films, commissioned by Ville de Paris for Nuit Blanches 2013, were shot in the WWII bunkers beneath Gare de l'Est. The series continues Portnoy's recent interest in "improving", in the manner of an engineer/futurologist, recent dead-ends of contemporary art making. In this case the metastasis of textural abstraction and quasi- monochromes.

Michael Portnoy's practice spans dance-theater, vocal power-tools, Relational Stalinism, reptangles, abstract gambling, the improvement of biennials, and Icelandic cockroach porn. His art circles the rules of play and communication - language itself playing a crucial role in the works. Recent shows and performances by Michael Portnoy includes venues as Nuit Blanche, Paris; The Kitchen, New York; Kunst Werke, Berlin; Palais de Tokyo in Paris; the 11th Baltic Triennial; dOCUMENTA(13); De Appel, Amsterdam; Objectif Exhibitions, Antwerp; Kunstverein Amsterdam and Performa New York.

Thanks to:
Ieva Misevičiūtė - co-director film
All actors and film production team

Michael Portnoy, THRILLOCHROME 2, 2013
video, color and sound, 4:04 min
trenchcoat on canvas
80 x 80 cm

Michael Portnoy, THRILLOCHROMES, 2013
installation view at Wilfried Lentz Rotterdam
photo: John Bohnen

THRILLOCHROMES, 2013
Hassan Khan, Density Studies, 2013

Hassan Khan, Density Studies, 2013

Wilfried Lentz Rotterdam is very proud to host artist, musician and writer Hassan Khan (b.1975, lives and works in Cairo, Egypt) with his first solo presentation in The Netherlands

Density Studies

The opening is Sunday, September 15th, 4pm-6pm.

The show runs till Saturday, October 19th, 2013.
For information and visuals, please contact the gallery: office@wilfriedlentz.com or + 31 (0)10 4126459.

Click here to download press release as pdf



Hassan Khan, Density Studies
installation view at Wilfried Lentz Rotterdam
photo: John Bohnen
Wilfried Lentz Rotterdam is very proud to host artist, musician and writer Hassan Khan (b.1975, lives and works in Cairo, Egypt) with Density Studies, his first solo presentation in The Netherlands. The exhibition consists of six recent pieces: two sculptural works; a photographic print on a custom made table; two films, each of them beamed on translucent screens; and two groups of small color photographs. All of the works are placed within an imaginary grid and facing the same direction, pulled as if each piece, being a single self-contained work, is nevertheless part of a larger force, part of a greater magnetizing whole.

At the heart of Khan’s work are people, their relationships, what they produce and live with, the societies they build and personas they construct. In most of his films the expressions of vernacular behaviour are an important theme. His latest film, Studies for structuralist film n.2, is both a portrait of strangers encountering what’s outside them as much as it is a subtle dialogue between the viewer, artist and the subject.

Khan’s sculptures speak an enigmatic formal language but at a second glance are also loaded with hidden meanings. Perhaps his sculptures are the pars pro toto for the things around us, as fragments and as whole objects; as sublimations of a public consciousness and haunted by the world they come from.

According to writer Brian Kuan-Wood, a key to his work, is Khan’s particular approach to the way ideological thinking and spectrality function in relation to physical material. In an attempt to revisit the quasi-religious and messianic thinking in recent philosophy of history, the term ‘hauntology’ is used to describe this spectral ontology. It is possibly from here that some of Khan’s objects find their ground: as a compression of social desires.

Hassan Khan is, besides his work as an artist, well known as a musician active in experimental music. He has composed soundtracks for film and theatre, as well as performs his original music all around the world.

Khan’s work has been exhibited in numerous solo and group exhibitions. In recent years he has had solo exhibitions at SALT, Istanbul (2012), Objectif Exhibition, Antwerp and the Queens Museum of Art (both 2011) and Kunst Halle St Gallen (2010). His work was shown at dOCUMENTA(13) and other group shows at the Wiener Secession (2013), Triennale de Paris, New Museum New York and Palazzo Grassi (all in 2012), Muzeum Sztuki Lodz (2011), Manifesta 8 (2010), MACBA Barcelona (2009) and the 3rd Yokohama Triennale (2008).

Hassan Khan, Density Studies
installation view at Wilfried Lentz Rotterdam
photo: John Bohnen

Hassan Khan, Density Studies, 2013
to scrap a proportion 2013

to scrap a proportion 2013

Wilfried Lentz Gallery is very pleased to present

to scrap a proportion

a group show of works by artists James Beckett, Matthew Buckingham, Josef Dabernig, Dina Danish, Jason Dodge, Will Holder and Philomene Pirecki.

The opening is Saturday, April 13th, 5pm-7pm.

Preceding the opening, there will be a book launch for the new publication of James Beckett, "Works of James Beckett with Constant Interjections by Frank Key" at Koenig books at the Stedelijk Museum, Amsterdam, from 2 pm to 4 pm.

Please note that the show can be visited by appointment till August 17th.

For information and visuals, please contact the gallery: office@wilfriedlentz.com or + 31 (0)10 4126459.

Click here to download press release as pdf




Philomene Pirecki, Grey Painting:Text Version 45, 2012
oil on canvas, 50 x 40 cm
This show has grown associatively, from the starting point of a collection of graffiti ridden note-boards, formerly in use by children whilst visiting an archeological museum. In the selection of works, two main paths of characteristic arose, that of 1) formal and structural play with the written word, such as reiteration, tabulation - including how one would write and with what, and 2) heresy: disregard for rules and formula, and the potential for an anarchism. Both of these paths seem to be embedded in the note-boards themselves, a kind of blue-print fit for expansion.

In a painting of Philomene Pirecki, a kind of compression is practiced whereby a monogram of the word grey is hatched through a mixture of all the colours which make up grey - in contrast to a selection of works by Josef Dabernig which behave as extrapolations for the purpose of a cleansing. In his case personal data is mined to reveal patterns in sources as diverse as his smoking habits and the refuelling of his Steyr Fiat Croma 154. A handwritten and letterpressed poster by Will Holder draws a likeness between the practices of the hairdresser and the concerns of typography, whilst in the silent video of Matthew Buckingham, dozens of nearly anonymous individuals jot the phrase, "Within the Sound of Your Voice", a registration which acknowledges the act of listening and being heard. Dina Danish shows a playful attempt to fit various items from chain-store Walgreens, to pieces of toast, before lifting them out of format, as if to be eaten as a sandwich. In a search for the perfect fit, and a study of coincidental proportion, the practice is mirrored in the capsized scientific scale of Jason Dodge, a precision measuring device rendered useless through one simple 90 degree rotation.

The exhibition is co-curated by James Beckett and Wilfried Lentz





James Beckett,
The Pierson Belongs to Itself, Others and Us, 2010

Josef Dabernig,
Filling station- and fuel statistics for STEYR FIAT CROMA 154 i.e. 22 05 1995 - 27 07 2000

installation view Wilfried Lentz Rotterdam
photo: John Bohnen

James Beckett,
The Pierson Belongs to Ourselfs, 2010

Matthew Buckingham, Within the sound of your voice, 2007
Continuous black and white video projection
installation, silent, dimensions variable

installation view at Wilfried Lentz Rotterdam
photo: John Bohnen

Will Holder, Serif A ("Bless the Hairdresser. He attacks Mother Nature for a small fee. Hourly he ploughs heads for sixpence. Makes systematic mercenary war on this WILDNESS. He trims aimless and retrograde growths into CLEAN ARCHED SHAPES and ANGULAR PLOTS."), 2005
fabricated calligraphy pen, ink, letterpress
installation view Wilfried Lentz Rotterdam
photo: John Bohnen

Dina Danish, All My Life I had to fit Cheese on Toast, 2008
single-channel video, 1'7"
installation view Wilfried Lentz Rotterdam
photo: John Bohnen

Jason Dodge, Scale, 2010
scale, string
18 x 26 x 7,5 cm
installation view at Wilfried Lentz Rotterdam
photo: John Bohnen

to scrap a proportion 2013
Doug Ashford, Abstraction as Empathy, 19 January-3 March 2013

Doug Ashford, Abstraction as Empathy, 19 January-3 March 2013

Wilfried Lentz is very proud to host artist, writer and teacher, Doug Ashford (lives and works in New York) for his first solo show in Europe,

Abstraction as Empathy

The opening is Saturday, January 19th, 4pm-7pm.

The show runs till Saturday, March 2nd, 2013.
For information and visuals, please contact the gallery: office@wilfriedlentz.com or + 31 (0)10 4126459.

Click here to download press release as pdf



At the core of the show’s presentation is the work Many Readers to One Event, a series of nearly thirty small paintings and photographs, which were first shown last year at dOCUMENTA (13). These works will be reactivated with a special architecture, placed in a central position in the gallery space as one continuous spatial installation. This installation will be shown in a retrospective environment that will also be presenting some of his earlier abstract paintings.

Coming from a background of a socially engaged art practice in the eighties and nineties - being a member of the New York based artist collective Group Material (1982-1996) - Ashford took up painting in earnest after the collective ended. In the earlier public projects of Group Material, the art exhibition form itself was challenged for its social and participatory purposes, thereby contesting the terrain of political life. Ashford now focuses on the consoling role of the artwork itself by depicting foremost tragic events, as well as political, through abstract painting.

The forms that manifest themselves in his working process start, for example, with newspaper clippings of political demonstrations or the event of a murder, and they are chosen for both their factual reportage and their imagistic drift. The protagonists in these moments of strong social upheaval also have an aesthetic stance while they are responding to an emergency; moving as if empathy has taken them into a momentum that overcomes catastrophe. These scenes of stilled force are restaged or cropped in small photographs, shown with another - meta - world of artistic reading, a series of laborious abstract paintings, a cathexis of affect and love.

Doug Ashford is, besides his work as an artist, Associate Professor at The Cooper Union in New York City (USA) where he has taught three-dimensional design, sculpture, public art and theory seminars since 1989. He has lectured internationally at various institutes and schools, and organized the book Who Cares (Creative Time, 2006), on the relationship between public expression, beauty, and ethics.

Doug Ashford’s work has been exhibited in numerous solo and group exhibitions. In 2012 his work was shown at dOCUMENTA(13), as well as Abstract Possible: The Stockholm Synergies, Tensta Konsthall, Stockholm (SE) and Ruptures: Forms of Public Address, 41 Cooper Gallery, New York (US). Other recent shows include: Sharjah Biennial 10, Sharjah (AE), Museo Tamayo, Mexico City (MX) in 2011, and Malmö Konsthall in 2010.




Doug Ashford, Abstraction as Empathy, 19 January-3 March 2013
Adorno\'s Grey

Adorno's Grey

Wilfried Lentz Gallery is proud to host filmmaker and author Hito Steyerl (1966, DE, lives and works in Berlin) for the second time, showing her film

Adorno's Grey

The opening of this European premiere will take place on Sunday, November 11th from 3 pm – 6 pm and the show runs till Saturday, December 15th.
Please note: The show is extended till Januari 5th.
The gallery is open Thursday - Saturday from 1-6 pm and from December 23rd till January 5th only by appointment. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.

reviews on the work:
http://www.art-agenda.com/reviews/hito-steyerl’s-“adorno’s-grey”/
http://artforum.com/picks/section=nyc#picks37202
http://rhizome.org/editorial/2012/nov/28/hito-steyerl-e-flux/
http://www.nytimes.com/2012/12/21/arts/design/hito-steyerl-has-new-york-solo-debut-at-e-flux.html?_r=1&
http://metropolism.com/reviews/adorno-s-grey

click here download pressrelease as pdf.



Adorno's Grey, 2012
Installation with single channel HD video projection, 14 minutes 20 seconds, four angled screens, photographs, handouts
Installation photograph John Bohnen
For this European premiere, the gallery space has been remodelled into a special architectural environment, with every surface in the space being immersed in a radical colour scheme of grey. At the rear side of the space a series of huge deconstructivist ‘school boards’ function as projection screens.

The film Adorno’s Grey depicts a team of conservators scraping away at one of the walls in the auditorium at the Goethe-Universität in Frankfurt. According to legend this wall was painted grey at the request of the German philosopher Theodor Adorno, in order to augment concentration and keep the attention of students during his lectures. The conservators were hoping to reveal a grey layer of the original paint. While showing these images of the search for the grey wall, a voice-over tells the story of an incident in 1969, when amidst student protests female students bared their breasts to Adorno during one of his lectures. Adorno panicked, collected his papers and ran away. This was to be his last lecture.

Hito Steyerl works as a filmmaker and author and holds a PhD in Philosophy. She teaches as a professor at Universität der Künste Berlin, and as a guest tutor at several other institutes. Steyerl’s research and interests cover topics as diverse as cultural globalization, feminism, political violence, migration and racism. Her films are a montage of politics and pop, Hollywood and independent film, interviews and voice-over commentaries, which present provocative filmic analysis of the present. Much of her prolific essays can be read in on-line journals such as e-flux and eiPCP.

Hito Steyerl’s work has been exhibited in numerous solo and group exhibitions. Forthcoming is an extensive overview of her recent work at the Art Institute of Chicago which opens November 1st.
Recent solo shows include e-flux in New York; Chisenhale Gallery, London; Henie Onstad Art Centre, Oslo; Neue Berliner Kunstverein, Berlin and Moderna Museet in Stockholm. Her work has been included in important international group exhibitions and biennials such as Witte de With in Rotterdam and Portikus in Frankfurt in 2012; the Gwangju Biennale and Taipei Biennial, both in 2010; the 7th Shanghai Biennial and dOCUMENTA (12).

Download the Adorno Timeline as pdf

Download the Naked Protests timeline as pdf

Download the Student Protests timeline as pdf

Download the Timeline Monochrome as pdf

credits:
Large format photography: Leon Kahane
Research: Alwin Franke
Conservators: Benjamin Rudolph, Sina Klausnitz
Production managers: Maike Banaski, Anna-Victoria Eschbach
Postproduction: Christoph Manz, Maria Frycz
Screen design: Studio Miessen, Diogo Passarinho, Yulia Startsev
Produced by Tblisi Triennial and Wilfried Lentz, Rotterdam.
Supported by Nikolaus Hirsch, Sophie von Olfers, Claudia Stockhausen

Adorno's Grey, 2012
Installation with single channel HD video projection, 14 minutes 20 seconds, four angled screens, photographs, handouts
Installation photograph John Bohnen

Adorno\'s Grey
Everything was soulful and all souls were one

Everything was soulful and all souls were one

Wilfried Lentz Gallery is proud to host Susanne Kriemann’s (1972, DE, lives and works in Berlin and Rotterdam) new exhibition

Everything was soulful and all souls were one

The opening will take place on Friday, September 7th from 5 pm – 7 pm and the exhibition will be displayed until October 6th.
The gallery is open Thursday - Saturday from 1-6 pm and by appointment. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.



Susanne Kriemann - Cold Time, 2012
C-print on Fuji archival paper
(radar - 2_MG_1611-JP)
photograph 6,5 x 10,2 cm, unique
provenance: John Provan
The central piece of the exhibition is a slide series of abstract shots displaying dense woodland - shot by Kriemann from a helicopter - in an area that was the air corridor to Berlin during the cold war. This slide installation is supplemented by a selection of prints from the National Archives in Washington (USA) re-photographed and cropped by the artist, as well as additional photographs taken by unknown officers and saved from garbage by American aeronautic historian Dr. John Provan.

