Sigrid van Woudenberg, Sanne Terweij & David Engel, Chemistry; Galerie Helder, The Hague

Sigrid van Woudenberg

Chemistry at Helder Gallery is an exhibition about floating ideas, thoughts and visions.

Sigrid van Woudenberg
Sigrid van Woudenberg

It shows works by Sigrid van Woudenberg (1967), Sanne Terweij (1984) and David Engel (1973).

Sigrid van Woudenberg
Sigrid van Woudenberg

Van Woudenberg’s new drawings are surprising in that they are not the monumental works which mix different aspects of reality and thought you may be used to.

Sigrid van Woudenberg

However, they retain their depth with her mastery in using compressed charcoal combined with graphite and colour pencil.

Sanne Terweij
Sanne Terweij

In their almost three dimensional abstraction they fit in well with the works of the other two artists.

Sanne Terweij

Both Terweij’s and Engel’s works are more explicitly three dimensional in that they are more like reliefs.

Sanne Terweij
Sanne Terweij

Terweij works with coloured metal; its shiny surface constantly changes with the light and the position of the viewer.

David Engel

Engel’s mixed media works look even more floating and fragile than the works he showed two years ago at the same gallery.

David Engel
David Engel

There is a variety of works by the three artists to be enjoyed at the gallery, and especially Van Woudenberg’s drawings are small but amazing.

David Engel

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© Villa Next Door 2022

Contents of all photographs courtesy to the artists and Galerie Helder, Den Haag.

Bertus Pieters

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Lennart Lahuis, With Sighs Too Deep For Words; Dürst Britt & Mayhew, The Hague

I went to the present show of works by Lennart Lahuis (1986) at Dürst Britt & Mayhew‘s to write a review for Villa La Repubblica. Click here to read the review (in Dutch).

As i’ve written quite extensively in VLR about the exhibition, i leave you here with some pictures without text.

Click here to read the article in VLR (in Dutch)

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© Villa Next Door 2022

Contents of all photographs courtesy to Lennart Lahuis and Dürst Britt & Mayhew, Den Haag.

Bertus Pieters

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Andrea Freckmann & Dodo Albrecht, Randstücke und Zwischenstücke; Galerie Maurits van de Laar, The Hague

Dodo Albrecht, Andrea Freckmann

Andrea Freckmann (1970) and Dodo Albrecht (1972) present their works in a homely atmosphere at Galerie Maurits van de Laar.

Dodo Albrecht
Dodo Albrecht
Dodo Albrecht

Albrecht’s ceramic works all have a character of their own, and if you see more of them they are a sometimes awkward but intriguing company.

Dodo Albrecht
Dodo Albrecht

They are vases that don’t want to identify as vases.

Dodo Albrecht
Dodo Albrecht

They are a bit like human beings who are constantly worried about their identities, while they still remain human beings after all.

Dodo Albrecht
Dodo Albrecht

They are also works that go back to the historic basics of ceramics, in which pottery was not just practical but also spiritual.

Dodo Albrecht, Andrea Freckmann
Dodo Albrecht, Andrea Freckmann

They fit in very well with Freckmann’s paintings of interiors, in which they now and then appear.

Dodo Albrecht, Andrea Freckmann
Dodo Albrecht, Andrea Freckmann

You may call them genre paintings, but that sounds much too stuffy and old-fashioned for Freckmann’s interiors which are full of wonder and magic.

Dodo Albrecht, Andrea Freckmann
Dodo Albrecht, Andrea Freckmann

Birds play an important role in these interiors, but also in smaller paintings which come as a kind of extras to the big ones.

Andrea Freckmann

Especially the blackbird seems to be a favourite of Freckmann’s, as a messenger from the outside world, with its pride, constant attentiveness and its lyrical singing.

Andrea Freckmann
Andrea Freckmann
Andrea Freckmann

Here you see the blackbirds as far as i could spot them in the show; it’s up to you to find the paintings they belong to.

Andrea Freckmann
Andrea Freckmann

Apart from blackbirds there are more birds in the paintings; i spotted song thrush, white wagtail, blue tit, nuthatch, tree creeper, robin, jay, African grey parrot, an indefinable  song bird species, a kind of gull, a decorative bird and the swallow of the famous matchbox.

Andrea Freckmann
Andrea Freckmann

They intermingle with Albrecht’s vases and with other objects, who, in spite of their different characters, become part of the fabric of both the real world and the interior world.

