Ellen de Bruijne Projects at Art Cologne 2014, 10-13 April 2014

Klaas Kloosterboer
Erkka Nissinen
Thomas Rentmeister

Art Cologne 2014
Booth E 14, Hall 11.3
Ellen de Bruijne Projects

Klaas Kloosterboer
The work of Klaas Kloosterboer can be characterised as playful and theatrical. He is standing ‘with one foot still in the aesthetics of painting, the other foot […] always looking for new areas to annex: the theatrical, the 3-dimensional or the scenario’ .
Instead of presenting Klaas Kloosterboer is showing representations. A box of canvas with circular holes denote the word REVERSE. Masks and a big bag, become carriers of meaning.
This new work is constructed around empty space and implicate the choices and actions he made. For Klaas Kloosterboer the process of decision-making is a dramatic moment. After a decision is made, the other possibilities are eliminated. Klaas Kloosterboer questions this process.

“The inevitability and necessity of choices and actions, and the fact that these actions might open up new doors, yet they close some others, is a notion I want to transfer through my work upon others.”

In making a decision it is possible to continue, where one would otherwise stop. However, Klaas Kloosterboer is aware he is not in control of the thoughts a viewer has and the meanings he contributes to the work. This is reflected in one of his rules: ‘The other knows more, sees more, feels more than I do’.

Klaas Kloosterboer (Amsterdam, 1959) participated in a/o ‘XXXL Painting – Klaas Kloosterboer, Chris Martin and Jim Shaw’ in the Submarine Wharf of Museum Boijmans van Beuningen, Rotterdam (2013); Stedelijk Museum Amsterdam (2011), Villa Romana, Florence, Italy (2010); Sudsudvestur, Reykjavik (2009) The ‘Projection Project, Budapest episode’ at Kunsthalle, Budapest (2007); Badischer Kunstverein, Karlruhe (2003) and Aachener Kunstverein, Aachen

Kloosterboer’s work can be found in private collections in The Netherlands, Germany, Belgium, Norway and Iceland and is part of public collections such as Stedelijk Museum, Amsterdam NL, Museum Boijmans van Beuningen, Rotterdam NL; Centraal Museum, Utrecht, NL, Schunck Museum, Heerlen, NL;

 

 

Art Cologne 2014 – FILM COLOGNE
Ellen de Bruijne Projects

Erkka Nissinen – Polis X
In Polis X an assortment of humoristic and absurd characters inhabit a utopian city jokingly called Polis, pretended to be designed by Le Corbusier and Albert Speer. The city creates a space for a series of absurdistic scenes.

The word “Polis” comes from the Greek language, meaning city or an entity composed of citizens. In the video Polis X (2012) Nissinen constructs a “kaleidoscope of human destinies” that reference the ancient Greek ideal of the city-state. Instead of depicting a perfected state of utopian community, the viewer is confronted by the obscene historical traces of mankind’s inhumanity.

The cast ranges from a plumber and a bear to porn actors and even politicians. They possess grotesque names like “Stupid Cunt”, “Pig Shit Tit Ass Sailor” and “Boring Fuck”. All inhabitants are in some way confronted with their ethical and moral position in the social construction which makes up Polis. They have to make choices about methods of interaction with other inhabitants, and decide if they want to communicate with them at all. How are groups formed, who will be excluded, and for what reason? Other inhabitants philosophize about completely different matters, like the connection between platonic solids and human characteristics, living in the now, the question about being, and the paralyzing power of the presence of unlimited possibilities.

Though absurd to the point of nonsense and often obscene, Nissinen’s work is far from being meaningless. Rather, it discloses a critical take on the difficulties of social interaction, on philosophy, and on the language of media -such as children’s television, educational programs, or porn, often all mashed up into one. In Polis al these come together, using parody and slapstick comedy to create awareness about current political trends, social interaction and social issues.

FILM COLOGNE is a new sector of Art Cologne in which work of international artists can be viewed. This special 9 hour feature will be broadcasted live for 24 hours on cable television with the art broadcaster SOUVENIRS FROM EARTH and via online stream on www.sfe.tv. In Germany the feature will be offered via unity media and Kabel BW, in France via freebox169, Orange167 and SFRbox183. Polis X will be shown at the start of the 5th hour.

Erkka Nissinen was born in 1975 in Finland and currently lives and works in Helsinki, Hong Kong and Amsterdam. He has studied at The Slade School of Fine Art in London and gained an MFA degree from the Academy of Fine Arts in Helsinki, Finland in 2001. In 2007 he was a resident at Rijksakademie Amsterdam. Erkka Nissinen has received the AVEK Award (2013) and Illy Prize (2011). His work is shown in among others Museum De Hallen in Haarlem (2014), Amos Anderson Art Museum in Helsinki (2013), International Film Festival Rotterdam (IFFR) (2013), Institute of Contemporary Arts (ICA) in London (2012), European Media Art Festival of Osnabruck (2012), Smart Projects Space in Amsterdam (2011), Helsinki City Art Museum’s Kluuvin Gallery (2011), Para/Site in Hong Kong (2010). His work can be found in collections in Finland, the Netherlands and Hong Kong.

 

 

 

Art Cologne 2014
Booth E 14, Hall 11.3
Ellen de Bruijne Projects

Thomas Rentmeister
According to Christoph Schreier, the work of Thomas Rentmeister can be placed in relation to both minimalism and pop art or nouveau realisme. His work is referring to minimalism in the clean geometrical forms often present. However the chosen objects in the geometrical forms are familiar to us. In that sense his work is referring to pop art or nouveau realism, which created the specific descriptions of his work as ‘Minimalpop’ or ‘impure’ or ‘dirty’ minimalism.

In his new work Rentmeister has collected white hotel laundry and sewn into one piece. The immense work is overwhelming the viewer. It is like a big wrapped white closet, only now you can detect familiar items in it: garments and hotel sheets. By choosing different pieces and literally placing them into one context, they automatically become related to each other. The chosen sheets and garments each incorporate the story of their former owner. Furthermore they remind the viewer of his own memories relating to the objects.
In Rentmeisters’s earlier work the colour white also plays an important role. In his installation Muda, 2011, he is using refrigerators sticking together with Penaten baby crème, stacks of paper, sheets, tampons, paper handkerchiefs. Every item Thomas Rentmeister uses in his installations is (temporarily) placed out of order and put into a new order. The items are pulled out of their daily function.

By taking familiar pieces out of context, the viewer is invited to use his imagination in an attempt to solve the tension between his own memories, the newly proposed metaphors and multiple, possible meanings of the objects.

Thomas Rentmeister lives and works in Berlin. He had solo exhibitions at Perth Institute of Contemporary Arts, Perth, Australia (2012); Kunstmuseum Bonn (2011); Museum Boijmans van Beuningen, Rotterdam (2005); Hamburger Bahnhof (2002) and the Kölnischer Kunstverein (2001). He participated in Nur Skulptur! in Kunsthall Mannheim (2013) and The Presence of Pictures – German Painting: Highlights from Six Decades at National Centre for Contemporary Arts (NCCA), Moscow (2012). In 2009 he participated in 2. Bienal del Fin del Mundo, Ushuaia, Argentine Republic and KölnSkulptur 5 – Reality Check in Skulpturenpark Köln. In 2008 Rentmeister was part of the exhibition Ad Absurdum – Energien des Absurden von der Klassischen Moderne zur Gegenwart at MARTa Herford among others.

 

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