- Dit event is voorbij.
Rosefeldt en van der Ende in galerie Ron Mandos
11 januari - 15 februari
Galerie Ron Mandos, Prinsengracht 282 (woe-za 12-18 uur)
Heel bijzondere films van Julian Rosefeldt.
Deep Gold, Jaren 20 zeg maar en dan loop je in zwart wit allerlei vreemds en bloots tegen het lijf. Of ervaar het meditatieve In Land of Drought: onderuitgezakt in een zitzak.
Bovendien hangt er mooi werk van Ron van der Ende. ‘Bas-reliefs’ van stukjes hout.
Veel afbeeldingen op de website.
Nog tot 15 februari.
Klik op afbeelding voor vergroting en informatie
Galerie Ron Mandos proudly presents a solo exhibition by the renowned German artist and filmmaker Julian Rosefeldt (1965). In his films and photographs Rosefeldt creates a highly aesthetic universe, with explicit formal references to the history of cinema and painting, but at the same time dealing with important social and political subjects such as totalitarianism, ecology, homeland and migration, all treated in an ongoing playful dialogue with pop culture.
In his meditative installation In the Land of Drought (2015/17), Rosefeldt looks back from an imagined future upon the post-Anthropocene: the aftermath of significant human influence on Earth. An army of scientists appears to investigate archeologically at the remnants of civilization after humanity has made itself extinct. Shot entirely using a drone in Morocco and the Ruhr area of Germany, Rosefeldt’s images hover meditatively over desolated landscaped and ruins – abandoned film sets close to the Moroccan Atlas Mountains and the remains of industrialization. In the Land of Drought evokes—without any dialogue—a vision of a future exodus of humanity from our devastated planet.
Playing with the black-and-white esthetic of silent movies, Deep Gold (2013–14) is shot in a film studio, with complicated camera movements and a sophisticated dramatic choreography. Conceived as a possible continuation of the legendary film L’Âge d’or (1930) written by Luis Buñuel and Salvador Dali, it is a visual poem, a surrealist trip back to the Berlin of the wild 1920s, characterized by artistic avant-garde, sexual freedom and political apocalypse. Six photographic prints of the film stills accompany the film installation at Galerie Ron Mandos.
Ron van der Ende
Galerie Ron Mandos proudly presents the third solo exhibition by Dutch sculptor Ron van der Ende (1965), showing new bas-reliefs of salvaged wood, characterized by a trompe-l’oeil effect, the artist’s technique and craftsmanship. Despite the limitations and difficulties of working with second-hand, painted wood, Van der Ende treats his subjects with the exactness and fidelity of photographs.
The Rotterdam-based sculptor Ron Van der Ende has been creating perspective wall sculptures from salvaged wood for over twenty years. In his new exhibition, entitled Markers, the artist presents new bas-reliefs of a truck, a lamb chop, old vases, mountain landscapes and an African mask. For these newest works, Van der Ende pushed the boundaries of his working process. By opening up to the possibilities of found wood and producing them from a single source, ten new works with a strong coherence and individuality have come into existence.
Van der Ende’s large oeuvre of bas-reliefs comprises American cars and airplanes, iconic structures such as the Euromast Tower in Rotterdam, and other icons of technical prowess, like the first personal computer and the space capsule of the Apollo 11. Most of Van der Ende’s works are emblems of progress, which appear like relics from our past. While being framed as outdated and forgotten, these objects tell us something about the limits to growth.
All new works in the Markers exhibition critically engage with images of Western affluence and prosperity. The bas-relief of the Grindelwald glacier is based on a postcard that was sent during the early days of modern tourism. The other landscape shows the Grand Canyon in 1938, just after the Hoover Dam was completed and Lake Mead was created. The vases and bowls once played an important role in someone’s household but were thrown away at some point because they were damaged or out of fashion. The lamb chop stands for abundance but also for unsustainability, as is the artist’s new bas-relief of a truck.