Andrea Freckmann

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Contents of all photographs courtesy to Dodo Albrecht, Andrea Freckmann and Galerie Maurits van de Laar, Den Haag.

Bertus Pieters

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Façades of The Hague #148

Koninklijke Schouwburg (Royal Theatre), Korte Voorhout corner Schouwburgstraat.

The present theatre was originally built in 1766 as an hôtel-particulier, a grand town house, designed by Pieter de Swart (1709-1772), former court architect of the Prince of Orange, for Charles Christian, prince of Nassau-Weilburg (1735-1788). Charles Christian was married to princess Carolina (1743-1787), sister to prince William V of Orange (1748-1806), stadtholder of the Dutch Republic.

Being the Dutch stadtholder’s brother in law, Charles Christian thought he needed a palace in The Hague, as, if young William V would die, Carolina would take over as stadtholder.

Also William V and Charles Christian were both members of the Nassau clan.

However, already in 1769 Charles Christian returned to Weilburg in Germany.

Because of political problems between the Dutch republic and the Holy Roman Emperor Joseph II, Charles Christian quitted his Dutch political and military jobs in the Republic in 1784.

By that time the palace was still not finished.

Only the central part stood, while the north and south wings still had to be built.

Also Pieter de Swart had died eleven years before.

What might have become one of his grandest works (he left quite a few stately buildings for the super-rich in The Hague , amongst others Lange Voorhout Palace, the townhouse at 19 Herengracht and Assendelft House at Westeinde) became an unfinished and obsolete edifice.

The rulers of the Batavian Revolution (1794-1799) had no affinity with this landmark of the hated Orange-Nassau dynasty.

In 1802 it was decided to refurbish the building and turn it into a theatre, and in 1804 it opened as the Nieuwe Haagse Stadsschouwburg (New Hague City Theatre).

The present theatre was most recently restored in the 1990s by Charles Vandenhove (1927-2019), who gave it its present outlook.

© Villa Next Door 2022

All pictures were taken in March 2020.

Bertus Pieters

Façades of The Hague from #146 onwards: https://villanextdoore3.wordpress.com/category/facades-of-the-hague/

Façades of The Hague #1 – 71: https://villanextdoor.wordpress.com/category/facades-of-the-hague/

Façades of The Hague #72 – 145: https://villanextdoor2.wordpress.com/category/facades-of-the-hague/

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Students of the Royal Academy (KABK), To Give A Dog A Name; Stichting Ruimtevaart, The Hague

Giovanni Pilato

Last weekend fine arts students of the Royal Academy The Hague (KABK) had an exhibition at Stichting Ruimtevaart gallery and the space next to Billytown gallery.

Juliette Hengst

They are third year students, so if all goes well they will graduate next year.

Anne Berg
Peyman Fazeli

It also means you can’t expect breathtaking masterpieces at this stage.

Peyman Fazeli

Also, generally speaking, it was clear that many students are still trying to find their way.

Romana Klementisová
Sigurdur Saevar Magnusarson

Well, that is very generally speaking indeed, as the differences are quite significant.

Sigurdur Saevar Magnusarson

By and large the quality makes one hopeful.

Zan-Zhi Kang
Zan-Zhi Kang

Sometimes you may get the feeling that some more proficiency in even a basic material as a pencil would open another world of possibilities, while other students seem to cling to their subject already so autistically that the rest of the world won’t open up for them.

Daniel Jacobsen

While as a student you have the luxury to research for four years even the most unexpected aspects of the profession and indeed of yourself.

Isa Roelink
Andrei Nitu

Thematically the big issues of the day seem to be not really prevalent.

Nompilo Sibisi

Instead the position of the self in the world emerges as the big issue.

Nompilo Sibisi
Jemima de Jonge

Maybe this is due to the corona crisis wherein students had to rely on themselves.

Byoung Sung Kwak

This doesn’t mean the exhibition was an orgy of self-centredness.

Byoung Sung Kwak
Giovanni Pilato

Rather, there was an idea of either closeness or distance towards the viewer which struck me.

Giovanni Pilato

In these pictures you see some works which i think were interesting, promising etc.

Jenny McFarland

Let’s hope the students are able to use the next thirteen months to reflect, dream and spread their wings.

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Contents of all photographs courtesy to the artists, Stichting Ruimtevaart and to Royal Academy of Fine Arts (KABK), Den Haag.

Bertus Pieters

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