Continuing her interest and research of the symbolic meaning of artifacts and architecture from the last seventy years, and the role of photography, Kriemann found herself amongst the most obscure archives of American reconnaissance photography. Amid her findings, she discovered a collection of blurred espionage photographs taken during US aerial missions in the 1950s. In order to catch a glimpse behind the Iron Curtain extraordinary measures were taken to make earth observation possible. It was a challenging process due to technical limitations to return the fuzzy reconnaissance pictures to the base and then attempting to interpret the pictures, determining what was deemed to be a threat from the Russians and what could be disregarded.

As these blurred photographs are exhibited and viewed retrospectively, all of their original meaning and knowledge seems to have evaporated, leaving the abstraction and the fuzziness as the only entities for renewed interpretations within an artistic realm.

The exhibition explores a diverse range of subjects: Firstly, the archive as both a physical object as well as an increasingly immaterial source representing an entire industry of memory; secondly, how political history is documented, archived and then forgotten about becoming a sediment pile of paper reminiscent of Jurassic limestone formations; and thirdly, abstraction as a (seemingly utopian) means of artistic freedom and a true expression of the idea that an artwork can be liberated from political references.

Kriemann’s practice consists mainly of photography, printed matter and the appropriation of photographic imagery. She has participated in numerous international group exhibitions, such as the 5th Berlin Biennale (2008) and TRACK Gent (2012). Comprehensive solo exhibitions of her work have been mounted by the SMBA in Amsterdam (2009), Künstlerhaus Stuttgart(2009), the Berlinische Galerie (2010), the Kunsthalle Winterthur (2011) and the Kunstverein Braunschweig (2012). This fall she will participate in the opening show “Beyond Imagination” of the Stedelijk Museum Amsterdam.



Susanne Kriemann - Cold Time, 2012
C-print on Fuji archival paper
(trees - 2_MG_1644-SK)
green-coloured frame and passepartout 50 x 36 cm
photograph 8,02 x 10,2 cm, unique

Susanne Kriemann - Cold Time, 2012
installation view of Everything was soulful and all souls were one at Wilfried Lentz Rotterdam, 2012
photo: John Bohnen

Susanne Kriemann - Cold Time, 2012
installation view of Everything was soulful and all souls were one at Wilfried Lentz Rotterdam, 2012
photo: John Bohnen

Everything was soulful and all souls were one
Christian Friedrich, 1 of 3 Types (Classic Myths)

Christian Friedrich, 1 of 3 Types (Classic Myths)

Wilfried Lentz Gallery is pleased to present

1 of 3 Types (Classic Myths)

a solo exhibition by German artist Christian Friedrich (b. 1977).

The opening will take place on Saturday, April 28 from 4–6 pm and the show is running through May 19.
The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.

Click here to download press release as pdf



Friedrich’s exhibition features a multipart sculpture, a video work centering upon the artistic potential of editing, as well as a large-scale panel of framed photographs. As in previous setups, Friedrich’s interest in the qualities of different media, and how these complement each other, is highlighted by intertwining individual works.

1 of 3 Types (Classic Myths), 2002, comprises three tripod steel cubes welded of angle profiles, two of which clench several loose sheets of paper while touching the wall. During the production period Friedrich has used these sheets as sketch- and pocketbook. Insofar, 1 of 3 Types (Classic Myths) refers to its genesis in correlation with products that are suggestive of terminating the working process. Whereas the two cubes that were built first, fixate the original sheets of paper, respectively a copy of these, the third cube stands close to the wall and serves, within the framework of the exhibition, as a base for a monitor.
Untitled, 2010-11, a 16-minute silent video set to continous play, examines the interpretation of juxtaposed imagery. As cross-cut motifs rhythmically appear and reappear, to sometimes stroboscopic effect, Friedrich challenges the spectator’s analytical urge thus causing confusion about the work’s correct reading. The sequences – including a Russian monument of WWII, individuals exposing themselves on video-sharing websites, an American flag, and a guy being electro-shocked in a dungeon – evoke associations with contractual relations, both public and private.
Untitled (Untitled, 2010-11), 2012, consists in a monumental panel of 80 video stills that were exported from Untitled, 2010-11, exposed on photobase paper and ordered in a non-chronological fashion.

Recent solo and group exhibitions include: Where time has lost its relevance II, PAKT, Amsterdam (NL), Narcissus Standing Erected, Städtische Galerie am ZKM, Karlsruhe (DE), C.o.C.A. Foundation, Rotterdam (NL), Ernte 07, Kunsthaus Baselland, Baselland (CH), Gegenstände, Badischer Kunstverein, Karlsruhe (DE), and studio presentations during recidencies at ISCP, New York (USA) in 2009-2010 and De Ateliers, Amsterdam (NL), 2007-2009. Friedrich will participate in Beyond Imagination, one of the two inaugural exhibitions at the Stedelijk Museum Amsterdam in September 2012.


Untitled (Untitled, 2010-11), 2012
80 framed C-prints
259 x 423 cm
edition 3 + 2 A/P

Untitled (Untitled, 2010-11)-16, 2012
16 framed C-prints
129 x 170 cm
edition 3 + 2 A/P

Christian Friedrich, 1 of 3 Types (Classic Myths)
Rubén Grilo, Bioscope, 24 March - 14 April 2012

Justice for Men (Reft and Blight), 2012
installation view Wilfried Lentz Rotterdam

Rubén Grilo, Bioscope, 24 March - 14 April 2012

Wilfried Lentz Gallery is very proud to host Rubén Grilo’s (SP, 1981) first exhibition in The Netherlands, with his installation

Bioscope

The opening will take place on Sunday, March 25 from 4–6 pm and the show is running through April 14.
The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.



Grilo’s show will be the second show in a series of three sequential shows this season, including three artists, whose work is informed by the 24/7 attention economy, with its excessive exuberance, self-exposure and extreme imagery.

Rubén Grilo will display a set of works that connect the ancient arousal for entertainment with social concerns of today, like the freedom of choice in modern democracies and the fate of the body in the digital age. The title of the exhibition refers to Louis Jules Duboscq's primitive device for 3D cinema, but also to the use of moving image in fairground shows run by businessmen across England at the beginning of the 20th century. In this way Grilo is tracing the history of cinema alongside the history of mechanization and the consequent acceleration of life.

The central element of the exhibition is an installation titled Three Dee Crash Scope: Driven by Men featuring a couple of damaged car-seats acquired in a scrapyard, which display two iPads and two projectors successively linked to each other while playing different monochromatic PowerPoint slideshows, one in red and the other in cyan-blue. The projections from the beamers converge upon the surface of a dented car-hood and thus they produce a stereoscopic image.The stream of images from both channels show a litany of sentences recalling both political colors, left and right wing, animated with the appealing transitions inherent to PowerPoint and yet together the unsynchronized remains. As part of the installation, the windows of the gallery are turned into gigantic 3D-anaglyph eyeglasses, filtering the view of the exterior with red and cyan transparent foil.

The practice of Rubén Grilo spans the use of a wide range of media including formats like PowerPoint. The media itself and its interfaces become source material for his work. The necessary ‘protheses’ to operate these media, are included in his installations, which are all together making an evocation of the ‘human factor’ within a technological environment.

Recent shows by Grilo include: PowerPoint Karaoke, MARCO, Vigo, 2011; The Action of Things. CSS Bard, New York, 2011; The Benefit of Ignorance. EspaiZer01, Olot, 2010; Before Everything. CA2M, Mostoles, 2010; Situación, CGAC, Santiago de Compostela, 2008.



Three Dee Crash Scope: Driven by Men, 2012
Installationview Wilfried Lentz Rotterdam

Rubén Grilo, Bioscope, 24 March - 14 April 2012
Knowing Me Knowing You

Knowing Me Knowing You

Wilfried Lentz is very proud to host Filip Gilissen (1980, lives and works in Brussel) with his new installation:

Knowing Me Knowing You

in the gallery as well as in the public entries to the VIP openings of the art fair Art Rotterdam;

The opening will take place on Thursday, February 9 from 6 pm – 7.30 pm at the gallery and the show is running through February 25.

The gallery is open Thursday - Saturdays from 1-6 pm. During Art Rotterdam there are extended hours 11 am - 6 pm. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.

Thanks to: Art Rotterdam; Fons Hof, Groot Handelsgebouw; Marius Meurs and Robert den Harder, Manhattan Hotel; Pascale Nanning, Museum Boijmans van Beuningen; Sjarel Ex and Cathy Jacob, Frances Loeffler and Rachida Ait-Ali.



Knowing Me Knowing You, 2012

Installation photograph entrance Art Rotterdam, 2012, intervention.

Private phone number consisting of 10 golden flickering digits hanging from a 3 x 4 meter steel frame at the public entries to the VIP-openings during the art fair Art Rotterdam and on top of the Groot Handelsgebouw where Wilfried Lentz is based.

Wilfried Lentz Gallery is proud to host for the first time the Belgian artist Filip Glissen (1980) with his new installation Knowing Me Knowing You. Gilissen’s show will be the first in a series of three sequential shows this season, including three artists, whose work is informed by the 24/7 attention economy, with its excessive exuberance, loudness, self-exposure and extreme imagery.

For his new installation Filip Gilissen will take the gallery as main subject and will transform it into an ironic vehicle during Art Rotterdam. Knowing Me Knowing You is a set of 10 golden flickering digits hanging from a 3 x 4 meter steel frame and appearing mysteriously in the public entries to the VIP-openings during the art fair. The advertised number, reminiscent of a prank call hotline, is in fact the private phone number of Wilfried Lentz, and is connected to a synthetic golden phone, ostentatiously displayed in the darkened gallery space. Gilissen hereby alludes to the solid golden phone that appears as a relationship gift in the Havana episode of The Godfather: Part II. Hence, in the gallery set up, the golden ‘non-dial’ phone equipped with a blank-off plate in place of a dial, can only receive messages from outside callers who respond to the teaser, or from relatives and close friends of the gallery owner who would naturally call him.

Alongside Knowing Me Knowing You, two other works are displayed in the gallery: We Have Met Before Haven’t We?, a small metal golden phone index containing all professional gallery contacts, presented tantalizingly half-open under the protection of gold leaf and glass vitrine, and I've Been Waiting For You, a delicate crystal and gold door handle, that might have provided the longed for means to get a ‘foot in the door’, if they weren’t so delicately fragile that they would likely shatter if touched.

Using the language of commerce, marketing and media representation, Gilissen gives a diabolic comment on the more cynical aspects of globalization and consumer driven politics. He explores through events, performances, and installations, the one-liners of the spectacle industry. As Frances Loeffler puts it in an earlier article about Gilissen’s work, it is in his work ‘The notion of being on the ‘up’ and pushing it far and hard enough until it starts to collapse and ring hollow’. For the occasion, Loeffler has written a text on the new installation which will be published on our website and at the different locations.

Gilissen’s work has been shown at M HKA (Antwerp), Witte De With (Rotterdam), Freestate (Ostend), Liverpool Biennial, The Woodmill (London), Torrence Art Museum (Los Angeles), Nuit Blanche (Paris) and MARTa (Herford).
Click here to download Frances Loeffler's text.

Knowing Me Knowing You, 2012

Installation view Wilfried Lentz Gallery
Synthetic golden phone on pedestal displayed in the darkened gallery space with spotlights.




We Have Met Before Haven’t We?, 2012

Installation view Wilfried Lentz Gallery
Metal golden phone index containing all professional gallery contacts, gold leaf and glass vitrine on shelf
31 x 21 x 15 cm


Knowing Me Knowing You, 2012

Installation view Groot Handelsgebouw, intervention during Art Rotterdam 2012.
Private phone number consisting of 10 golden flickering digits hanging from a 3 x 4 meter steel frame at the public entries to the VIP-openings during the art fair Art Rotterdam and on top of the Groot Handelsgebouw where Wilfried Lentz is based.


Knowing Me Knowing You, 2012

Installation view Boijmans Van Beuningen, intervention during Art Rotterdam 2012.
Private phone number consisting of 10 golden flickering digits hanging from a 3 x 4 meter steel frame at the public entries to the VIP-openings during the art fair Art Rotterdam and on top of the Groot Handelsgebouw where Wilfried Lentz is based.


Knowing Me Knowing You, 2012

Installation view Groot Handelsgebouw, intervention during Art Rotterdam 2012.
Private phone number consisting of 10 golden flickering digits hanging from a 3 x 4 meter steel frame at the public entries to the VIP-openings during the art fair Art Rotterdam and on top of the Groot Handelsgebouw where Wilfried Lentz is based.


Knowing Me Knowing You
WENDELIEN VAN OLDENBORGH, Supposing I love you. And you also love me, 2011, still image

Supposing I love you. And you also love me, 2011
still image

WENDELIEN VAN OLDENBORGH, Supposing I love you. And you also love me, 2011, still image

Wilfried Lentz Gallery is very proud to host Wendelien van Oldenborgh (NL, 1962) for our next exhibition, presenting her work

Supposing I love you. And you also love me

The exhibition opens on Friday November 4th, from 6:00 till 7:30 pm.

Please note: The opening coincides with the prize ceremony of the ‘Hendrik Chabot Prize for visual arts 2011’ assigned to Wendelien Van Oldenborgh. Ceremony at the City Hall of Rotterdam, November 4th, 3pm.

Please note: The show IS EXTENDED until JANUARY 14th (only by appointment). For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.



Supposing I love you. And you also love me, 2011
Installation view Wilfried Lentz
Supposing I love you. And you also love me brings the voice of the Swiss-Egyptian philosopher and theologian Tariq Ramadan into exchange with a group of five young adults of multicultural origin from Belgium and the Netherlands. Against the backdrop of a ‘de Stijl’ inspired broadcast building designed by Piet Elling the work is set up as a polyphonic mini-tragedy. Unrehearsed forms of performance and speech, stemming from private expe-rience, form the building blocks of the “drama”. The adolescents act as a chorus in a playful interchange with Ramadan’s ideas and thoughts, which explore issues such as diversity, fear, conflict, and his own interrupted engagements in the city of Rotterdam.

A new installation form of this work will be introduced with this show, developed in dialogue with the architects Korteknie Stuhlmacher.

The opening on November, 4th coincides with the prize ceremony of the ‘Hendrik Chabot Prize for visual arts 2011’ of The Prins Bernhard Cultuurfonds in the City Hall of Rotterdam. This three yearly prize, assigned to Wendelien van Oldenborgh, is according to the the jury report, the reward for a remarkable body of work which has a widely international acclaim.

During the past few years Wendelien van Oldenborgh has taken part in the 54th Venice Biennal (2011), 28th and 29th Biennial of São Paulo (2010 and 2008), 10th Istanbul Biennal (2009), 4th Moscow Biennal (2011) and Contour (2009) in Mechelen (BE). She had solo exhibitions at the Van Abbemuseum, Eindhoven; Muhka, Antwerp and the Musee des Beaux Arts in Mulhouse and taken part in prominent group presentations at the Centre d'Art Contemporain Genève; Generali Foundation Wien; Van Abbemuseum, Eindhoven; Witte de With, Rotterdam; Apexart, New York and the Kuenstlerhaus, Stuttgart. Recent screenings include 56th International Short Film Festival Oberhausen; ICA London; Centre George Pompidou; CCS Bard New York; Images Festival Toronto and Cubitt, London.

