Open today from 12:00 to 18:00
Exhibition — Mixed Media, Photography

Hans Bol – On My Doorstep & Lucas Leffler – Silver Creek

Galerie Caroline O’Breen is pleased to present new photographic work by Hans Bol (NL) from his project On My Doorstep (2020-2022) and  Lucas Leffler (BE) with his recent series Silver Creek (2018-2022). Both artists are fascinated with the materiality of analogue printing while their work can be seen as contrasting to each other in aesthetics and approach.

17 Dec up to 4 Feb — Galerie Caroline O’Breen
Open today from 13:00 to 18:00
Exhibition — Installation, Mixed Media, Painting, Sculpture

Drowsy & Torpid

Kasper Bosmans in conversation with Lazy Susan. Lazy Susan: Could you tell something about the intriguing title of the exhibition, Drowsy & Torpid? Kasper Bosmans: Torpor is a state in which the heart rate and body temperature are brought down in certain animals before they go into hibernation. Especially the idea of bringing your heart rate down interests me - it seems to allude to a nearly emotional as well as a physical state. It is this contrast, a conflict between the emotional and physiological that tickles my fancy. The notion of being quiet, slowing down, seems valuable to me. By slowing down bodily functions you’re also slowing down your consumption of resources, both your personal and emotional resources as well as natural and sociological resources.I basically wanted to make a mural about the small ice age that took place in Northern Europe in the second half of the 16th and early 17th century, and specifically about the fun fair that took place on top of the frozen Schelde river in Antwerp. This is a very well recorded and culturally prominent motif that represents a small period of harsh winters and low temperatures. What I enjoy about this story is this moment of suspension: the laws are suspended. On the water, on boats, different laws apply then within the city walls, eliciting all kinds of otherwise forbidden activities, such as working outside of the guild systems or selling contraband and illegal alcohol, that were taking place on top of the ice. This legal loophole created a temporary free state. A similar loophole is in place for the floating casinos of Kansas City. For this mural I wanted to depict the ice without it becoming too much of a seasonal mural, so I opted to highlight the underwater condition, the state of torpor, which most aquatic animals are in underneath the ice. Fish for example move slower and dig themselves into the mud or hide amongst the water plants, they move way less, barely eat and lower their body temperature to minimize consumption of resources. It is a different kind of suspension in contrast with the fun fair and the festive hullabaloo taking place on top of the ice, dancing, decadence and other shenanigans. And there is the state of torpor with the lowered heart rate, calmness and lethargy, a very poetic state of suspended (e)motion. This whole poetic scenario with saturnalian neighbours inspired the mural’s title.LS: Already back in 2015 you started making murals but only in recent years they have become more elaborate. In the Netherlands and Belgium we’ve had quite some opportunities to see previous murals, at the Stedelijk Museum Amsterdam, Museum De Pont Tilburg and WIELS Brussels, to name a few institutions. I think the murals started as an exploration of what ‘decoration’ actually means. The more recent and complex murals are larded with anecdotes, maybe even similar to your Legend paintings. Could you briefly explain this development of your murals?KB: I started the first series of murals at Kunstinstituut Melly (formerly known as Witte de With) in Rotterdam. It was very important for me that they would be a cliché. Deliberately referring to murals in public space with a tinge of nationalist and socialist motivation, usually commissioned by institutions and integrated into the architecture. It fascinates me that these type of murals always exude a certain kind of general ambition, a deliberate program. For my first series of murals it was important that they were modular: anyone can make them. They are decorative, an embellishment to the space, creating a certain kind of intimacy. They started off in a jokey way, but slowly but surely I started to see that they are an iteration of a forlorn, ridiculous ambition or point of view. Their aesthetics were very minimal and general because of this until I started to use different kinds of narratives within my practice which felt more comfortable and sensible to me, embracing complexities under the broad umbrella of queerness and the historic interpretation of the closet, an individualistically embellished safe space, so to say. Architectural historian Aaron Betsky describes this space in his book Queer Space: architecture and same-sex desire (1997). He argues that the self-construction of queer identity included ‘building up a fantastical world by gathering objects from all times and places’. The domestic realm was a closet, featuring ‘a collection of artifacts that defined the individual by serving as an objective map of his passions, by evoking other worlds than the one in which he was imprisoned, and by mirroring him in objects became a queer version of the selfenclosed world of the family.’This intimate or sexualised idea of the interior is a mode of expression and seduction that has become more prominent in my practice and therefore a natural sense of complexity has emerged in my work. I shifted from a general, oblique idea and shared ambition to a more personal set of anecdotes. This complexity is very important to me: the indigestibility and its mystery to a certain extent, really contributes to the mechanism I would like to invent for my work. This mechanism is very simple: growing up as a queer kid I got very little examples of how I could live; my blood relatives and direct environment were not providing any examples. That’s why I think the work should be very accessible to everyone. It can be more personal, and eccentric to a certain extent, and therefore more complex. I think that development is a very natural phenomenon. You can compare it to cruising, where you find a little wink in the parking lot, the city bus or the forest; small, tiny, gestural