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Apprentice Master #4: A Frame for Substance
5 April - 24 April
Apprentice Master exhibition #4
5 April 2021 – 24 April 2021
André Smits & Monika Dahlberg (masters)
Jesse van Epenhuijsen
In collaboration with M_M_Artspace (Kattendijke), Galerie van den Berge (Goes) and Kunstpodium T (Tilburg)
The Apprentice Master project supports and motivates newly graduated artists at the start of their professional career. They are supported by experienced artists – the Masters – in exploring their professional possibilities.
For Apprentice Master #4 Monika Dahlberg and André Smits receive the artists in their workspace M_M_Artspace in Kattendijke. During one week, the four Apprentices will learn how the Masters live and work. In this week, they will each work from their own discipline and together arrive at a collective presentation.
During the work period from 6 to 11 Aprilt the work process can be seen at the studio at the Deltastraat 2 in Kattendijke. The final result can be seen on Saturday 10 and Sunday 11 April. We stick to the corona measures. You can drop by spontaneous to see if you can drop by, or make an appointment via firstname.lastname@example.org. The presentation in M_M_Artspace is on show daily from 12 to 25 April.
The results of the work period in Kattendijke are then on show, together with the work of the Masters, from Thursday 22 to Saturday 24 April at a presentation in Galerie van den Berge in Goes. A great experience for the Apprentices to gain experience at a professional gallery.
Deltastraat 2, Kattendijke
5 t/m 25 april • open 24/7
Galerie van den Berge
Albert Joachimkade 5, Goes
22 to 24 April • open from 13:00 – 17.00h
You can book a time slot via: galerievandenberge.nl/contact
M_ M_ Art Space
M_M_ Art Space is an artist laboratory in Kattendijke. M_M_ Art Space is an artwork in itself, that takes in a unique place between the art and the art world. The starting point is the idea that an artist can be a curator and make choices from their own network. For this we make our space available and the artists decide the course of the exhibition themselves. All activities are placed in a professional setting and at the end we organise a party in which meetings are central – and Hein is cooking, because food connects us! Kattendijke is the ideal departure to explore the rest of the art world. Via our travels we have developed a large network. We want to use this as the base for this special artplace in Zeeland. Our mission is to bring the artworld together here: a meeting place for all sorts of people from different backgrounds. Important is the interaction between reality and what is shown virtually on social media and websites. The workroom consists in real life, but does not have any regular opening hours: everybody is welcome at each moment!
André Smits (artistinthworld)
ARTISTINTHEWORLD is a journey around the art world with the aim to connect artists and art professionals in an infinite archive. To embrace the world with a grand gesture, a prudent tribute from my wonder and amazement over all the beauty and exuberance I meet along the way.
For this project I photograph artists and art professionals in their workspace. An important part of this series is the concept of the Romantic Rückenfigur: everybody is faced with their backs toward the camera. The pictures give an intimate view into their studios. The photographed people act as a guide and invite the viewers into their world. It is also a moment for contemplation.
The series is now counting 5,500 images. In the beginning I made a lot of work in the Netherlands, but over the last years I have also added New York, Teheran, East-Jerusalem, Ramallah, Beijing, Sydney, Taipei, Napels, Beirut, Berlin, Antwerp, Dresden, Paris, Los Angeles, Kiev, Tbilisi and London to the collection.
I also make murals (home-tattoos) and drawings (playlists and linkMaps). In these, maps (mind-maps) are shown from my adventures in the cities and artists that I visit there. The names are connected with arrows. There is no premeditated plan to the design. The connections decide the eventual composition and become part of the worldwide network. Like this, a framework takes form that offers space for improvisation and is an ideal space for collaboration with other artists
Monika Dahlberg (ABSOFUCKINGLUTELY)
The starting point of the work of Monika Dahlberg is the interaction and friction between identity, background and ethnicity. The dialogue between ‘me and the other’, connection, alienation, change and exchange are recurring themes in my work and research. I use my biography as a guide to create my own colorful universe.
Working in this broad spectrum as my frame of reference, I connect history to current events. Converting the world that exists to my own world and, thus making it easier to understand. I am my work and everything is intertwined.
My work has been described as energetic, humorous and with a critical relationship to media culture, which is also uncomfortable and confrontational. The confronting thing is that I also let you look at yourself in a certain way and not shy away from prejudices against how we look at non-Western culture.
Words are always looking for a place in which they create meaning. Words are always looking for their connections with other words to create their context. Words that work like threads and become interwoven. Words that become interwoven in the meaning of textiles. Words can be detached from their recognizable place. In this way, they are placed on textile, creating independent worlds. Manon Clement’s works form a world that is always connected with the word, the image and the material. In Clement’s more recent work, the word ‘you’ makes its entrance. The word ‘you’ that appeals to the viewer but also to the material. The ‘you’ in all the different meanings of the word. You as a supernatural reality. You as an intangible dimension. You as matter. You as you. Lost words and lost images get a place in textile. Textile that forms a storage box for these images and words. The transience of textile is confronted with the transience of words and images. Words need a surface, a place to not get lost in their transience. The textile can provide a place for words not to get lost. To make words visible in their way.
Jesse van Epenhuijsen
Jesse is a situation maker working with writing, performance, interventions and site-specific installations. He is mainly interested in events found in common spaces. In order to grasp the essence of these moments he deploys different strategies such as recreating or isolating to understand their volatile nature. For this project he focused on creating a conceptual framework where he and his peers could actively engage and co-exist in. The platform of KunstpodiumT functioned as a way of connecting and archiving. All these moments are going be used for the upcoming residency
Quinn Zeljak is a collector of many things. Her studio is full of boxes filled with magazine clippings. She collects words in beautiful fonts, spam ads and small Persian rugs to name a few. All the things that appeal to her end up on her work table where they start making connections. Different interests end up next to each other and create associations she hadn’t thought of before.
She considers herself a collage-maker. Even when there are no pieces of paper involved she still looks at her work through the lens of this medium. When you are making a collage you are, by definition, taking something out of its context. This lends itself well to exploring feelings of alienation and disconnection, which have always been a throughline in her work. She pieces together bits of different worlds to create associations that never fully go anywhere. There is no sense of time in her work. No motion. No narrative. She uses her work to create a world that is disconnected from our bodies and to examine bodies that are disconnected from the mind.
In times of avocado-toast-posts we are ever more connected, yet more than ever divided and defined. Through a bricoleur approach I search for a certain ambiguity in the relation with our sense of self and our surroundings. How do we blend in with our environments? From mostly found objects and materials, I reassemble new bodies, sceneries and landscapes. Together they form constellations of dream-like places and states of being. The work often departs from a feeling of being misplaced, like outbursts of odd stories on failed after midnight polaroids. A feeling of not feeling quite at home in the social roles and hierarchies that are implied within our economical and ecological structures. With a wink at the decadence of our time, I draw most inspiration from festival culture and wild camping as well as digital mediums and technology. From there I explore to which extent these phenomena can contribute towards an affirmative and nomadic state of mind. In which our sense of self becomes fragile and our shared reality flexible.