Supposing I love you. And you also love me is produced for the Danish pavillon at the Venice Biennial by the Danish Arts Council, If I Can't Dance, I Don't Want To Be Part Of Your Revolution (Amsterdam), and Wilfried Lentz Gallery; with the support of the Danish Arts Council, the Mondriaan Foundation, the Culture Programme of the European Union.

The exhibition opens on Friday November 4th, from 6:00 till 7:30 pm. The Chabot Prize ceremony starts 3pm at the City Hall after which we walk to the gallery. The show will run until December 10th. The gallery is open Thursday - Saturdays from 1-6 pm and by ap-pointment. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.

click here to download press release as pdf



Supposing I love you. And you also love me, 2011
Installation view Wilfried Lentz Rotterdam

Supposing I love you. And you also love me, 2011
still image

WENDELIEN VAN OLDENBORGH, Supposing I love you. And you also love me, 2011, still image
Michael Portnoy, The distribution of pauses forms a vertical revine, 2011, Epson Aquarelprint, wood, glass, electronics, 3m19sec sound recording, 80x100 cm.

Michael Portnoy, The distribution of pauses forms a vertical revine, 2011, Epson Aquarelprint, wood, glass, electronics, 3m19sec sound recording, 80x100 cm.

Wilfried Lentz Gallery is very proud to host Michael Portnoy's (1971, based in New York) first solo exhibition in The Netherlands,

Script Opposition in Late-Model Carrot Jokes

The opening will take place on Thursday, September 8th from 5 pm – 7 pm and the show is running through October 8th.
During the opening there will be a presentation starting at 5:30 pm sharp with Michael Portnoy and humor theorists Olivier Brems and Tim De Mey.

Accompanying the show is an artist publication in an edition of 100. The show and the publication is coproduced with Objectif Exhibitions, Antwerp and IBID PROJECTS London.

Reservations for the presentation are recommended since there is limited space to attend. Please send an email to office@wilfriedlentz.com before September 7th to make a reservation.

The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.



Script Oppositions in Late-Model Carrot Jokes, 2011
Installation view Wilfried Lentz Rotterdam
Continuing his interest in "experimental comedy", Michael Portnoy introduces the public to a specialized form of jokes through a series of interactive wall-based works, a new publication, and a presentation during the opening with humor theorists Olivier Brems and Tim De Mey.

Carrot Jokes are a genre of dense, joke-like texts first proposed by cognitive linguists Chlopicki and Petray (1981) to undermine emerging computational models of humor analysis. These jokes, further developed by others in the field, depend on a preponderance of background incongruities, blunt omissions, faulty script switch-triggers, "gray" implicature, and missing links in inferencing.

Michael Portnoy's practice spans dance-theater, vocal power-tools, Relational Stalinism, reptangles, abstract gambling, the improvement of biennials, and Icelandic cockroach porn. His art circles the rules of play and communication - language itself playing a crucial role in the works. Recent shows by Portnoy include: 2011 at Objectif Exhibitions (Antwerp). 2010 at the Taipei Biennial (Taipei), Centre Pompidou (Paris), De Appel (Amsterdam), CAC (Vilnius). In 2009 at Kadist Foundation (Paris), Kunstverein (Amsterdam) and 2008 The SculptureCenter (New York), Kunsthalle Basel. 2007 at the 2nd Moscow Biennial. In 2009 and 2007 Portnoy participated in Performa (New York) where he will be present again in autumn this year.

The opening will take place on Thursday, September 8th from 5 pm – 7 pm and the show is running through October 8th. During the opening there will be a presentation starting at 5:30 pm sharp with Michael Portnoy, Olivier Brems and Tim De Mey. Accompanying the show is an artist publication in an edition of 100. Reservations for the presentation are recommended since there is limited space to attend. Please send an email to office@wilfriedlentz.com before September 6th to make a reservation.

The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.



Michael Portnoy, Duck-I’m-ready, duck-I’m-slipping, or duck-I’ve-lost-track, 2011,
Epson Aquarelprint, wood, glass, electronics, 1m29sec sound recording
100x80 cm.

Michael Portnoy, The distribution of pauses forms a vertical revine, 2011, Epson Aquarelprint, wood, glass, electronics, 3m19sec sound recording, 80x100 cm.
After Image

After Image (The Cardinals Friendly Chat), 2011
C-print, framed, 47,5 x 63 cm

After Image

Wilfried Lentz Gallery is very proud to host, for the second time since April 2008, the artist Matts Leiderstam (1956, lives and works in Stockholm) with his show

After Image

The opening will take place on Friday, May 20th from 3 pm – 5 pm and the show is running through June 25th.

At the same time there will be another work by Leiderstam on view in Rotterdam, at Witte de With, The End of Money curated by Juan Gaitan and assisted by Amira Gad which runs from the 21st of May till August 7.
The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.



After Image, 2011
Installation view Wilfried Lentz Rotterdam
Matts Leiderstam s show After Image will consist of a series of new works, all of them photographic. These images have been used to form an installation on the main wall of the gallery space.

In all of the photographs we see open folded art books or catalogues where the reproductions of historical paintings become the subject of a close reading. By steering our eye through the artist’s manual gestures and by pinpointing out specific details through magnifying glasses our gaze is directed to look at unexpected aspects. The images of the old paintings have been carefully chosen and are not without intention. Often there are hidden erotic, camp or queer connotations underlined. In the eye of the innocent beholder a waterfall in a pastoral landscape can suddenly becoming a vulva. Or the gesticulating hands of the artist mimic the very same gestures of the protagonists in the painting. And then sometimes there exists stories associated with the artwork that go beyond the depicted image in the painting itself. For example, one of the photographs shows two old paintings, which are the subject of a contemporary controversy regarding their provenance and ownership. The two paintings, Het Gebed van Tobias en Sara & Raphael bindt de duivel by Jan Steen, were recognized in 1965 as previously being one painting and thereby, they where pasted together in 1996. This painting is presently hanging in Museum Bredius in The Hague but only a few know that the right half of the stitched painting has been controversially claimed back by the heirs of the Jewish art dealer Jacques Goudstikker.

Similar to his earlier works Leiderstam is interested in the hidden meanings of artworks, what they tells us about the way we look at our environment and how we are still influenced by the way artists in earlier times depicted this. The origin of a painting and how it was shown can also be an interesting trigger in evoking new meanings like in the case of the painting by Jan Steen. During our show there will be another work by Leiderstam on view at the Witte de With-show The End of Money from the 21st of May till August 7. This work, Provenance, 2007-2011 tells the histories of eleven different paintings with the same motif ‘View of Dordrecht’, ten pictures by Jan van Goyen and one by Jeronymus van Diest, shown in a double projection.

Recent solo shows by Leiderstam include: 2010 at the Kunsthalle Düsseldorf (DE), the Malmö Art Museum (SW), Grazer Kunstverein, Graz (AU) and the Turku Art Museum Turku (SU). 2008 at the Salon Museum of Contemporary Art (Belgrade) and 2007 at the Badischer Kunstverein (Karlsruhe). His project, Grand Tour, was shown at Magasin 3 Stockholm Konsthall (Stockholm) 2005, after which it travelled to DCA – Dundee Contemporary Arts (Scotland), Göteborgs Konsthall (Gothenburg) and Kunstmuseum Liechtenstein(Vaduz).
Click here to download press release as pdf


After Image, 2011
Installation view Wilfried Lentz Rotterdam

After Image (Kunstzerstörer), 2011
C-print, framed, 55 x 75 cm

After Image (Coast Scene with Apollo and the Cumaean & Landscape with Mercury and Battus), 2011
C-print, framed, 48 x 65,5 cm

After Image
Josef Dabernig, excursus on fitness, 2010, still image

Josef Dabernig, excursus on fitness, 2010
still image
Digi Beta transferred onto DVD, b/w, silent, 12 min

Josef Dabernig, excursus on fitness, 2010, still image

Wilfried Lentz Gallery is proud to host the Austrian artist Josef Dabernig (1956, Kötschach-Mauthen, lives and works in Vienna) for his first solo show with the gallery,

On Discipline

The opening will be coming Saturday March 19th from 4 pm till 6 pm and runs through April 23rd.

Accompanying the show is the sixth issue in the new series of publications.The publication, #6 On Discipline, consists of a poster, signed by the artist, in an edition of 250 along with a small booklet with a text by the philosopher Sjoerd van Tuinen. The text focuses on the subject of discipline with an historical overview of notions by philosophers such as Nietzsche, Foucault and Sloterdijk. The price of the publication is 10 Euros and can be bought at the gallery or ordered through us either by e-mail or at the following book stores: Boekie Woekie, Amsterdam, Pro QM and Motto, Berlin. download text by Sjoerd van Tuinen

The gallery is open from Thursday - Saturday, 1 pm - 6 pm. Also during weekends there is free access from the Stationsplein 45. For further information and visuals, please contact; office@wilfriedlentz.com or +31 (0)10 4126459
Thanks to Engels, Grandcafé, Dienst Kunst en Cultuur Rotterdam and Andreas Huber, Vienna.



Installation view Engels Raum, 2011 The exhibition On Discipline will consist of a disciplinary environment, where three films are shown in a daylight situation, on monitors and screens, as part of a much bigger constellation comprised of used furniture. The carefully chosen furniture is a bit outdated, coming from course rooms and spaces for congress. The artist, who is also a sculptor, has dispersed this banal furniture and the screening devices throughout the gallery space, including even office furniture to be used by the gallerist. The whole installation functions as a sculptural construction treating real objects as sculptural elements, creating a stage set for conditioned movements of the human body and - through the filmic work - foremost an evocation of disciplinary exercises and experiences.

Dabernig’s most recent film excursus on fitness (2010) will be shown as well as two other recent works, Aquarena (2007, with Isabella Hollauf) and Parking (2003). All these films center around the idea of discipline. In the first two films this is worked out through empty artificial environments intended for exercise and sports. excursus on fitness seems less about physical achievements but rather more about isolated subjects mirrored in a certain existential frost while in Aquarena, the public baths, both in open air and used solely by one person is captioned by a text speaking about the extreme regulated measures for water treatment and hygiene in a town under the DDR-regime. The last film Parking forms a counter point in the show by enfolding an (un-)comfortable story where the subject of discipline permits an opening to being loaded with sexual connotations.

Of his graphic work an older piece Täglicher Zigarettenkonsum 23 09 1979 – 22 09 1980 – a fastidious control of the artist’s cigarette consumption over an entire year - will also be reinstalled.

Accompanying the show is the sixth issue in the new series of publications published by the gallery. The publication, #6 On Discipline, consists of a poster, signed by the artist, in an edition of 250 along with a small booklet with a text by the philosopher Sjoerd van Tuinen. The text focuses on the subject of discipline with an historical overview of notions by philosophers such as Nietzsche, Foucault and Sloterdijk. The price of the publication is 10 Euros and can be ordered through us either by e-mail or at the following book stores: Boekie Woekie, Amsterdam, Pro QM and Motto, Berlin. The text can also be downloaded on our website for free.

Since 1996 Josef Dabernig has made films where the East European modernistic built environment is often the scenery for protagonists who exercise isolated tasks, and how systems of control are influencing human behavior. His films have been shown at international venues like the Manifesta 3, Venice Biennial and the Centre Pompidou in Paris. Filmfestival paticipations include Locarno, Oberhausen, Rotterdam and Toronto. Solo exhibitions among others include: at MAK Vienna, where since a longer time the artist experimented in form of a sculptural narration, MNAC Bucharest, Museum of Contemporary Art Leipzig, BAK Utrecht and the Contemporary Art Center in Vilnius. In the last years Dabernig has been part of many groupshows, for example at the Mücsarnok Kunsthalle Budapest, Wiener Secession, Townhouse Gallery Cairo, Frankfurter Kunstverein, Moderna galerija Ljubljana and the Generali Foundation in Vienna.

The opening will take place on March 19th from 4 pm - 6 pm and the show is running through April 24th. The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459. Click here to download press release as pdf



On Discipline, 2011
Installation view Wilfried Lentz Rotterdam

On Discipline, 2011
Installation view Wilfried Lentz Rotterdam

Josef Dabernig
Parking, 2003
still image
16mm transferred onto DVD, b/w, sound, 6 min

Josef Dabernig, Täglicher Zigarettenkonsum 23 09 1979 -- 22 09 1980
Digital print ballpen on cardboard

Josef Dabernig, excursus on fitness, 2010, still image
Hito Steyerl, Journal No 1

Hito Steyerl, Journal No 1

Wilfried Lentz Gallery is very proud to host filmmaker and author Hito Steyerl (1966, lives and works in Berlin), showing two different films by the artist, each for a period of three weeks. The first film Journal No 1 (2007), will start January 8th until the 28th and then on Saturday January 29th, at 3 pm Steyerl’s new film In Free Fall (2010) will have its Dutch premiere and will be shown as an installation for the latter three weeks of the exhibiton.

In 1947, two years after the end of the Second World War, Film Journal No. 1 was released in Sarajevo. Fifty years later, after the collapse of the Communist bloc, this newsreel was lost in the confusion of the fighting in Yugoslavia. In Journal No. 1 Hito Steyerl attempts to find out how the footage got lost and what was on this document from the Sutjeska studio. In the simultaneous projection of Journal No. 1 the ‘unattainability of an historical zero hour of the national identity’ takes concrete form: The lost newsreel reports on a literacy campaign as well as Muslim women confidently removing their headscarves. We listen however to eyewitnesses trying to recapture the lost content and we see the artist Arman Kulasic making a number of drawings that resemble the story-boards for the lost film. What appears to be moments of great change remain limited by subjective and uncertain memory.



With her new film In Free Fall, Steyerl employs the setting and characters of an airplane junkyard in the Californian desert to tell the story of the current economic climate. Steyerl discusses the economic fallout of October 2008 by way of Sergei Tretjakov, Hollywood film sets, the materiality of DVDs, and prevailing conditions of production for cultural workers. The space of the junkyard allows various ‘crash’ narratives to unfold, with the stories of actual crashes and the remnants and afterlife of these machines becoming metaphors for economic decline. This is an investigation of planes as they are parked during the economic downturn, stored and recycled, revealing unexpected connections between economy, violence and spectacle, finding perfect example in the form of the Boeing 4X-JYI, an aircraft first acquired by film director Howard Hughes for TWA, which was subsequently flown by the Israeli Airforce before finding its way to the Californian desert to be blown up for the Hollywood blockbuster Speed. Through intertwined narratives of people, planes and places Steyerl reveals cycles of capitalism incorporating and adapting to the changing status of the commodity, but also points at a horizon beyond this endless repetition.
The installation includes a painting, by cameraman Kevan Jenson, Fifth Dimension (2010) with which Steyerl retroactively examines the production of her own film.

A prolific writer, filmmaker, theorist and teacher, Steyerl’s research and interests cover topics as diverse as cultural globalisation, feminism, culture, migration and racism. Her films are a montage of politics and pop, Hollywood and independent film, interviews and voice-over commentaries, which present provocative filmic analyses of the present.