overlaps become a certain kind of dialect. It’s this kind of idea or aesthetic I intend to play with.LS: The ability to adapt to certain situations is not only key to evolution, you show us that it can also be very poetic. A good example is the Polymita picta, also known as the Cuban painted snail, that diversifies in order to protect itself. For this new series of works you made a range of different coloured and different sized enamel snails that will be dancing through the gallery space. Where does your fascination for these snails come from?KB: There’s something very mesmerizing about the way in which we use animals in order to express ourselves. We feel like we have an empathic bond with pets and cattle, but they are never able to reply or interact with us in the way we can interact with thém. So there is a violent or abusive imbalance of power; an animal is used for personal intimacy. It’s a thing we nearly attribute a soul to, but we prevent ourselves from doing so since it would ruin this powerful relationship. That’s why I’m so attracted to animals and pets.A good example of this power relation between animals and humans is the Polymita picta, a snail that is found in and around the island of Cuba. It’s a very interesting snail: each specimen, each personality, has its unique shell colour. This is a mechanism of self-protection: certain animals don’t want to eat the Polymita picta since it looks toxic to them. Being prominent as self-protection is a surprising mechanism: it is the last thing a human being would do. Due to the snail’s extraordinary appearance they are being collected as souvenirs and are now protected by the Cuban government as endangered species. Again an animal has fallen victim of the human gaze and attribution. This story resulted in a series of enamel two dimensional snails that all have unique colour combinations. To me it was very important to use enamel. The material allows you to hang them outside. It’s always quite an endeavour to make a unique work within an industrial production process. For these works we had to make excel sheets to prevent same colour combinations from reoccurring.LS: You often collaborate with craftsmen to develop your sculptures and installations, made from materials that can range from enamel, to glass, bronze and marble. At Galerie Fons Welters you show an installation of Switchboards. The sculptures use a similar structure as the telephone switchboards you saw on photographs Piet Zwart made for the Dutch telephone services PTT. What did you see in these photos that caught your eye?KB: It’s not because of the photographs, I visited the Museum für Komminikation in Berlin where they had a chronological display on the history of switchboards. I was struck by the human size and the seductive vernacular shape of the objects that have been so omnipresent but are entirely redundant nowadays. Later on I discovered a switchboard at the Telefoniemuseum Rotterdam that was used in the Netherlands till the 1960s. What struck me was that the technological system was provided by a Swedish company, Ericsson, but the cabinet was vernacular, it could be made by local wood workers. Because the system was modular, you could adapt the content of your switchboard according to the people that have a phone in a certain social and physical structure like a company.This structure is quite appealing to me, it’s a seductive object because of the combination of the modular system by Ericsson and the local flavour that was added to it; the impossibility of the modern object. What I enjoy about working with the same craftsmen over the years is all based on communication: the more I work with them, the more they have an influence on the aesthetics of my work. I really believe in collaboration when it comes to this. It has a very big influence. Now we’re showing some Switchboards that have been made by different woodworkers, so you see both contrasts and similarities.LS: Like actual switchboards (Switchboard is the name of an advisory and information service of COC Netherlands, an LGBTQ+ rights group, by the way), your sculptures are representations of communities and networks. Could you explain why these structures are of interest to you? KB: COC, such a funny coincidence. In a certain way the switchboards are a portrait of a certain day. They are the reception desk that nobody gets to see. They are intimate objects that are operated by the operator. You quite often see that they have personalized them - like the dried flowers and photographs that embellish a switchboard in the Telefoniemuseum in Rotterdam. At the same time the switchboards are a reflection of the organisation. This contrast between the operator and the commissioner is interesting to me. You could compare it to medieval manuscripts in which the benefactor would be mentioned as an author while the painter would be called pictor. I quite enjoy this. You could link it to the idea of craftsmanship. I’m trying to undermine the idea of the unique artistic endeavour. A good example is Philippe Thomas: a mesmerizing conceptual artist from France who would unsubscribe himself from his own practice by removing his name as an author and replace it by the name of a collector, a gallerist, or other stakeholders. One of the Switchboards is called Feux Pâles, based on an exhibition Thomas did at CAPC/Musée d’art contemporain de Bordeaux in 1990. He invited other people and showed naturalia and books. The exhibition was divided into eleven chapters and a prelude. The Switchboard visualizes how Thomas brought together a network of authors within these chapters. It’s an elaborate scheme to disappear.Another switchboard, Switchboard (De Woonagenda 2025 & De landelijke Woningwet en Gezondheidswet), brings into contrast the social housing ambitions of the city of Amsterdam (a mere 40% of newly built houses will be developed for social rent) and the innovative laws for affordable and healthy housing from 1902 which provided the city with a vast number of social apartments towards the south and the west, providing a big amount of housing in keeping with the social standards and population of the city. All of the Switchboards are made to my size: the height is based on my length, they are self-portraits in a way.

