• APR 20 to JUN 16
    Group Exhibition
    Bourgeois Leftovers

    Category

    • Group Exhibition
    • Contemporary

    Dates and Opening hours

    APR 20 to JUN 16, 2013

    Vernissage: 19 april from 18.00 to 21.00

    Event Location

    De Appel

    Prins Hendrikkade 142 1011 AT Amsterdam
    Amsterdam
    Netherlands

    View website

    Artists

    • Albert Servaes
    • Arnout Colnot
    • Bart Peizel
    • Betsy Westendorp-Osieck
    • Coba Ritsema
    • Conrad Kickert
    • Cornelis Vreedenburgh
    • Dio Rovers
    • Dirk Nijland
    • Edgar Fernhout

    See all artists

    Information

    The Visitor arrives late. Very late. By the time she is led in to the dining room, the Collector and the Baron have long moved on to the smoking room. She finds their plates on the table. Each has left a piece of steak behind. Why, she thinks. These are hard times. Were they not hungry? I am.


    Bourgeois Leftovers, the exhibition of the 2012-2013 de Appel Curatorial Programme, hosts a group of unlikely conversation partners at de Appel arts centre. From 20 April-16 June, 2013, the exhibition presents 32 Dutch genre paintings from the Van Abbemuseum collection together with commissions and contributions from 19 contemporary artists.

    Produced between c. 1910 and 1939, many of these still lifes, landscapes, and portraits were part of the founding collection of the Van Abbemuseum, donated by cigar manufacturer Henri van Abbe in 1936. In the face of the social, economical, and personal uncertainty that characterized the interbellum period, the featured painters chose to work in a figurative tradition, appealing to bourgeois sensibilities. These paintings are seemingly undemanding. They have been out of sync with the museum's narrative for decades, as post-war directors looked instead to international art centres. Most will not be part of the new collection display.

    Bourgeois Leftovers sets the stage for contemporary artists to co-produce the presentation of 32 of the genre paintings, creating multiple narratives around them. In this context, the paintings are positioned not only as autonomous objects, but also as prompts for timely questions of artistic, financial and historical value, and the conditions that create surplus. The contemporary contributions include, briefly: Marlene Dumas' rejected and reworked portraits; anonymous patronage initiated by Chris Evans; cinematic lighting devices by Gabriel Lester; and wall labels by fiction writer Lydia Davis. Ruth Buchanan creates a close reading of painted words; Matthieu Laurette introduces a system for acquiring domestic objects for his personal use; and Jota Castro rehearses proposals for ways of discarding the paintings.

    With paintings by Johanna Bauer-Stumpff, Arnout Colnot, Lucie van Dam van Isselt, Jacob Dooyewaard, Willem Dooyewaard, Edgar Fernhout, Johannes Franken, Jan Goedhart, Herman Heijenbrock, Georg Hering, Jan van Herwijnen, Eduard Karsen, Conrad Kickert, Willem Knip, Ernst Leyden, Sal Meijer, Dirk Nijland, Bart Peizel, Wim van de Plas, Coba Ritsema, Gé Röling, Dio Rovers, Wout Schram, Albert Servaes, William Henry Singer, Jan Sluijters, Walter Vaes, Cornelis Vreedenburgh, Betsy Westendorp-Osieck, and Matthieu Wiegman.

    And contributions by contemporary artists Ayreen Anastas & Rene Gabri, Ruth Buchanan, Jota Castro, Dina Danish, Lydia Davis, Judith Deschamps, Marlene Dumas, Chris Evans, Will Holder, Jugedamos, Alison Knowles, Matthieu Laurette, Gabriel Lester, Daragh Reeves, Barbara Visser, and Timmy van Zoelen.

    Curators: Karima Boudou (1987, FR/MA), Kari Cwynar (1985, CA), Angela Jerardi (1979, US), Srajana Kaikini (1986, IN), Florencia Portocarrero (1981, PE), and Alexandra Stock (1982, CH/US)

    A reader related to the exhibition will be produced with
    Mousse Publishing and launched in June 2013. A series of public programmes exploring language and value will run throughout the exhibition, including collaborations with the Stedelijk Museum and the EYE Film Institute.

    Please see
    www.bourgeoisleftovers.com for information and dates.

    With special thanks to the Van Abbemuseum.


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