Recent solo shows include Picture This, Bristol; Collective, Edinburgh; Chisenhale Gallery, London; Henie Onstad Centre, Høvikodden; Villa Stuck, Munich; (all 2010); Neuer Berliner Kunstverein (2009); and Moderna Museet, Stockholm (2008).
Group exhibitions include Taipei Biennial; 1st Ural Biennial; Gwangju Biennial; Antiphoto-journalism, La Virreina, Barcelona; Horizons, BAK, Utrecht (all 2010); Dispersion, ICA, London; U-Turn Kvadriennale for Samtidskunst, Copenhagen (both 2008); documenta 12, Kassel (2007) and Manifesta 5 (2004).
The opening for In Free Fall is Saturday, January 29th, 3 pm. The show runs till February 19th. For information and visuals, please contact the gallery; office@wilfriedlentz.com or +31 (0)10 4126459.
Click here to download press release as pdf



Hito Steyerl, Journal No 1
Giorgio Andreotta Calò, Scolpire il tempo, 30 OCTOBER – 11 DECEMBER 2010

Giorgio Andreotta Calò, Scolpire il tempo, 30 OCTOBER – 11 DECEMBER 2010

Wilfried Lentz Gallery is proud to host the Italian artist Giorgio Andreotta Calò (1979, Venice, lives and works in Amsterdam) for his first solo show with the gallery,

Scolpire il Tempo

The opening will be October 30th from 2 pm till 4 pm and the show runs through December 11th.
The gallery is open from Tuesday - Saturdays, 10 am - 5 pm and for this show the gallery will be experienced as an open space as if it is part of the direct environment. There is free access from the Stationsplein 45. For further information and visuals, please contact; office@wilfriedlentz.com or +31 (0)10 4126459
Please note: Changed opening times for this show.



Installation view gallery.
Three bronzes as one unique installation.
Each sculpture Clessidra in an edition of 2 + 1 A/P.
Specifically for this show, Calò produced a series of bronze sculptures made from deteriorated mooring poles found in the Laguna of Venice. Through time, the salt water and the tide has transformed these poles into rough and fantastic looking conical shapes. These shapes are used for his new series of sculptures.
For the gallery Calò has created a special environment where these sculptures can be experienced in a still atmosphere, reminiscent of their place of origin.

The artist grew up and spent his whole childhood in Venice with the Laguna being a kind of natural biotope for him but nowadays it is also a source of inspiration. The work of Calò can be placed in a long tradition of Italian artists whose main interest lies in the hidden poetics of quotidian situations and nature. He depicts the existential relationships that man has with his environment by orchestrating new rituals and making new relics about life, death and labour. He is interested in the cultural meaning of things, highlighting esoteric and magical aspects. These new rituals are formed through temporary performances often with the participation of the local public. Obsolete or empty buildings function as the scenic décor for an existential experience. But also raw materials like stone, gold, bronze and sometimes even ancient human remains, such as skulls and cheeks found in the Venetian islands, are all used to be formed into extraordinary sculptures.

Accompanying the show is the fifth issue in the new series of publications produced by the gallery.
The publication, #05, consists of a poster signed by the artist, in an edition of 250, along with a small booklet including texts by Mara Ambrozic and Marco Pasi and it will be available at the finissage December 11th.
The price of the publication is 10 Euros and can be ordered through us either by e-mail or at the following international book stores: Boekie Woekie, Amsterdam, Pro QM and Motto, Berlin. Previous issues in the series are also still available for ordering.

Last year Calò was part of the gallery’s group show ‘Not Created by a Human Hand’ where he made a new work referring to the Limpias relic. Recent exhibitions include the XIV Carrara Biennal, The Wight Biennal, in Los Angeles and a soloshow at the Fondazione Galleria Civica, Trento (IT). Some group shows he participated recently in are: Sindrome Italiana at Le Magasin, Grenoble (FR), Nocturnes at Museion, Bolzano (IT). He is the winner of the Premio Lum (Bari, IT).
At the moment he is an artist-in-residence at the Rijksakdemie where he will participate in the Open Studios at the end of November. The sculptures are realized with the kind support of Fonds BKVB.

Click here to download press release as pdf


Clessidra edition 2 + 1 A/P
Bronze sculpture

Giorgio Andreotta Calò, Scolpire il tempo, 30 OCTOBER – 11 DECEMBER 2010
Ulrik Heltoft, Science of the strange, 4 SEPTEMBER - 16 OCTOBER 2010

Ulrik Heltoft, Science of the strange, 4 SEPTEMBER - 16 OCTOBER 2010

Wilfried Lentz Gallery is proud to host for a second time the artist Ulrik Heltoft (Kopenhagen, Denmark 1973), with his new show

Science of the strange

Ulrik Heltoft, is interested in what he calls ‘pre-manufactured systems as the basis for image production’. Exploiting such systems as 8x10 inch Polaroid film, Röntgen photography, cell phone filming or the best scanning technology, Heltoft is able to create strange, surreal images.


The opening will be Friday, September 3 from 5 pm till 7 pm and the show runs through October 9.
The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and visuals, please contact the gallery; office@wilfriedlentz.com or +31 (0)10 4126459.



Diamond, 2010
Slide installation
With this new exhibited body of work Heltoft plays a subtle game, finding new exemplary combinations of technique and object; where the outcome is open to the imagination.
Heltoft presents us with a series of icecap photographs (6 blanks, 1999-2010) made with the mythic Hasselblad Lunar camera, as well as the peculiar viewing of a diamond filmed from within or even, extraordinarily large Polaroids of gold leaf depicting curious landscapes.

This work is in line with his earlier experimental pieces like the short kaleidoscopic film Voyage autour de ma chambre (2008), previously shown at Wilfried Lentz in 2008, and also a Röntgen-photograph of a glove. A few of these older pieces have never been shown before and will take part in Heltoft’s enigmatic presentation.

Accompanying the show is the fourth issue in the new series of publications issued by the gallery. The publication, #4 Zero Sum Gain, consists of a poster, signed by the artist, in an edition of 500 along with a small booklet. Moosje Goosen contributed to the publication with a text focusing on the surreal aspect of Heltoft’s work, and artist Miljohn Ruperto has written an essay on the issue of transforming objects without actually altering them physically. The price of the publication is 10 Euros and can be ordered through us either by e-mail or at the following international book stores: Boekie Woekie, Amsterdam, Pro QM and Motto, Berlin, and Castillo Corrales, Paris. Previous issues in the series are also available for ordering.

Recent exhibitions of Heltoft include shows at Kirkhoff in Kopenhagen, IMO, Overgaden and Nicolaj Contemporary Art Center also based in Kopenhagen; Galleria Raucci/Santamaria, Naples and the New Museum in New York. At the moment he has a solo show at Andersens Contemporary in Kopenhagen. Heltoft is professor at the Royal Danish Art Academy.
Click here to download press release as pdf


# 32 Un homme utilisant un campylomètre sur une carte de géographie.
# 32 A man running a mileometer across a map.
2010
Work from a serie following Raymond Roussel’s instructions in ‘Nouvelles Impressions d’Afrique’, pigmentprint framed with engraved title in passepartout. frame 92 x 74 cm, photo 25 x 20 cm. Edition of 3 + 1 A/P


24K, 2009
polaroid 8x10'

Ulrik Heltoft, Science of the strange, 4 SEPTEMBER - 16 OCTOBER 2010
MATT STOKES, these are the days 29 MAY- 10 JUNE 2010

MATT STOKES, these are the days 29 MAY- 10 JUNE 2010

The fourth and last show in our May program – a weekly program featuring a performance or installation by a visual artist that centers on the use of recent historical music or sound – presents

these are the days

a work by Matt Stokes (GB, 1973) that explores the efficacy and actuality of Punk Rock as a widespread subculture in Austin, Texas, USA.
In these are the days (2009), we see a large two channel video installation, featuring a punk gig in Austin Texas as well as a punk band from the same city playing a new sound-track to it.

The show will open on Saturday, May 29th, from 8 - 10 pm, and will run through until June 10.

click here to download press release as pdf

For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.



Commissioned by Arthouse in Austin, these are the days was one of two works produced by Stokes as a result of his close work with the Austin music scene and extensive research into anti-establishment musical genres within the city, particularly Punk and Hardcore. The show consists of a large two-channel film installation, which was made by staging two separate events. During the first, Stokes filmed the audience at a free, all-ages gig he organised with a young Punk music promoter, held at Broken Neck, an informal skate and music venue. The second part of the work brought together five members of different Austin-based Punk and Hardcore bands to create a soundtrack for the silent film shot during the gig. This track was filmed during a session at a recording studio. Both elements are shown side-by-side, as a kind of diptych. While the Punk crowd is seen reacting and dancing on the left screen, the band plays the improvised soundtrack to it on the right screen. A reversal of roles between audience and performers, the film installation examines the concept of response, and portrays a musical subculture that challenges notions of causality, originality, tribute and circularity.

Matt Stokes' artistic practice is marked by anthropological enquiry and an interest in events or informal movements that bind people together. Taking a variety of forms—from organizing events and assembling archives to making films and creating sculptural installations—Stokes' works are often collaborative in nature and frequently take place outside the traditional gallery space. Music subcultures have been central to the development of his most recent projects, which have focused on their ability to shape lifestyle, beliefs and create community. Acid House and Black Metal are among the genres of music he has explored, poetically revealing music's intrinsic ability to create communal experiences, devotion and fellowship through the quasi-religious experience of dance. Amongst Stokes’ most noted works to date include Long After Tonight, a 16mm film that conveys strong emotional and spiritual content of British communities associated with the Northern Soul scene.

Matt Stokes was born in 1973 in Penzance, England and currently lives and works in Newcastle/Gateshead, England. He received his BA from Newcastle University in 1997 and was the 2006 recipient of the esteemed Beck's Futures Prize, awarded by the ICA in London. Forthcoming exhibitions include a solo show at the Fridericianum (Kassel). Past exhibitions include venues such as 176 (London), Baltic Centre for Contemporary Art (Gateshead), Lentos Kunstmuseum (Linz) and Witte de With (Rotterdam).

MATT STOKES, these are the days 29 MAY- 10 JUNE 2010
DANI GAL Seasonal Unrest 22 MAY - 26 MAY 2010

DANI GAL Seasonal Unrest 22 MAY - 26 MAY 2010

The third show in our May program – a weekly program featuring a performance or installation by a visual artist that centers on the use of recent historical music or sound - is a video installation by Dani Gal (IL, 1975) called

SEASONAL UNREST

In Seasonal Unrest (2009), we see a large-screen portrait of a foley artist who is producing the new sound track for a film in a recording studio. The film for which this new soundtrack is produced is the 1970 documentary, “Grenade in Gaza’.

The show will open on Saturday, May 22nd, from 8 - 10 pm, and will run through until May 26.

For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.



Installationview Wilfried Lentz RotterdamMay Program

Following the exhibition with Dani Gal, the fourth and last show of the May program will be a large two channel video installation by Matt Stokes, these are the days (2009), featuring a punk gig in Austin Texas as well as a punk band from the same city playing a new sound-track to it. This installation opens Saturday the 29th of May also 8 pm.

May 8th there was a performance by Nico Dockx (BE, 1974) and Carl Michael von Hausswolff[ (SE, 1956) who showed their archival material on ghost transmissions and made new work on this subject which will be published later this summer. The film Sound Track Stage about the meeting of the Rotterdam hip hop and hardcore scenes by Wendelien van Oldenborgh runs till May 19th.

In Seasonal Unrest (2009) by Dani Gal, we see a large-screen portrait of a foley artist who is producing the new sound track for a film in a recording studio. Watching the film and imagining how a given scene should sound, a foley artist imitates real sounds (for example, the footsteps of a character) using his body and different objects to produce believable sound effects for the film.

The film for which this new soundtrack is produced is the 1970 documentary, “Grenade in Gaza’, directed by Mordechei Kirshenbaum. In the film, an Israeli TV crew enters Gaza for the first time to portray everyday life in the territory, which had become occupied three years previously. The film also addresses the misuse of the medium of film to create anti-Israeli propaganda by the Egyptians, itself claiming to provide an objective image of the reality of life in Gaza.

This documentary is shown without sound, in black and white, on a monitor next to the screen.
In the meantime, on the large screen we experience the foley artist at work, who seems mainly concerned with making the historical film material "even more real" with the help of his artificially generated sound effects and a new translation in English.

The juxtaposition of the two films exposes the mechanisms of political documentation. Seasonal Unrest enlightens us as to how media can be instrumental for political aims, pointing in a subversive manner to the role the media plays in the conflict between Israel and Palestine — then as it does now.

As a counterpoint to the video installation, Gal will also present a small watercolour painting in the Janre Painting tradition of Yigal Amir (the assassin of Yitzhak Rabin who painted while sitting in court watching a video of his own crime).

Recent solo and group shows have been at the Kölnischer Kunstverein, Köln, GAM Turin (IT), Migros Museum Zurich, the Pecci Museum in Prato (s) (IT), Halle für Kunst, Lüneburg (s) (DE), Freymond-Guth & Co. Fine Arts, Zürich (s) and the Deutsche Guggenheim, Berlin.


Credits film:

Archive video-Grenade in Gaza, 1970, director Mordechei Kirshenbaum, courtesy: the Israeli broadcast authority

Camera: Emre Erkmen and Dani Gal
Edit: Dani Gal
Foley: foley-studio-berlin
Sound:Thomas Wallmann
Stills: Yoav Horesh
Voice: Jac Rubinstein,
Jeff Burrell
Jeremy Shaw
Steven Jacob

Thanks to the Centro per l'arte contemporanea Luigi Pecci and Freymond-Guth & Co




DANI GAL Seasonal Unrest 22 MAY - 26 MAY 2010
WENDELIEN VAN OLDENBORGH Sound Track Stage 15 MAY - 19 MAY

WENDELIEN VAN OLDENBORGH Sound Track Stage 15 MAY - 19 MAY

The second show in our May program – a weekly program featuring a performance or installation by a visual artist that centers on the use of recent historical music or sound - is a video installation by Wendelien van Oldenborgh (NL 1962).

Sound Track Stage

Sound Track Stage is set up as a meeting between the seemingly opposite music movements of hip-hop and gabber hardcore, both very present in the city of Rotterdam.

The opening will be on Saturday May 15th from 8 till 10 pm and the show is running through May 19th. The gallery is only open by appointment for the May program. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.

Following this exhibition, the May program will conclude with a video by Dani Gal of a Foley artist remaking the sound of the Israeli documentary, “Grenade in Gaza’ (Seasonal Unrest, 2009 - opening May 22nd), and a large two channel video installation, these are the days(2009) (opening May 29th), by Matt Stokes, featuring a punk gig in Austin Texas as well as a punk band from the same city playing a new sound-track to it. The openings for these shows will also be on Saturdays at 8 pm.



Sound Track Stage: the City Through Music and Politics.
In 2006, Wendelien van Oldenborgh organised a public film-shoot in museum Boijmans van Beuningen in which a.o. Paul Elstak, icon of the gabber hardcore scene, and hip-hop DJ Mr. Wix were challenged to present, discuss and play out their conflicting positions in music. Gabber/hardcore and hip-hop are two musical styles, which represent diverse lifestyles and distinct positions within the urban environment. These two styles are particularly present in the city of Rotterdam. They have, however, two quite different groups behind them: one of the many examples of conflicting elements, which make up urban space. Without wishing to create a harmony of the various forms, a soundtrack of friction and connection was created. The complexity of symbols, gestures and signs became the material for this short film.

