|Bosch: The Haywain Triptych, 1510-16 (detail)|
|Jan Schoonhoven: R 71 - 20, 1971|
|Kusama and Schoonhoven|
Of course, I didn't like everything: also at Witte de Witte, obsessive teddy bear collector Charlemagne Palestine delivered one of the most self-indulgent and vacuous whole floor displays I’ve ever seen. Ulay is embroiled in a court case to obtain a fairer share of earnings from his collaborations with Marina Abramovic, so I guess he could do with more substantial recognition of his solo photographic work, but his his Polaroids at the Netherlands Photo Museum fell some way short of making the case (though the 'Quickscan' survey of new Dutch photographers was good), Then there's the Rotterdam Contemporary Fair, which is such a consistent festival of bad art it maybe deserves some credit for clarity of vision (though the organisers slipped up with a pretty good video programme, and by allowing interesting artist Martijn te Winkel to take a stand); and opposite that the Kahmann Gallery somehow got away with charging an entry fee for a what turned out to be simply a display of its own artists.
* though not without its issues around cost, attributions, withdrawn loans etc, as set out at http://theartnewspaper.com/news/news/prado-pulls-two-works-from-landmark-bosch-exhibition-/?utm_source=daily_feb15_2016&utm_medium=email&utm_campaign=email_daily
Pierre Derks at LhGWR, The Hague
Dutch video artist Pierre Derks navigates wittily between the personal and the collective as aspects of our identity construction through two main approaches. First, found scenes which fit his agenda, such as what I'm assured was the remarkable coincidence of how a passing party's coats matched a less nuanced piece of modern architecture than the Van Nellefabriek's (Here We Are Now #1, 2016 - still above); second, photographing the same scenes at different times and overlaying them so that, for example, commuters emerging from a subway feature in phone adverts behind them, or passers-by walk seamlessly between a quiet street and a protest march.
Paul Kooiker (born in Rotterdam itself in 1964) subverts the tiresome coding of sepia-tinted photography as nostalgic by using filters to make contemporary riffs on the form. His Berlin gallery showed 7 of the 66 triptychs which form his recent project and book Nude Animal Cigar. Each conjoins impersonal female art subject (voyeuristic, geometrically emphatic faceless nudes) with fully visible animal (much more engaging, taken in zoos) and personal if burnt-out male art maker (remnants of some the countless cigars Kooiker has smoked in the studio). The typology yokes genres to an effect which, absurd as it is, puts various possible contrasts and equivalences crisply into play.