26 Nov up to 11 Feb — Galerie Fons Welters
Open today from 10:00 to 21:00
Exhibition — Photography

FASHION, Paul Kooiker

“Fashion” is a concept that represents what is trending at the moment. Paul Kooiker’s fashion photography, on the other hand, is characterised by its timelessness. The artist portrays the biggest fashion brands and today’s most famous faces, but transports them to a world of their own. Disconnected from time and place, his surreal images feel like film stills with stories we can only guess.

9 Dec up to 12 Feb — Foam
Open today from 13:00 to 18:00
Exhibition — Photography

Daan Paans | The Killing of the Tree Spirit

In The Killing of the Tree Spirit, Daan Paans (1985) explores the way we represent nature in different zeitgeists and what these representations say about our relationship to ecology. This culminated in three case studies in which Paans links the past, the present and the future in order to poetically and symbolically restore the connection between humans and nature.

7 Jan up to 18 Feb — galerie dudokdegroot 
Open today from 12:00 to 18:00
Exhibition — Photography

David Benjamin Sherry | Earth Uprising

Enari Gallery is pleased to present Earth Uprising, a solo exhibition of new work by David Benjamin Sherry. The work presented seeks to challenge and reinvigorate the tradition of American Western landscape photography by immersing the viewer in a realm of mysticism, abstraction, and human connection. Sherry uses a traditional, 8x10 film camera and focuses on threatened landscapes to produce his monumental photographs. By re-examining the history of Western photography through a queer lens, Sherry highlights beauty as his response to a largely unheeded ecological crisis, rather than with images of destruction. Through vivid imagery and color choice, the artist creates abstractions from these landscapes as a means to unmoor the viewer and make space for reflection on humanity’s inextricable interdependence with nature.

13 Jan up to 18 Feb — Enari Gallery
Open today from 12:00 to 18:00
Exhibition — Painting

Friends & Acquaintances

As the first exhibition of 2023, Stigter Van Doesburg is proud to announce a duo exhibition with works by Bobbi Essers and Hans van der Ham. Both celebrate the human figure, Van der Ham through the lens of history, Essers from more nearby. Her own friends are dominant in her paintings – either fragmented or distorted – while the figures of Van der Ham are filtered by time and references. However, despite their difference in age and gender, they both share an intimacy in their paintings that only can be felt when you are in the shoes of your subject. 

13 Jan up to 18 Feb — Stigter van Doesburg
Starts 23 Feb
Exhibition, Opening — Installation, Mixed Media, Other, Photography, Textile, Video | Film

Opening: Charging Myths – On-Trade-Off

On Thursday 23 February at 19:00 Framer Framed opens a presentation of works by the transnational artist collective On-Trade-Off as they explore how technological innovation is dependent on natural resources. Following a trail of lithium beginning in Manono, Democratic Republic of the Congo, this exhibition delves into our relationship with energy – from its colonial past to its inequitable technological present & future. The exhibition runs until 4 June.

23 Feb — Framer Framed
Open today from 11:00 to 17:00
Exhibition — Installation, Mixed Media, Painting, Photography, Sculpture, Textile, Video | Film

AIR in Zuidoost #2022

An overview of this year's artists in residence in the BijlmAIR-programme of CBK Zuidoost. Seven artists or groups of artists resided in 2022 in Heesterveld, making work inspired by the people, surroundings and vibe of Amsterdam Southeast. The result can be seen from December 8th up and until February 25 at Anton de Komplein.

8 Dec up to 25 Feb — CBK Zuidoost
Open today from 12:00 to 18:00
Exhibition — Installation, Painting

Strange Surfaces – Isabelle Andriessen, Peter Brock, Arto Rta and Elza Sīle

Over the past few days, I have been looking on various subreddits where people share their "hauls" or upcoming "hauls" of reproductions they are about to purchase. The process is quite complex to copy some of these replicas of Prada, LV or Gucci, but after reading several FAQ, I can sum it up in a few simple steps: you choose what you like, you ask for photos, you do a QC (Quality Check) with other members of your subreddit and then you order it, after a few users have said GL (Green Light).