WENDELIEN VAN OLDENBORGH Sound Track Stage 15 MAY - 19 MAY
Nico Dockx Carl Michael von Hausswolff Friedrich J. Jürgenson Bangkok ghostbuildings

Nico Dockx, half build skyscrapers in Bangkok, 2005

Nico Dockx Carl Michael von Hausswolff Friedrich J. Jürgenson Bangkok ghostbuildings

During the month May, Wilfried Lentz Gallery is showing a program centering on the use of recent historical music or sound, every week featuring a performance or film installation by a different artist. The openings for these shows will be on Saturdays at 8 pm.

The first show we will host is a performance by Nico Dockx (BE, 1974) and Carl Michael von Hausswolff (SE, 1956):

Ghost Transmissions

Both artists have exchanged their archival material on ghost transmissions with each other during the last five years. With the publics’ participation, Dockx and Von Hausswolff will produce new work with surround sound recordings and a photo session.

The performance will be on Saturday May 8th from 8 till 11 pm. Space to attend the performance is limited. Please send an email to the gallery before May 6th to make a reservation. It will not be possible to access this performance without a reservation. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 4126459.



Carl Michael von Hausswolff, portrait of Friedrich J. JürgensonDuring the month May, you will be able to hear recordings of ghost transmissions (Nico Dockx & Carl Michael von Hausswolff, opening May 8), see a film about the meeting of the Rotterdam hip hop and hardcore scenes (Wendelien van Oldenborgh, Sound Track Stage opening May 15th), a video of a Foley artist remaking the sound of the Israeli documentary, “Grenade in Gaza’ (Dani Gal, Seasonal Unrest opening May 22nd), and a large two channel video installation featuring a punk gig in Austin Texas as well as a punk band from the same city playing a new sound-track to it (Matt Stokes, these are the days opening May 29th).
The openings for these shows will be on Saturdays at 8 pm.

The first show we will host is a performance by Nico Dockx (BE, 1974) and Carl Michael von Hausswolff (SE, 1956). Both artists have exchanged their archival material on ghost transmissions with each other during the last five years. Examples include: recordings of ghosts as part of the Friedrich J, Jürgenson archive, recordings of Nico from the Velvet Underground by Arto Lindsay in the Chelsea Hotel and also recordings made by Dockx in half-finished Bangkok skyscrapers. Von Hausswolff will also exhibit new material he made together with Michael Esposito (USA, 1964), voices that they recorded in an vicars house in Östersund(SE).

Some of this older material has been used in earlier art related events and, for this occasion, it is intended only as an introduction for the public into this specialist subject. After this introduction, the artists will use this evening to produce new work with the public. With the publics’ participation, Dockx and Von Hausswolff will produce surround sound recordings and a photo session, in the second half of the evening. These recordings will then be streamed to Chicago for Esposito to record in his studio. There will also be an online discussion between the audience, the artists and Esposito. Afterwards, the material will be analyzed and later used for #4 of our quartely gallery publication.


Nico Dockx Carl Michael von Hausswolff Friedrich J. Jürgenson Bangkok ghostbuildings
Zakłady na Życie (Plant-Life)

Zakłady na Życie (Plant-Life)

Wilfried Lentz Gallery is proud to host artist James Beckett (Harare, Zimbabwe 1977) for a second time, with his new installation,

Zakłady na Życie (Plant-Life)

The opening will take place on Saturday March 13, from 5:00 pm till 7:00 pm and the show will close on April 24. We would be very pleased if you could join us.

During the opening, we will also present the publication, #3 Zakłady na Życie (Plant-Life), with a text by Will Holder On the labelling of exhibits and a signed and numbered edition of 500 by the artist.
This publication can be ordered for 10 euro at Wilfried Lentz Rotterdam, Lüttgenmeijer Berlin, Motto Berlin, Castillos/Corrales Paris, Pro qm Berlin, Boekie Woekie Amsterdam.

The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and press images, please contact the gallery at office@wilfriedlentz.com or +31 (0)10 4126459.



Installationview Zakłady na Życie (Plant-Life)
In keeping with his earlier enigmatic productions, Beckett will show all new works, this time translations and re-workings of material relating to the developments and occasional demise of Polish industry. The show is a component of a larger environment, - a stage-design for a performance piece also named ‘Zakłady na Życie (Plant-Life)’ playing later this year at Festival a/d Werf in Utrecht.

Poland is of particular interest, as much of European industry was shifted eastwards as the 1900’s progressed, hence to represent Polish activity is truly to speak of a Pan-European industrialisation. Found objects from abandoned factories across Poland will be exploited as subject matter for a pseudo-museum: a part archeological, part didactic interpretation, based on a workers’ health and safety display, discovered in a power-station in łódz. The show will be a new scene: an eclectically composed installation housing diverse elements, such as documents, commemorative objects, tools and various other production-related matter presented in cabinets. With this physical approach toward history, the exhibition aims to become a lens, both to review and offer new light on a subject, as well as to practice a visual language purely as an act in itself.

The new work of Beckett is an extension of his earlier projects relating to industrial histories, namely the Bagnoli, Dalmine and Limburgerhof Extract Arrangements. A publication (#3 in the new series of publications of the gallery) with a text by Will Holder, will be a accompaniment to the presentation.

Coming from a background of installation and sound, Beckett has been engaged in research of a mostly scientific and historic nature, building on a surface layer across various media. Specific areas of the industrial revolution have played muse; such as the evolution of Dalmine (an Italian company producing tubular steel) and the cultural implications of vacuum tubes for the Dutch firm Philips. Along with being a member of The FRÈDERYCK NÙYEGEN Seaside Memorial Band, Beckett has his own registered Scottish tartan, the pattern of which is based on vintage digestive experiments: ‘Beckett-Beaumont’ (#7039). A monograph with Kehrer Verlag of Heidelberg is published early 2009, featuring most works of the past decade. The new piece is coproduced with Festival aan de Werf in Utrecht.

Recent exhibitions include All the memory of the world, GAM, Torino; ‘Bagnoli', T293 Naples; ‘Dalmine (and other industry extract-arrangements)’, Lüttgenmeijer, Berlin; Young Artists' Biennal, Fundatia Culturala Meta, Bucharest; ‘For the First and the Second Time’, CAC Vilnius; 'Living Registration’, Bürofriedrich Berlin; ‘Between Thought and Sound’, The Kitchen New York; "Museum of Noise', Kölnischer Kunstverein, Cologne. Beckett won the Prix de Rome for Art and Public Space in 2003.

The opening will be March 13 from 5 pm till 7 pm and the show is running through April 24th.. The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and visuals, please contact the gallery; office@wilfriedlentz.com or +31 (0)10 4126459.



Installation view Zakłady na Życie (Plant-Life)
Zakłady na Życie (Plant-Life)
Pharmaceutical dreams

Pharmaceutical dreams, 2010
C-print 17,1 x 20 cm
framed 37 x 37 cm
Edition 3 + 1 A/P

Pharmaceutical dreams

Wilfried Lentz Gallery is pleased to present Rossella Biscotti(IT, 1978) in our next exhibition, A short story about memory, pentothal and dreams.

The opening will take place on Thursday 4 February from 9:00 pm till 12:00 pm. during Art Rotterdam and the show will close on February 20th. We would be very pleased if you could join us.

The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and press images, please contact the gallery at office@wilfriedlentz.com or +31 (0)10 4126459.



A short story about memory, Pentothal and dreams, 2010
Installation view Wilfried Lentz Rotterdam
The installation, A short story about memory, pentothal and dreams, consists of several components – an audio work that can be heard throughout the exhibition space, a slide projection, a metal bench, a vitrine with a photograph of a cross-section of a human brain, lightboxes with large format slides and photographs which are fragments taken from postcards. The audio work, presented earlier in the Prix de Rome exhibition in 2009, consists of recordings of psychoanalytic sessions that took place in the Netherlands between 1987 and 1991. It is only from one sentence noted in the protocol: “Seventh session. Mr. Dik de Boef, under the effects of pentothal...,” that the listener is enabled to categorise the recording and understand that it concerns a person undergoing treatment by the controversial psychiatrist Prof. Jan Bastiaans. From the 1980s onwards, he employed LSD as well as Pentothal, also known as the “truth drug”, in the therapy of trauma patients from the Second World War. The slides and photographs are imagery taken from postcards that the Pentothal manufacturer would send to his clients. These seemingly innocent photographs of touristic spots were used as advertisment for the Pentothal drug. Details and fragments of information in the recordings, but also in the fragmented photographs, allow the visitor to experience a collective mnemonic scenario. Here, it is not only a matter of one individual’s perspective, but of a history we all share in – the terrible events of the war and the factors that caused it from a psychoanalytical viewpoint. Here, these events take shape between a dream state and wakefulness, under the influence of drugs and psychodrama.

In Biscotti’s art, the starting point of a work is always a social or political event, possibly one in the distant past, which the artist encounters (eg. in the form of documentation or a newspaper snippet) and subsequently investigates meticulously. Biscotti’s works transpose these found documents, as fragments of an individual history, into reflections about identity, our relation to reality, and the depiction of memory. The subtle interplay between concealed or multiple identities, fiction and reality, and the overlapping layers of time, constitute the characteristic attraction of Biscotti’s videos and installations.

Recent solo and group exhibitions include: Prix de Rome (2nd prize), Witte de With, Rotterdam (NL), 168 Sections of a human brain at Galleria Civica di Trento(IT), Suspect at De Pont, Tilburg (NL), Peripheral Vision and Collective Body at Museion in Bolzano/Bozen(IT), Cabinet of Imagination at Netwerk in Aalst(BE), Gstaadfilm (1st Prize – Golden Cow), Gstaad (CH), Looking for the Border at Cultuurcentrum Strombeek/De Garage Mechelen (BE), Dal tempo al tempo at the Palazzo Sandretto Re Rebaudengo in Guarene(IT), 12th Biennal of Moving Images (1st Prize), Centre pour l’image contemporaine, Geneva (CH), Adam at Smart Project Space, Amsterdam (NL). Upcoming shows are: And the Moral of the Story is… at Witte de With and All the Memory of the World, at GAM Torino.

The exhibition will open on February 4th, from 9:00 pm till 12:00 pm. The exhibition will run from January 30 through February 20. The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and visuals, please contact the gallery; office@wilfriedlentz.com or +31 (0)10 4126459.

Installationview Bethanienhaus Berlin, 2009
Pharmaceutical dreams, 2010
C-print 17,1 x 20 cm, framed 37 x 37 cm
Edition 3 + 1 A/P

Pharmaceutical dreams

Giorgio Andreotta Calò
untitled (Selfportrait), 2009
scanned Polaroid reprinted in black & white on paper mounted in found frame

Wilfried Lentz Gallery is very pleased to present new work by nine conceptual artists from differing backgrounds in the arts in our next exhibition, Not Created By A Human Hand. The exhibition will feature works by: Giorgio Andreotta Calò (IT, 1979), James Beckett (ZW, 1977), Rossella Biscotti (IT, 1978), Susan Hiller (USA, 1940), Joachim Koester (DK, 1962), Jonathan Monk (GB, 1969), Dan Rees (GB, 1982), Mark Soo (Singapore, 1977) and Philippe van Wolputte (BE, 1982). The first photograph of the Shroud of Turin (1898), by Secondo Pia (1855 Piemonte – 1941), will also be on display.

Not Created By A Human Hand
will open on Christmas Eve, Thursday, December 24th, from 5 pm.
The launch of the gallery publication, #2 On the Art of Making Without Hands, with a text by Alena A. Alexandrova, will coincide with the opening and be immediately followed by bites and drinks at the gallery. Please join us for the opening.

The publication with a signed edition (500) by Joachim Koester and James Beckett can be ordered for 10 euro at Wilfried Lentz Rotterdam, Castillos/Corrales Paris, Pro qm Berlin, Boekie Woekie Amsterdam.

The gallery is regularly open Thursday - Saturday from 1-6 pm, but will be closed during Christmas and New Years day. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 – 4126459.



Secondo Pia, Positive photographic image (‘the negative’) of the shroud of Turin, 1898
10,7 x 7,6 cm, mounted on board
Not Created By A Human Hand was conceived as an invitation to several artists to create a new work that responds in some way, to either the shroud of Turin or the first photograph of it, by Secondo Pia.
The photograph of the shroud (1898) opened up the possibility of turning the imprint of the body of Christ from a negative into a positive; to finally see the face, and make sense of the stains of the linen.

We could see the Holy Shroud as the greatest piece of appropriation art, a humble object, found by someone with an agenda. What about an exhibition about the condition of such an artifact, an object that excludes any artistic operation? Or more precisely, that masks it, hides it. How can such an artifact be translated into images today? Because of its condition - being a contact-image, a found image, and an instantaneous occurrence, it provides an interpretative frame for many contemporary art practices (excerpt from text by Alena Alexandrova*).

In this invitation, a selection was made of artists who possess different types of special interests that connect to the subject. For example Giorgio Andreotta Calò witnessed a copy of another relic, the Limpsias, firsthand, which made such a haunting impression that it forced him to performative actions. James Beckett’s work tends to accelerate science and technology to a point where it becomes obscure or absurd. Rossella Biscotti and Susan Hiller are both interested in historical documents that still retain some meaning today. Joachim Koester has a strong interest in the occult. Dan Rees and Jonathan Monk’s practices both question aspects of authorship and the ‘truth’ of an image while Mark Soo is interested in the hidden messages and meanings behind the images and objects of our world. Several of them work with found materials and the ready-made while, using strategies of mediation, both Andreotta Calò and Van Wolputte’s works reflect on repetitor and the distribution of an image. Soo, Ree and Koesters’ works, on the other hand, investigate the opacity of an image and the mechanics of its presentation.

The exhibition is composed of artists with a broad range of methodologies and experience. While the majority of the artists are young and at the beginning of careers a few are already well-established and have gained recognition from their participation in large international exhibitions.

*) Gallery publication #2 On the Art of Making Without Hands, with a text by Alena A. Alexandrova


Jonathan Monk, The Things We Could Do Before We Were Here To Do Them, 2009

untitled (Alphabet/Huge Machine), 2009
Ilfochrome prints, high glossy paper
41,2 x 34,6 cm, image 30 x 30 cm
Edition 1/6 + 2 A/P

Wilfried Lentz Gallery is proud to host artist Susanne Kriemann (DE, 1972) in our next exhibition, Untitled (Alphabet). The show consists of a series of 23 high-gloss prints presented in one large installation. Also on show is a unique artist book (One Book, 2009) that was produced as the result of a performance in Łódź with the philosopher, writer and curator Dieter Roelstraete.

The opening will take place on Saturday 21 November from 5:00 pm till 7:00 pm. and the show will close on December 17th. We would be very pleased if you could join us.

