Exhibition programme 2017

A visit to the exhibition is by appointment. Please call (020) 5242183 or send an e-mail to kunstcommissie@dnb.nl. Identification required.



ry year, a motley array of art lovers descend on art schools across the Netherlands to see work exhibited by final year students. It is not always so easy for young artists to gain exposure for their work after graduating from art school, while observers need a keen eye to spot this talent. It is this keen eye for talent that characterises De Nederlandsche Bank's art policy. In recent years the bank's art gallery has often served as a podium for young artists, and the exhibition Artspotting 2017 provides the next chapter.

Artspotting 2017brings together works from 11 artists, selected from final year exhibitions by guest curator Martin van Vreden, in consultation with the bank's Art Committee. The curator's selections are based on personal preference, with originality, acuity, execution and presentation as the main criteria.

The name of the exhibition recalls the 1996 cult film Trainspotting, an arresting title which the film's director insisted had no deeper meaning, but which was subject to many different theories. Artspotting can be interpreted in many ways, but is mainly intended as a call to keep an open mind for spotting talent!

The exhibition features work from the following artists:
Lorena Solís Bravo (Royal Academy of Art, The Hague)
Christa te Dorsthorst (St Joost Academy of Art and Design)
Pedro Herrero Ferrán (Gerrit Rietveld Academy)
Daryl Fijneman (St Joost Academy of Art and Design)
Valentina Gal (ArtEZ University of the Arts)
Iris Esperanza Immink (ArtEZ University of the Arts)
Renée van Oploo (St Joost Academy of Art and Design)
Aurelien Potier (Gerrit Rietveld Academy)
Nika Schmitt (Maastricht Academy of Fine Arts and Design)
Manju Sharma (Utrecht University of the Arts)
Anouk van Zwieten (Utrecht University of the Arts)

Focus & Diversity

Focus & Diversiteit
Diversity is becoming a hot topic at De Nederlandsche Bank. Attention has been devoted to gender ratios and ethnic, cultural and personality diversity through debates, articles and a survey. This is why DNB's Art Committee has decided to dedicate a special photography exhibition to this theme: Focus & Diversity. The exhibition features engaging photographs from DNB's own collection which the Art Committee acquired over the past years because of their intrinsic and aesthetic qualities.

Photography is a significant and growing component of DNB's modern art collection. Furthermore, it ties in closely with the Art Committee's mission: "DNB collects contemporary art that inspires and unites, and sustains dialogue."

DNB is a dynamic organization that benefits from ongoing critical self-assessment. The Art Committee wishes to use its highly diverse collection to encourage contemplation among staff members and to challenge, stimulate and connect them. This exhibition invites you to make associations between the Art Committee's collection policy and DNB's diversity.

A day in Holland / Holland in a Day by Barbara Visser

I wait, I wait, I wait, I wait

I wait
ording to philosopher Ton Lemaire, people today are internally disconnected from the space around them. In Lemaire's words, we are “delocalised”. This means we feel at home more or less everywhere. At the same time we never truly belong anywhere. We are frequently tourists in familiar places, often returning to non-places such as shopping malls, motorways, airports and stations. We have no connection with these places. The waiting room is also one such non-place. In this exhibition, Artist Daniëlle van Ark bases her work on Lemaire’s theory, the function of the exhibition room of De Nederlandsche Bank and the song "Waiting Room" by post-hardcore band Fugazi. This song from the eighties explores themes that are still very relevant today, such as identity, self worth, fear for the future and the need for us to make something of our lives.

The exhibition room itself has been filled with clichéd objects such as old magazines, art hanging on the wall, a hatstand and glass cabinets. A nondescript space where it is not clear who or what you're waiting for, where you are confronted with life itself.

Time stands still
The installation includes sixteen ceramic "chairs" that are on display in the waiting room, modelled on the Eames side chair. This was the first mass-produced plastic chair, an iconic design, a coveted collector's item and the archetypical waiting room chair. Fragile bowls rest on piles of magazines. As the volumes are stacked on top of each other you can't flick through them, and time stands still as it were.

The three glass cases each contain an enlarged copy of a press photograph. Because of how they are presented, it is not possible to see the entire photograph at a single glance. The installation portrays the artist's dualistic relationship with the medium of photography. By displaying the photos behind glass, rolled-up or folded in half, she seeks to juxtapose the elasticity of what a photo is with the legibility of an image.

Universal statements
The five wooden panels are printed with quotes taken from newspapers. These are quotes from famous actors and artists, that the artist herself could have said, or maybe even did. Blown-up copies of postcards depicting landscapes are set at an angle, resembling inkblots from a Rorschach test.

The space appear familiar, but at the same time it is alien.

Archive Fever

Archive Fever
In 1994 French philosopher Jacques Derrida (1930-2014) defined an archive as “a place which assures the possibility of memorisation, of repetition, of reproduction, or of reimpression”. The archive of the Rijksakademie voor de Beeldende Kunsten in Amsterdam, which houses an historical and contemporary collection, is a striking example of Derrida's definition. This collection of books, prints, drawings, paintings, plaster, photos and digital visual material is carefully curated in a special place, and provides a comprehensive and varied overview of developments in visual arts over the past three centuries, which since its creation has served as a source of inspiration for residents.

The exhibition ARCHIVE FEVER presents work by various academy alumni which has a direct or indirect link to this collection. The different ways in which the artists have approached, used and experienced the collection is evident from this latest exhibition. Antique sculptures are felt, iconic images surpassed, classical images recast in contemporary materials and the life cycle of objects is analysed layer by layer. The reasons for reaching back into the history of art to create new works are equally varied, ranging from the need for artists to relate to a place to the urge to improve on existing work and to also ask questions about their own work.

Artworks from Juliaan Andeweg, Sema Bekirovic, Tim Breukers, Marije Gertenbach, Folkert de Jong and Aimee Zito Lema expose the tensions between established images and the changing world around them.

Pillar to Post

Holes in my thumbs
A new exhibition featuring works by Roosmarijn Pallandt and Dan Geesin.

Roosmarijn Pallandt
Pallandt exhibits an ensemble of photographic and textile works, created during a recent journey to the jungles of the southern Japanese island of Iriomote-jima. Pallandt entered the rainforest at dusk, probing the still unfamiliar shapes and patterns with her camera, slowing down and intensifying her experience of the landscape. The textile sculptures were made together with local inhabitants; a translation of Pallandt's photographic impression of their surroundings, adding a new dimension to the natural habitat, drawing on memory, recognition and perception.

Dan Geesin
Geesin's hand-made wood sculptures are abstract and monumental. Although his work has elements of humour, it also evokes a sense of melancholy. Geesin's interest in various sorts of wood and processing methods springs from his early memories of English coppices, forests and his father's workshop.