20 Jan up to 26 Feb — Diez Gallery
Open today from 10:00 to 18:00
Exhibition — Mixed Media, Photography, Sculpture, Textile, Video | Film

Bad Color Combos, Yto Barrada

Bad Color Combos presents an overview of the recent work of artist Yto Barrada, including film, textiles, photography, sculpture. This solo exhibition presents a selection of Barrada's work of the last five years, together with new artwork conceived especially for the exhibition. In it, she continues to explore cultural phenomena, personal histories and natural processes. This is her first solo exhibition in the Netherlands with previously unseen, multidisciplinary work.

22 Oct up to 5 Mar — Stedelijk Museum Amsterdam
Open today from 12:00 to 18:00
Exhibition — Installation, Painting

Hadassah Emmerich | Botanical Body Bliss

On entering Botanical Body Bliss by Hadassah Emmerich, you are first ensnared by her arresting, prismatic mural. At 15-meters-wide, these vibrant, foreign forms take on an overwhelming and monumental quality. Amongst them, you will encounter Emmerich’s intimate series of collages - created using pieces of vinyl. Emmerich has developed her material process over many years - unique in how she repurposes vinyl flooring and cuts it into stencils. These stencils are then painted and used to print on canvas or walls. This creative process generates cycles between works. As shapes and patterns recur in new compositions and contexts, each work begins to speak to or of another. Emmerich likes to identify with this interplay of forms and colors because of her culturally diverse background. Her mixed heritage of Dutch, Indonesian, Chinese, and German is a key point of departure in her artistic practice.

28 Jan up to 5 Mar — Galerie Ron Mandos
Open today from 12:00 to 18:00
Exhibition — Installation, Textile

Marcos Kueh | 福禄寿: Three Contemporary Prosperities

In Marcos Kueh’s textile installation 福禄寿: Three Contemporary Prosperities, we encounter an animated conversation of color, pattern, and symbol. The installation encompasses eight tapestries of varying sizes, carefully arranged by the artist to afford a view of both the front and reverse sides. Kueh encourages us to move between perspectives on observing, to create multiple encounters while we meditate on the meaning of prosperity in modern times.

28 Jan up to 5 Mar — Galerie Ron Mandos
Open today from 13:00 to 18:00
Exhibition, Opening — Painting

REWIND – Jeppe Lauge

Galerie Bart is pleased to open REWIND by Jeppe Lauge (1980, DK). This exhibition is about repetition and continuing to do the same thing, like the constant muddling through and lack of change in the climate debate. Yet it is also about the return of wilderness in Europe as a result of ‘rewilding’: allowing large areas to revert to their natural state. In Lauge’s paintings, different perspectives come together, literally and figuratively.

14 Jan up to 11 Mar — Galerie Bart
Open today from 13:00 to 18:00
Exhibition, Opening — Mixed Media, Painting, Video | Film

Bear With Me – Tamara Muller

Gallery Bart will proudly open Bear With Me, Tamara Muller’s fifth solo exhibition, on Saturday 14 January 2023. As an artist, Muller has spent the past year and a half delving more deeply: the needs to break new ground and find a new visual language led her to experiment with different media, while maintaining the commonality of use of the self-portrait. The outcome of this exploration is twenty small paintings and a series of short films, with trauma and healing as underlying theme.

14 Jan up to 11 Mar — Galerie Bart
Open today from 12:00 to 18:00
Opening — Installation, Mixed Media

Opening Dead Skin Cash – Salim Bayri and Ghita Skali

Voluntarily or involuntarily we humans shed our dead skin. In this exhibition, Ghita Skali and Salim Bayri take this fact as their starting point to zoom in on the ambiguities within our relationship to dead skin—the tensions between its acceptance and rejection (some keep it, some scrub it away), its proximity and our neglect, our indifference and its unstoppable production, our obsession and care but disgust once it leaves the body.

28 Jan up to 19 Mar — W139
Open today from 10:00 to 19:00
Exhibition — Video | Film

Saodat Ismailova – 18,000 Worlds

In 18,000 Worlds, Saodat Ismailova explores the invisible foundations of Central Asia. Moving from personal to collective memory, she connects myths from the region to its recent history and addresses its spiritual heritage for healing. In 2022, the artist and filmmaker received the Eye Art & Film Prize for her oeuvre, in which she devotes attention to the complex, layered culture of her motherland. This is her first major retrospective exhibition.

21 Jan up to 4 Jun — Eye Filmmuseum
Open today from 10:00 to 18:00


The Stedelijk is renewing its collection presentation to focus more closely on theme. Implemented in three phases, the rehang will highlight work by international artists and designers who question traditional modes of thinking and offer new perspectives. Phase one, Tomorrow Is a Different Day, Collection 1980-Now, is now open, and part two of the redesign will be inaugurated soon. The third and final stage of the new presentation, art and design before 1950, debuts later this year.

1 Jan up to 1 Dec — Stedelijk Museum Amsterdam