The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and press images, please contact the gallery at office@wilfriedlentz.com or +31 (0)10 4126459.



untitled (Alphabet/Black-Books), 2009
Ilfochrome prints, high glossy paper
41,2 x 34,6 cm, image 30 x 30 cm
Edition 1/6 + 2 A/P
The new work, Untitled (Alphabet), is the outcome of an extensive research for two recent exhibitions.
The first show, Aura (curated by Michiel van Iersel), was in Amsterdam at Castrum Peregrini, a former refuge for Jews in WWII. The 17th century canal building was left in the same state as it was just after the war and recently used as exhibition venue. Here, Kriemann found a privat space which housed forgotten objects that formed a world of their own. It contained a range of books (some with personal notations by Walter Benjamin, for example) and personal possessions, such as small paintings of enigmatic origins. The second exhibition, Anabasis: Rituals of Homecoming, was curated by Adam Budak at the Museum of Art Books in Łódź. Here, the artist found old printing technology and these machines were re-used for a performance during the opening.

Susanne Kriemann photographed the books in Amsterdam and the machines in Łódź with the best possible camera, operated by the most professional technical photographer known.
The artist isolated the 23 objects in the photographs by using a completely black background. The images of these objects become a new sort of typeface, each on their own forming a new alphabet. As Dr. Vanessa Joan Müller wrote on the occasion of the exhibition, Die Wörter Die Dinge (2007), at the Düsseldorf Kunstverein:“Die Fotografien von Susanne Kriemann richten ihren Fokus auf scheinbar beilläufige Szenen, die entweder mit Bedeutung aufgeladen sind oder aber suggerieren, eine solche zu besitzen. Sie zeigen eine Zone der Verunsicherung, in der Gegenstände oder architektonische Details von Kontexten zu sprechen scheinen, die der Fotografie selbst äußerlich bleiben und auch über den Titel nicht eingeholt werden.”

One Book
In Łódź, Kriemann incorporated one old printing machine to superimpose an immense typeface (forming the letters H, O , M and E) on the pages of the book ‘Vögel vor der Kamera’ (1961). Throughout the 200 pages of the book, an impressive palimpsest was created, infusing the original content with new meanings.

Kriemann has a deep interest in monuments and artifacts in which the symbolic meanings shift over the course of time. Her books depict this shift in meaning and document her photography at the same time. As part of her contribution to the Berlin Biennale 5, Kriemann produced the artist book, 12650 (publisher A Prior). Also, for an exhibition at GAMEC on the same subject, she produced the artist book, 12 650 000, in the style of ArtForum. Recently, a beautiful catalogue was published by ROMA-publications as an accompaniment to the exhibition, One Time One Million at SMBA, which is now on view at Uqbar in Berlin.

A solo-exhibition is scheduled for end of this year at the Künstlerhaus Stuttgart (opening on December 11th). At the moment she is also part of several groupshows, for example at the Ursula Blickle Stiftung, the Temporäre Kunsthalle and the Berlinische Galerie in Berlin. The exhibition Untitled(Alphabet) runs until December 17th. The gallery is open Thursday - Saturday from 1-6 pm. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 – 4126459.

One Book, 2009
(4 pages, in total 200 pages superimposed with the letters H O M E)

Book printing performance in Lodz 5.09.2009 with Pan Pavel, Dieter Roelstraete, Susanne Kriemann.
WENDELIEN VAN OLDENBORGH, Après la reprise, la prise, 6 SEPTEMBER-11 OCTOBER 2009

WENDELIEN VAN OLDENBORGH, Après la reprise, la prise, 6 SEPTEMBER-11 OCTOBER 2009

Wilfried Lentz Gallery is very pleased to host Wendelien van Oldenborgh (NL, 1962) in our next exhibition, Après la reprise, la prise. The show consists of a new work, a 15 minute montage of slides, presented in a specifically conceived architectural environment.

The exhibition opens on Saturday, September 5th, from 5:00 till 7:00 pm and will run until October 11th.

During the opening, we will also present the publication, #1 Tia Ciata's Open-House, The Everyday as Stage, along with a signed and numbered transcript of Après la reprise, la prise (edition 500).
It is the first in a new series of publications issued by Wilfried Lentz Rotterdam.
Publication and transcript can be ordered for 10 euro at Wilfried Lentz Rotterdam, Castillos/Corrales Paris, Pro qm Berlin, Boekie Woekie Amsterdam.

Please note that hours have changed for this exhibition:
Thursday - Saturdays from 4.30-7.30 pm and by appointment.
For further information and press images, please contact the gallery at office@wilfriedlentz.com or +31 (0)10 4126459.

Click here to download publication as pdf
Click here to download transcript as pdf
Click here to download artist text as pdf



slide projection in architectural setting
3 slide projectors, synchronised sound and subtitles in English, separately projected.
looped, 15 minutes.

Après la reprise, la prise was filmed on location at the Royal Technical Atheneum (KTA) in Mechelen (B) with a group of students from this school and two former Levis factory workers, who have become actresses. On the occasion of the film shoot, discussions about work and the loss of it, as well as speaking and appearing in public, developed without scripted text in this concentrated meeting between them. Stills from the filmed material have been transferred into slides to form a 15-minute montage, presented in a specifically conceived architectural environment.

Women – Work – Cultural Production
Around the same time as the surprise closure of Renault's plant at Vilvoorde (Belgium) in 1997, the jeans manufacturer Levi-Strauss announced unexpectedly that it would close four of its twelve factories in Europe. Three of these four were located in Belgium, the fourth one just over the French border, in the region of Lille. Around two thousand, predominantly female, employees demonstrated, performing actions and strikes. In the end, the factories were closed and all of these women – many of whom had spent their entire working lives with Levi's – found themselves with no employment.

In the summer of 2000, twenty-five of these women joined a two-month writing workshop by dramatist Bruno Lajara, who was interested in creating a play about their experiences. The resulting theatre piece, titled 501 blues, toured the whole of France successfully for two years. Some of these women kept working with the same director in various other productions, enjoying their roles on stage and making their voices public for the first time in their lives.

Being and speaking in public
For the slide projection Après la reprise, la prise, two of these women were invited to meet with a group of teenage students from the Royal Technical Atheneum (KTA), which took place largely in their recently dismantled sewing classroom. Most of these young students are often already employed and looking forward to roles in the contemporary work force. At one point in the dialogue, one of the actresses invites the students to articulate themselves publicly. The students, for their part, share their knowledge on appearances in public settings.

As with many of her previous works, here too, Wendelien van Oldenborgh confronts the past with the present in an active way. Taking specific historical situations as a starting point to examine current social conditions, she opens forms of investigation and production, assuming special interest in different narrative models and the politics and construction of subjectivity.

Recent international solo and group exhibitions include Contour, Mechelen (BE), Becoming Dutch, Van Abbemuseum (NL), The Demon of Comparisons (part of Electric Palm Tree) at Stedelijk Museum Bureau Amsterdam, 28th Biennal of São Paulo, As Occasions at Tent Rotterdam, Lecture/Audience/Camera at Muhka, Antwerpen. Van Oldenborgh will participate in the upcoming Istanbul Biennal with her work, Instruction.

Après la reprise, la prise was co- produced by Contour Mechelen, and supported by Fonds BKVB. The design of the architectural environment is in collaboration with Milica Topalovic.
With the new publication #1 a signed and numbered transcript of Après la reprise, la prise was published. Publication and transcript can be ordered for 10 euro at Wilfried Lentz Rotterdam, Castillos/Corrales Paris, Pro qm Berlin, Boekie Woekie Amsterdam.
Click here to download publication as pdf
Click here to download transcript as pdf





WENDELIEN VAN OLDENBORGH, Après la reprise, la prise, 6 SEPTEMBER-11 OCTOBER 2009
Lonnie van Brummelen & Siebren de Haan,MONUMENT OF ANOTHER MAN\'S FATHERLAND

Monument to Another Man’s Fatherland (I), 2008
Revolt of the Giants, filmstill
35 mm film, b-w, silent, 40 minutes
Edition 3 + 2 A/P



Lonnie van Brummelen & Siebren de Haan,MONUMENT OF ANOTHER MAN'S FATHERLAND

Wilfried Lentz Gallery is very pleased to host artists Lonnie van Brummelen & Siebren de Haan (NL, 1969 & 1966) in our next exhibition, Monument to Another Man’s Fatherland. The show consists of two films and a text work.

The opening will take place on Saturday 9 May from 4:00 pm till 6:00 pm. and the show will close on June 1st. During the opening there will be a book launch of the artists monograph, Redrawing the Boundaries, which has been published by Valiz.
We would be very pleased if you could join us on this special occasion.

The gallery is open Thursday - Saturdays from 1-6 pm and by appointment. For further information and press images, please contact the gallery at office@wilfriedlentz.com or +31 (0)10 4126459.



Monument to Another Man’s Fatherland (II), filmstill(Ersin), 2008
Revolt of the Giants recited by prospective Germans,
16 mm film, b-w, optical sound, 26 minutes
Edition 5 + 2 A/P
Forget everything you learned. All masters are suppressors.
The dictum still resonates in the clouds of oblivion.


Triggered by the invitation to make new work for Project Art Centre in Dublin, Van Brummelen & De Haan followed the trail of a Celtic Tiger to Berlin. On Museuminsel, a Hellenist victory monument that once commemorated a battle of Pergamese and Celts in Asia Minor has been reconstructed from marble fragments; archaeological ‘finds’ from Anatolia. The historical battle is mythically represented as the struggle between gods and giants on the monument’s frieze: liminal creatures, half-human half-animal. This primordial confrontation is perceived as forerunner of dialectics. But the frieze is also the receptacle of another tale – that of nation building by cultural looting and the appropriation of cultural heritage.

When Lonnie van Brummelen & Siebren de Haan invited the Pergamon Museum and Stiftung Preußischer Kulturbesitz, the current owner of the antique monument, to re-animate the classical relief by cinematically connecting it to its grounds of origin the parties refused to collaborate, citing that it ‘might stir the debate about repatriation,’ something the museum was ‘not interested in’.

As imagery of the relief circulates in many academic studies, museum guides and reference books, the artists were able to find a range of reproductions such as heliographs of the sculptural fragments before they were mounted into the museum architecture (included as illustrations in a dissertation from 1925); pictures of the gods and giants illuminated as if they were actors in a Proletkult theatre (published in 1959 by the Hermitage when the relief was in their possession after being looted in WWII by the Red Army); or large pictures of most sensational parts of the highlight (included in coffee-tabel books like Greek Sculpture, its Spirit and its Principles). Appropriating reproductions from different sources and different epochs, photographed on various locations, in diverse illumination, and printed in a range of techniques, the artists managed to piece together the entire sculptural struggle. The 35mm black and white film Revolt of the Giants slowly explores the silent surface of the cut-and-pasted battle scene.

A second film, on 16mm, interprets the revolt of the giants not as silent surface but as a series of speech acts. The artists asked Turkish migrants in the midst of preparing for their obligatory integration exam at the Goethe Institute in Istanbul, who still knew only very basic German vocabulary, to vocalize a German art historical description of the sculpted myth that traveled ahead of them about 130 years ago. In Revolt of the Giants – recited by prospective Germans the future migrants try to get their tongues around the tones and rhythms of a language they have not yet mastered.

Van Brummelen & De Haan have collaborated together since 2002, producing film installations that explore the boundaries of the public realm. Their films peruse the movements, textures and tonality of cultural and geopolitical landscapes, like Europe’s new borders (Grossraum, 2004-2005), sites of global trade (Monument of Sugar, 2007), or the non-sites of cultural heritage (Monument to Another Man's Fatherland, 2008). Their works have recently been shown at CAC Vilnius; Project Arts Centre, Dublin; Shanghai Biennial 2008; Robert Flaherty Seminar, Hamilton; MoMA, NY; Palais de Tokyo, Paris and TPW Gallery, Toronto. Monument to Another Man’s Fatherland was commissioned and co-produced by Project Arts Centre in Dublin, and supported by Fonds BKVB, Dutch Film Fund, Platform Garanti and Goethe Institut Istanbul.

Click here to download text as pdf.
Lonnie van Brummelen & Siebren de Haan,MONUMENT OF ANOTHER MAN\'S FATHERLAND
The MOUNTAINSHOW Groupshow with Marc De Blieck and Jules Spinatsch, 7 MARCH - 15 APRIL 2009

Marc De Blieck, detail 'I wasn't there', inkjetprint, framed 44 x 102 cm, edition of 5, 2007

The MOUNTAINSHOW Groupshow with Marc De Blieck and Jules Spinatsch, 7 MARCH - 15 APRIL 2009

We cordially invite you to The Mountainshow, a group exhibition with works by Marc De Blieck (BE), Jules Spinatsch (CH), Carleton Watkins (USA), Rossella Biscotti (IT) w/ Jacob Kirkegaard(DK), Matts Leiderstam (SE), and Aldwin van de Ven (NL). In The Mountain Show, six artists reflect on the visual, philosophical and symbolic representation of mountains in historical imagery from 1770 until the present day.

The opening will take place on Saturday 7 March from 5:00 pm till 7:00 pm.
The exhibition will run from March 7 until April 15.

For further information and visual resources, please contact the gallery at office@wilfriedlentz.com or +31 (0)10 4126459.



Installationview The MountainshowThe present day concept of a mountain 'retreat' has its historical origins in the Grand Tour, which for 18th century European men of means meant time spent in the mountains. Writers passing through the Alps on their way to Italy would pen descriptive accounts of their experiences there and these writings along with various genres of landscape painting would stake the mountain as a symbol of the immensity of nature untamed, and the beauty and terror of the sublime.

The world would have its first encounter with mountain imagery through the mass circulation of 19th century photographs. Many of these early photographs were taken by entrepreneurs who set out across the vast landscapes and uncharted territories of the American west. Two such early American photographers were Carleton E. Watkins and Timothy O’Sullivan who photographed highly iconic images of mountains. A favorable public response to these widely-circulated, panoramic and stereoscopic views led to the expansion of 19th century tourism.

Eager to capitalize on ‘the mountain’ as an untapped resource, the travel and sporting industries would sell the idea of a trip to the mountains as an encounter with natural beauty. The advent of train travel, newly built roads and railway lines would open up vast landscapes and provide easy access to mountainous terrain and previously inaccessible locales. The mountain would become commodified as a spectacle, and gain associations with leisure, pleasure, adventure, sports, vacationing, and rest.

Mountaineering and winter sports have become extremely popular pastimes and many Hollanders today opt to spend time in the mountains, leaving behind one of the flattest countries in the world to experience the natural wonder and beauty of the hills.

Marc De Blieck's works reflect on the ‘image’ of the mountain as a historical construction. His panoramas are layered images created from a montage of multiple photographs, which are made over a period of time. In some of the prints the top layer is made of gold or palladium leaf. De Blieck’s work is joined by Jules Spinatsch’s installation Scene SHAP (2007) and Inventory (2003-2008) a series of small photographs that depict the mountainscape as a theatre of spectacle. After repainting View of the Eruption of Mount Vesuvius, an 18th century landscape painting by Pierre-Jacques-Antoine Volaire, Matts Leiderstam placed his version of the painting on Mount Vesuvius in direct relationship to the view of the mountain pictured in Volaire’s, which is now parallel to the path tourists take to see the same view on their way up the hill. On Site (2001) - a photograph showing Leiderstam’s copy in relation to volcano pictured in Volaire’s, captures the artist’s attempt at an artistic intervention. The artist Rossella Biscotti presents Dai Tempo al Tempo (2008) - a video that features images of mountains taken by the engineer Pietro Pensa in an effort to study landscape and its transformation. Jacob Kirkegaard recorded the sound of the mountain’s interior for Biscotti’s video. A small painting and a sculpture by Aldwin van de Ven depict the mountain in relation to an experience of abject disappointment and a seemingly lost relationship between mountains and the sublime. The exhibition also includes El Capitain (1865).an early vintage Mammoth plate print by Carleton E. Watkins.

Text: Esperanza Rosales / Wilfried Lentz



installationview The Mountainshow
Matts Leiderstam, On Site, 2001
framed c print 58 x 75 cm
Ed 10 + 2 AP

Jules Spinatsch, Scene Hannibal, dimensions variable, 2007
The MOUNTAINSHOW Groupshow with Marc De Blieck and Jules Spinatsch, 7 MARCH - 15 APRIL 2009
Philippe van Wolputte T.P.E.S.#1/2/3/4

Philippe van Wolputte T.P.E.S.#1/2/3/4

We cordially invite you to a solo exhibition of new work by artist Philippe van Wolputte (born in Antwerp, Belgium 1982, lives and works in Antwerp and Amsterdam).
The exhibition will feature his production: T.P.E.S.#1/2/3/4

The opening will take place on Saturday 24 January from 5:00 pm till 7:00 pm with a reception for the artist.
The exhibition will run from January 24 until February 22.
Between February 4th and February 8th the gallery will be open by appointment only due to our participation in Art Rotterdam.

For further information and visual resources, please contact the gallery at office@wilfriedlentz.com or +31 (0)10 4126459.



Installation view T.P.E.S.#1/2/3/4 Wilfried Lentz Rotterdam The exhibition’s title is an acronym for Temporary Penetrable Exhibition Space number 1, 2, 3 and 4. The T.P.E.S.’s are four site-specific interventions that have occured in vacant, disused spaces in Belgium and the Netherlands over the past three years. The exhibition T.P.E.S. #1/2/3/4 consists of documentation of these interventions, represented by photographs, video and collages.

Like many cities in Belgium, the city of Antwerp has many derelict, vacant buildings and spaces. These spaces are sometimes inhabited by the homeless. As a result these buildings are typically demolished by developers and city councils as quickly as possible. What is not generally acknowledged is that these deteriorated spaces serve an important function in the memory and social landscape of the city and in a way possess a beauty of their own. The rapid measures taken to demolish these unused spaces are a way to exclude everything that is irrational, chaotic and seemingly unreasonable in urban planning.

Philippe van Wolputte’s interventions draw attention to the existence of these spaces by making them accessible again for a short period of time, and he approaches his subjects with an almost Freudian-like obsession. Using narrow corridors and holes, he creates new passageways and infiltrates nearly impenetrable spaces, giving them a new temporary function as a fictional exhibition space. Despite the fact that cities in the Netherlands are in a good example of mass-extinction of the obsolete and the useless, Wolputte managed to find a meaningful site for a T.P.E.S. in Rotterdam after a long period of research. The artist’s interpretation of his experiences in creating his interventions and the intimate manner of viewing these spaces characterize his work, expressed in beautiful graphlike photographs, videos and collages.

Recent exhibitions include ‘Laugh Track’ - Brussels Biennial Off Program, Brussels, ‘A Bridge To Far’, NICC, Antwerp, ‘Dragged Down Into Lowercase’ curated by Clémentine Deliss and Oscar Tuazon, Zentrum Paul Klee, Bern, ‘Virus’ curated by Sara Weyns, Hessenhuis, Antwerp, ‘In-Depth Study’, SMAK, Ghent, BE, ‘Positioning System’, Showroom MAMA, Rotterdam, and ‘Academy’ and ‘A4’ both organized by the MUHKA in Antwerp. Philippe van Wolputte studied at Sint Lucas Antwerp (BE) and became recently a resident at the Rijksakademie in Amsterdam.
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installation view T.P.E.S.#1/2/3/4 Wilfried Lentz Rotterdam
Philippe van Wolputte T.P.E.S.#1, Antwerp(BE), collage, 2005
Philippe van Wolputte T.P.E.S.#1/2/3/4
James Beckett, Limburgerhof The Agricultural Extract-Arrangements

James Beckett, Limburgerhof The Agricultural Extract-Arrangements

We cordially invite you to a solo exhibition of new work by artist James Beckett (born Harara, Zimbabwe 1975, lives and works in Amsterdam).
The exhibition will feature his latest production: Limburgerhof (The Agricultural Extract-Arrangements).

The opening will take place on Saturday 6 December from 5:00 pm till 7:00 pm.
We would be very pleased if you could join us on this special occasion.
The exhibition will run from December 6 until January 18. Between December 21 and January 4 the Gallery is closed
Gallery hours are: Thursday - Saturday 1:00 - 6:00 pm and by appointment.

For further information and visuals, please contact the gallery; office@wilfriedlentz.com or +31 (0)10 4126459.



James Beckett, Limburgerhof The Agricultural Extract-Arrangements, 2008, installationviewThe installation ‘Limburgerhof (The Agricultural Extract-Arrangements)’ is a series of newly produced pieces, - translations and reworkings of material relating to an agricultural research centre.

Formerly a small German village producing sugar beet, Limburgerhof was developed as housing for workers of the chemical giant BASF, later to become an agricultural research centre in 1914. As a division of BASF’s other chemical exploits, the Limburgerhof plant became of key importance in the development of knowledge in the chemical manipulation of crops, including the use of fertilizers. There were however several short-comings in the early days of these experiments, in particular the Oppau explosion of 1921, which resulted in the formation of a 90 by 125 m crater and with it, the death of some 600 people.

Beckett takes Limburgerhof as a series of events and facets, a sort of loose tool kit with which to re-arrange and combine, in order to derive new sense. Each piece of information is kept dry and unfettered in order for it to remain compatible with another, - each object precious so as to place emphasis on the seemingly peripheral. In an installation of paintings, sculptures, embroidery and various objects presented in cabinets, an environment is born sitting somewhere between a public communications centre of the Limburgerhof, and craft exhibition of BASF-employees. With this technique for the approach of a history, the exhibition aims to become a lens, both to review and offer new light on a subject, as well as to practice a visual language purely as an act in itself.

‘Limburgerhof’ is a continuation of the extract-arrangement series, following ‘Dalmine (and other industry extract-arrangements)’ and preceding the ‘fire extract-arrangements’, of which there will be a few preview pieces on show.

Coming from a background of installation and sound, Beckett has been involved in a form of research in various subjects, building on a surface layer across various media. Specific areas of the industrial revolution have played muse; such as the evolution of Dalmine (an Italian company producing tubular steel) and the cultural implications of vacuum tubes for the Dutch firm Philips. Along with being a member of the Dutch based musicians collective; N-collective, Beckett has his own registered Scottish tartan, the pattern of which is based on vintage digestive experiments: ‘Beckett-Beaumont’ (#7039).

Recent exhibitions include ‘Dalmine (and other industry extract-arrangements)’, Lüttgenmeijer, Berlin; Young Artists' Biennal, Fundatia Culturala Meta, Bucharest; ‘For the First and the Second Time’, CAC Vilnius; ‘Living Registration', T293 Naples; 'Living Registration’, Bürofriedrich Berlin; ‘Between Thought and Sound’, The Kitchen New York; "Museum of Noise', Kölnischer Kunstverein, Cologne.
Beckett won the Prix de Rome for Art and Public Space in 2003. He will publish a monograph with Kehrer Verlag of Heidelberg in early 2009, featuring most works of the past decade.
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James Beckett, Limburgerhof The Agricultural Extract-Arrangements,
Plates and Knives (working title), 2008
Vitrine, 2 dishes, 2 knives
50 x 110 x 24 cm
Unique


James Beckett, Limburgerhof The Agricultural Extract-Arrangements
Rossella Biscotti , The Undercover Man, videostill

Rossella Biscotti , The Undercover Man, 30' ,videostill(Joseph Pistone), 2008

Rossella Biscotti , The Undercover Man, videostill

We cordially invite you to a solo exhibition of new work by artist Rossella Biscotti (born Molfetta, Italy 1978, lives and works in Rotterdam).
The exhibition will feature her latest production: The Undercover Man, a film based on the firsthand testimony of special FBI agent Joseph Pistone (a.k.a the real Donnie Brasco.)

The opening will take place on Sunday 19 October from 1:00 pm till 3:00 pm.
We would be very pleased if you could join us on this special occasion.
The exhibition will run from October 23 until November 22.
Gallery hours are: Thursday - Saturday 1:00 - 6:00 pm and by appointment.

For further information and visuals, please contact the gallery; office@wilfriedlentz.com or +31 (0)10 4126459.



Rossella Biscotti , The Undercover Man, archival photograph with notations by Pistone,2007The title of the exhibition is taken from the title of Biscotti’s latest work, The Undercover Man (2008) – a film based on firsthand testimony of former special FBI agent Joseph Pistone. During the years 1976 to 1981 Pistone successfully infiltrated the New York City mafia, under the guise and moniker of a jewel thief named Donnie Brasco. His personal testimony provided key evidence that led to the conviction of several members of the Bonanno crime family in the trials against the New York Mafia that began in the early 1980’s.

The extraordinary events of his life have been immortalized and reproduced in numerous books. But to mainstream audiences, Joseph Pistone’s biography is most closely associated with that of his on-screen persona, played by Johnny Depp in the Tristar Pictures release, Donnie Brasco.
In The Undercover Man Biscotti stages an interrogation between herself and Joseph Pistone. The resulting film interweaves Pistone’s responses to questions inspired by the transcript of a 1982 trial against two notorious gangsters (Dominick Napolitano a.k.a. Sonny Black and Benjamin Ruggiero a.k.a. Lefty Guns,) with actual footage from FBI surveillance tapes – on loan from Mr. Pistone’s personal archive. Pacing through a specially constructed set, we are able to watch the movements of a man that moves between two worlds.
Biscotti’s film is stylistically reminiscent of American noir films of the 1940’s. Extended close-ups on various objects within the room – including a clock, a nagra tape recorder (like that used in Pistone’s undercover work), and a bare light bulb – work to create a complex relationship between memory and time, in which the delivery of cold hard facts, is veiled by the voice of the man delivering them. Original music by FRAME provides a sonic element that alludes to all that remains hidden and unspoken. The exhibition also includes archival FBI-photographs with notations by Pistone.
In the tradition of her earlier films, Biscotti gives insight to an extraordinary story, in which truth is teased out through layers of re-telling, and investigative research. Often times, Biscotti appears as a character in her films, and makes use of film’s sinewy status in popular culture as a reference point for what is "real".
Recent solo and group exhibitions include: ‘You have to be focused’, prometeogallery, Luca (IT),‘Peripheral vision and collective body’, Museion in Bolzano/Bozen(IT), ‘Cabinet of Imagination’,Netwerk in Aalst(B), Gstaadfilm (1st Prize – Golden Cow), Gstaad (CH), ‘Looking for the Border’, Cultuurcentrum Strombeek/De Garage Mechelen (B), ‘Dal tempo al tempo’ at the Palazzo Sandretto Re Rebaudengo in Guarene(IT), 12th Biennal of Moving Images (1st Prize), Centre pour l’image contemporaine, Geneva (CH), Adam, Smart Project Space, Amsterdam (NL)
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Rossella Biscotti , The Undercover Man, videostill

We are very pleased to announce that the Danish/American artist Ulrik Heltoft will be featured in our next exhibition.
The show’s imaginative title, 'Voyage autour de ma chambre'
is an intriguing short film based on the novel written by Xavier De Maistre in 1794.

Furthermore a selection of neo-surrealistic images that are based on the book ‘Nouvelles Impressions d’Afrique’ by the writer Raymond Roussel (1928) can be seen by appointment in a specially made sideshow, which is located in close proximity to the Gallery. These are to see until the 22nd of November.

The opening will be Sunday 7th of September from 12:00 am till 7:00 pm.
Other Rotterdam based galleries will also have their opening that afternoon. Bikes can be rented at our gallery free of charge. Reservations: office@wilfriedlentz.com.

The gallery will be open as of Thursday 11th of September, and its opening times are: Thursday - Saturday 1:00 - 6:00 pm and by appointment.

For further information and visuals, please contact the gallery; office@wilfriedlentz.com or +31(0)10 – 4126459.



installation viewThe intriguing short film by Ulrik Heltoft (DK), 'Voyage autour de ma chambre', is taken from the title of Xavier De Maistre’s 1794 novel.

De Maistre served under the Kingdom of the Sardinia Army when he was young, and while he was under arrest at Turin in consequence of a duel, he wrote his novel, 'Voyage autour de ma chambre'. Imprisoned in his room for seven weeks, De Maistre described the customs, furniture and engravings as if it were an imaginary journey to a strange land. He praised this voyage because it did not cost anything, and for this reason it was strongly recommended to the poor, infirm and lazy. His story can also be seen as a parody on the Grand Tour narratives of that time. Heltoft used this novel as a starting point for the extra-ordinary film that he ended up producing.

Heltoft often uses external instructions or highly imaginative stories as an important tool in producing new work. For example, since 2006 he has established an ongoing project, which is based on a book of poems by Raymond Roussel. In order to produce drawings for this book, Nouvelles Impressions d’Afrique, 1928, a series of 59 instructions were given verbally by Roussel via a private detective bureau to the illustrator Henri A. Zo. Heltoft then recreates these drawing in a new interpretation. By treating the drawings as historical documents, with all their interpretive ambiguities, Heltoft re-enacts these early surrealistic mise en scenes within the context of photography and a new century.

A selection of these neo-surrealistic images can be seen by appointment in a specially made sideshow, which is located in close proximity to the Gallery.

Ulrik Heltoft had recently a soloshow at Galleria Raucci/Santamaria ‘Recurring sightings’ in Naples and a screening of his new videoproduction 'The Sneeze' at the New Museum New York. In November he will participate in the groupshow ‘Technically sweet’ at Overgaden in Copenhagen.
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installation view
view slide installation
Sussanne Kriemann, Sorting IV

Sussanne Kriemann, Sorting IV

We cordially invite you to the opening of the dazzling exhibition ‘ The originality of the avant-garde and other modernist myths (former Central Post Office Rotterdam)’ by Susanne Kriemann on Saturday 7 June . There will be a reception for the artist from 5:00 till 7:00 pm.

The exhibition runs until July 12. The gallery is open Thursday - Saturdays from 1-6 pm or by appointment. For further information and visuals, please contact the gallery; office@wilfriedlentz.com or +31 (0)10 – 4126459.



The former Central Post Office in Rotterdam, built in 1959, is currently under construction to become an office building. Before all the post-sorting machines were removed, Susanne Kriemann photographed the building’s interior. The color-scheme of the building’s interior is a spectacular statement of a functionalistic design. The commissioner of this scheme was the former state company PTT, who aimed to improve the working conditions for the post employees by commissioning designers and artists to design the space in relation to PTT’s ideology.

The photos document a time in urban development that is significant for the re-organization of the public and the private sector. The composition and colors of the photos refer also to modern form language, the title emphasizes on the link, a quotation by Rosalind Krauss. In itself the photographs open a dialogue between the former and the future, a moment that does not exactly match a time frame. It is not only a document of time between construction and demolition, but as well an image of the industrial age, the age of post sorting machines for millions of letters, the information age… it revisits a modern dream and at the same time communicates an ambiguity as to whether this dream is past or futuristic. (SK)

The main subjects in Kriemann’s art are buildings and monuments from recent history, which have a symbolic significance in society. Her interest in these monuments lies in the role they possess, their representation of a past ideology and how their meanings can evolve throughout time. Besides taking photographs, Kriemann collects historical documents: old and recent newspaper articles, vintage photography and other artefacts. These documents are reactivated when placed alongside her photographs, and are shown together in separate artist editions and artist books. In doing this, her art evokes different stories that refer to these monuments and how society represents itself through the buildings it creates.

‘Susanne Kriemann’s photographs are often charged with ambiguity, their suggestive titles evoking ideas from beyond the usual realm of photography. She depicts what art historian D. Vanessa Joan Muller has called the ‘ephemeral moments of our historically-amnesiac present day’, displaying an interest in the way that recent history is narrated and understood through collections of documents. The process of montage or juxtaposition plays a key role in her work, although her photographs are never manipulated. By reassembling facts and fictions in a non-linear fashion, Kriemann hopes to alter perspectives on pre-established images, opening up space for interpretative readings and for the play of the imagination.’ (Nicolaus Schafhausen in Pilot 3, 2007)

Kriemann’s project 12.650.000 is currently on show at the Berlin Biennale 5. A special artist-book of 12.650.000 has recently been presented at Gamec in Bergamo, Italy. A solo-exhibition is scheduled for January next year at Stedelijk Museum Bureau Amsterdam. Susanne Kriemann (D, 1972) lives and works in Rotterdam and Berlin.
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Sussanne Kriemann, Sorting IV

We cordially invite you to the inauguration of our gallery on Saturday 26 April from 4:00 - 8:00 pm.
We will open with the evocative exhibition
‘Seen from here’ by Matts Leiderstam.

At 4:00 pm Matts Leiderstam will give a presentation on his work followed by an interview by Bik Van der Pol and an open Q & A session with the artist in which guests are invited to participate. Then from 5:00 pm until 8:00 pm there will be drinks and music by James Beckett to celebrate the opening. We would be very pleased if you could join us on this special occasion.

The gallery will be open as of Thursday 1 May and its opening times are: Thursday - Saturday 1:00 - 6:00 pm.

We would hereby like to extend our thanks to: Bik Van der Pol, Wim van Egmond, Ciléne Andréhn and James Beckett.



Viewing nature, built-up areas and the things that surround us in general, is an experience that is partially determined by our culture. We even perceive unspoilt nature through our ‘cultural glasses’, which causes it to become a depiction; a landscape. For many centuries, artists have been delivering artistic interpretations of our environment. And their works as well as the context in which these are exhibited, feed back into this (cultural) experience of viewing. Matts Leiderstam is interested in this interaction and in how context and time influence our perceptions. Leiderstam revives for example the meanings of old paintings, investigates their origins and the way that these images are being presented and seduces the audience with new stories.
‘The exhibition will be about stories that emerged from the act of looking closer at paintings/landscapes/ photography. This includes the provenance as well as other stories connected to the images and to the site where they are being exhibited as well as that they portray. The title "Seen from here" aims to point out different positions from where one can observe. These include the physical experience of seeing the work in a gallery as well as memory, culture and history – and how all these come into play when viewing, for example, a painting, a landscape or a photograph. Perception always includes a position, a point of view from where we are observing. When we express that something can be "Seen from here", this includes a desire to envision "there" from "here". For example, in "Ways of Seeing", John Berger writes: "If we can accept that we can see that hill over there, we propose that from that hill we can be seen."’
Through so-called Claude glasses*, Matts Leiderstam shows us a visitor’s centre in a park in the American state of Arizona (View (Papagopark), 2007). This location can be observed - almost spied at - through a coloured focus, which makes these lenses seem like they know how to expose unclear events. In fact, background information reveals that this specific spot is not only used as a landmark by hikers, but also functions as a cruising area for homosexuals. One could ask: what else happens here that we don’t (yet) know about?
For this opening exhibition, Matts Leiderstam created two new works, one of which was produced in close collaboration with the gallery. This work is mainly based on the photograph of a waterfall made during the Darien Expedition (1871), a voyage aimed at finding new passages between the Atlantic and Pacific oceans. A vintage print of this photograph was recently acquired at an auction in New York and can be viewed in the gallery.

Leiderstam’s project, Grand Tour, was shown at Magasin 3 (Stockholm), after which it travelled to Dundee Contemporary Arts (Scotland), Göteborgs Konsthall (Gothenburg) and Kunstmuseum Liechtenstein (Vaduz). Last year he was shown at the Scottsdale Museum of Contemporary Art (Arizona),the Badischer Kunstverein (Karlsruhe) and Andréhn-Schiptjenko(Stockholm). The exhibition at the Badischer Kunstverein was recently reviewed in Art Forum and Springerin. Upcoming solo-exhibitions include those at the Belgrade Modern Museum and the Düsseldorf Kunsthalle.

The exhibition runs through May 31 and the gallery is open Thursday - Saturdays 1-6 pm. For further information and visuals, please contact the gallery.

*) The so-called Claude glasses are an instrument that was used to experience the picturesque qualities of a landscape. They are a typical 19th century invention (just like national parks) and consisted of lorgnettes with different coloured lenses through which hikers could view their natural surroundings in a variety of hues. Claude glasses were named after the 17th century landscape artist, Claude Lorrain, who submersed his paintings in a specific atmospheric colour.

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4th floor

Homing,  inaugural group show at 4th Floor, 30 August  - 8 November 2014

Homing, inaugural group show at 4th Floor, 30 August - 8 November 2014

Wilfried Lentz is very pleased to present Homing, a group show with works by all the gallery artists to inaugurate the opening of the new gallery space.

The opening will be Saturday, August 30, 5pm-8pm.

The show will run till Sunday, November 8 and takes place in the context of the gallery program 4th Floor a series of curated shows, each running approximately three months. The opening coincides with the opening of a solo show by Giorgio Andreotta Calò.
Opening times: Friday to Sunday from 1-6 pm or by appointment

For information and visuals, please contact the gallery: office@wilfriedlentz.com or + 31 (0)10 4126459.


As a show, Homing has developed and grown in response to the main characteristics of the new gallery space on the 4th floor. These attributes can be associated with those of a very intimate lookout, like that of a secluded environment, where the inhabitant lives in solitude and observes.

Since the new space towers above the neighbouring buildings one can secretly watch the surroundings, and in the process, the 4th floor begins to resemble a panopticon. This is reinforced when one sees the outer walls, which are punched with a series of little windows that cover three out of four sides of the space.

The panopticon, as a metaphor for the 4th Floor, is also the natural centre where one’s gaze is directed to. Homing is the instinctive reflex to direct oneself to its territory after travelling. That is in fact what the artworks in the show do, returning to their (new) home. The works are selected in anticipation of the intimate character of the space, becoming a domesticating virus, making the gallery space like that of a breeding ground.

The formal and structural play with image and viewing is a commonly used subject for most of the artists of the gallery. For example, by the use of viewing devices (such as the panopticon), appropriation of old imagery, the use of exotic technologies and the recirculation of image. In the selection of the works we show some exemplary pieces of which most have never been shown before.
Homing,  inaugural group show at 4th Floor, 30 August  - 8 November 2014

Giorgio Andreotta Calò
untitled (Selfportrait), 2009
scanned Polaroid reprinted in black & white on paper mounted in found frame

Wilfried Lentz Gallery is very pleased to present new work by nine conceptual artists from differing backgrounds in the arts in our next exhibition, Not Created By A Human Hand. The exhibition will feature works by: Giorgio Andreotta Calò (IT, 1979), James Beckett (ZW, 1977), Rossella Biscotti (IT, 1978), Susan Hiller (USA, 1940), Joachim Koester (DK, 1962), Jonathan Monk (GB, 1969), Dan Rees (GB, 1982), Mark Soo (Singapore, 1977) and Philippe van Wolputte (BE, 1982). The first photograph of the Shroud of Turin (1898), by Secondo Pia (1855 Piemonte – 1941), will also be on display.

Not Created By A Human Hand
will open on Christmas Eve, Thursday, December 24th, from 5 pm.
The launch of the gallery publication, #2 On the Art of Making Without Hands, with a text by Alena A. Alexandrova, will coincide with the opening and be immediately followed by bites and drinks at the gallery. Please join us for the opening.

The publication with a signed edition (500) by Joachim Koester and James Beckett can be ordered for 10 euro at Wilfried Lentz Rotterdam, Castillos/Corrales Paris, Pro qm Berlin, Boekie Woekie Amsterdam.

The gallery is regularly open Thursday - Saturday from 1-6 pm, but will be closed during Christmas and New Years day. For further information and visuals, please contact the gallery: office@wilfriedlentz.com or +31 (0)10 – 4126459.



Secondo Pia, Positive photographic image (‘the negative’) of the shroud of Turin, 1898
10,7 x 7,6 cm, mounted on board
Not Created By A Human Hand was conceived as an invitation to several artists to create a new work that responds in some way, to either the shroud of Turin or the first photograph of it, by Secondo Pia.
The photograph of the shroud (1898) opened up the possibility of turning the imprint of the body of Christ from a negative into a positive; to finally see the face, and make sense of the stains of the linen.

We could see the Holy Shroud as the greatest piece of appropriation art, a humble object, found by someone with an agenda. What about an exhibition about the condition of such an artifact, an object that excludes any artistic operation? Or more precisely, that masks it, hides it. How can such an artifact be translated into images today? Because of its condition - being a contact-image, a found image, and an instantaneous occurrence, it provides an interpretative frame for many contemporary art practices (excerpt from text by Alena Alexandrova*).

In this invitation, a selection was made of artists who possess different types of special interests that connect to the subject. For example Giorgio Andreotta Calò witnessed a copy of another relic, the Limpsias, firsthand, which made such a haunting impression that it forced him to performative actions. James Beckett’s work tends to accelerate science and technology to a point where it becomes obscure or absurd. Rossella Biscotti and Susan Hiller are both interested in historical documents that still retain some meaning today. Joachim Koester has a strong interest in the occult. Dan Rees and Jonathan Monk’s practices both question aspects of authorship and the ‘truth’ of an image while Mark Soo is interested in the hidden messages and meanings behind the images and objects of our world. Several of them work with found materials and the ready-made while, using strategies of mediation, both Andreotta Calò and Van Wolputte’s works reflect on repetitor and the distribution of an image. Soo, Ree and Koesters’ works, on the other hand, investigate the opacity of an image and the mechanics of its presentation.

The exhibition is composed of artists with a broad range of methodologies and experience. While the majority of the artists are young and at the beginning of careers a few are already well-established and have gained recognition from their participation in large international exhibitions.

*) Gallery publication #2 On the Art of Making Without Hands, with a text by Alena A. Alexandrova
Jonathan Monk, The Things We Could Do Before We Were Here To Do Them, 2009
THE MOUNTAINSHOW Groupshow with Marc De Blieck and Jules Spinatsch, 7 MARCH - 15 APRIL 2009

Marc De Blieck, detail \'I wasn\'t there\', inkjetprint, framed 44 x 102 cm, edition of 5, 2007

THE MOUNTAINSHOW Groupshow with Marc De Blieck and Jules Spinatsch, 7 MARCH - 15 APRIL 2009

We cordially invite you to The Mountainshow, a group exhibition with works by Marc De Blieck (BE), Jules Spinatsch (CH), Carleton Watkins (USA), Rossella Biscotti (IT) w/ Jacob Kirkegaard(DK), Matts Leiderstam (SE), and Aldwin van de Ven (NL). In The Mountain Show, six artists reflect on the visual, philosophical and symbolic representation of mountains in historical imagery from 1770 until the present day.

The opening will take place on Saturday 7 March from 5:00 pm till 7:00 pm.
The exhibition will run from March 7 until April 15.

For further information and visual resources, please contact the gallery at office@wilfriedlentz.com or +31 (0)10 4126459.



Jules Spinatsch, Scene Hannibal, dimensions variable, 2007The present day concept of a mountain \'retreat\' has its historical origins in the Grand Tour, which for 18th century European men of means meant time spent in the mountains. Writers passing through the Alps on their way to Italy would pen descriptive accounts of their experiences there and these writings along with various genres of landscape painting would stake the mountain as a symbol of the immensity of nature untamed, and the beauty and terror of the sublime.

The world would have its first encounter with mountain imagery through the mass circulation of 19th century photographs. Many of these early photographs were taken by entrepreneurs who set out across the vast landscapes and uncharted territories of the American west. Two such early American photographers were Carleton E. Watkins and Timothy O’Sullivan who photographed highly iconic images of mountains. A favorable public response to these widely-circulated, panoramic and stereoscopic views led to the expansion of 19th century tourism.

Eager to capitalize on ‘the mountain’ as an untapped resource, the travel and sporting industries would sell the idea of a trip to the mountains as an encounter with natural beauty. The advent of train travel, newly built roads and railway lines would open up vast landscapes and provide easy access to mountainous terrain and previously inaccessible locales. The mountain would become commodified as a spectacle, and gain associations with leisure, pleasure, adventure, sports, vacationing, and rest.

Mountaineering and winter sports have become extremely popular pastimes and many Hollanders today opt to spend time in the mountains, leaving behind one of the flattest countries in the world to experience the natural wonder and beauty of the hills.

Marc De Blieck\'s works reflect on the ‘image’ of the mountain as a historical construction. His panoramas are layered images created from a montage of multiple photographs, which are made over a period of time. In some of the prints the top layer is made of gold or palladium leaf. De Blieck’s work is joined by Jules Spinatsch’s installation Scene SHAP (2007) and Inventory (2003-2008) a series of small photographs that depict the mountainscape as a theatre of spectacle. After repainting View of the Eruption of Mount Vesuvius, an 18th century landscape painting by Pierre-Jacques-Antoine Volaire, Matts Leiderstam placed his version of the painting on Mount Vesuvius in direct relationship to the view of the mountain pictured in Volaire’s, which is now parallel to the path tourists take to see the same view on their way up the hill. On Site (2001) - a photograph showing Leiderstam’s copy in relation to volcano pictured in Volaire’s, captures the artist’s attempt at an artistic intervention. The artist Rossella Biscotti presents Dai Tempo al Tempo (2008) - a video that features images of mountains taken by the engineer Pietro Pensa in an effort to study landscape and its transformation. Jacob Kirkegaard recorded the sound of the mountain’s interior for Biscotti’s video. A small painting and a sculpture by Aldwin van de Ven depict the mountain in relation to an experience of abject disappointment and a seemingly lost relationship between mountains and the sublime. The exhibition also includes El Capitain (1865).an early vintage Mammoth plate print by Carleton E. Watkins.

Text: Esperanza Rosales / Wilfried Lentz
Matts Leiderstam, On Site, 2001
framed c print 58 x 75 cm
Ed 10 + 2 AP

Installationview The Mountainshow
Installationview The Mountainshow
THE MOUNTAINSHOW Groupshow with Marc De Blieck and Jules Spinatsch, 7 MARCH - 15 APRIL 2009

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