Moving Gallery and Galerie SANAA brought together *Double Exposure*. This exhibition references the annual graduation show *EXPOSURE* from the HKU University of the Arts Utrecht.
At the request of HKU Fine Art, Moving Gallery and Galerie SANAA selected several 2024 graduates for a group exhibition in their galleries. This provides the young artists with a wonderful opportunity to present their work in a professional setting.
At Sunday 17 November we’ll have a “finissage”. HKU teacher and artist Dieuwke Spaans will have artist talks with the artists. This will start at 4:00 PM in the Moving GAllery and afterwards we’ll have go to Gallery SANAA for drinks.
The selected artists are:
Katharina Busl, Mara Calvo Torrico, Puck Dekker, Joost Hutjes, Renske de Jong, Nino Angelo, Marta Ramírez, Onno Meeuwsen, Inne Feenstra, Loes van Roozendaal and Kris Reijersen van Buuren.
The exhibition runs through Sunday, November 17, and is open from Thursday to Sunday, 12:00 PM to 5:30 PM. Please note these are adjusted opening hours for *both* galleries!
Onno Meeuwsen
1. “Midnight craving” (2024) MG
Oil on canvas (200 x 150 cm)
2. Sodomite (2024) SANAA
Oil on canvas (60 x 60 cm)
In the Netherlands, we have made significant progress in acceptance of the queer community, especially when we look back on the past with its centuries of oppression, discrimination, and persecution. Even though queer people now have the same opportunities as heterosexual people, the phrase “being in the closet” still remains relevant for many queer men.
The still lifes that I paint symbolize persons, each with their own characters and personalities. The composition of the objects creates mutual connections between the objects that leave the viewer questioning their relationship. In my practice, the mutual connection of queer men and showcasing the role of power dynamics are at the center. In my work, I try to find a balance between heavy, loaded subject matter and humor and irony.
Social media and especially the hookup app Grindr are an inspiration source for my paintings. The sex-centered app that meant to connect queer men has turned into a toxic environment creating an emotional void between queer men. Profiles look like virtual billboards where users try to sell themselves. You come across countless shirtless torsos where the face is cropped off. The anonymity and discretion of the app create a space where people don’t have to take accountability for their actions and start to voice their worst thoughts, resulting in a grim world where people are being sexualized and objectified, being seen as objects with genitals instead of humans with feelings.
I want my paintings to serve as a reflection and not as criticism. My goal is to show the layers of the queer scene on Grindr, which is unknown to many.
Renske de Jong
“Met blauw glitter oogpotlood” / “With blue glitter eyeliner” (2024) SANAA
Color Pencil on paper (65 x 50cm)
“De druppels liepen langs haar benen” / “The drops ran down her legs” MG
Color Pencil on paper (65 x 50cm)
Renske (22) is a multidisciplinary artist who works in the thin lines between the two- and three-dimensional plane. She creates colored pencil drawings on paper, ceramic pieces and sculptures made of materials such as wood and textile. These works can stand alone or form an installation, where she uses the space as part of her work.
At first glance, her works have a sweet and cheerful appearance due to the use of pastel colors, the softness of the textile and the use of shapes and elements that are considered ’too sweet’ or ’too feminine’ in society. Elements such as wombs, the color pink and flowers.
However, upon closer inspection, her works reveal an underlying form of symbolism, envy, sensuality and activism. Everyday scenes and objects merge into a world in which social themes subtly take up space and which invites you to look beyond the surface. She creates her own symbols, which you see repeatedly in her work, such as fingers and heels. These symbols refer to how she experienced ‘being a woman’ in society. The power of her work seems to lie in how personally she manages to present her work and yet retain a certain openness and ambiguity. She creates playful spaces, the longer you look the more you see.
Katharina Busl
“Terminal 2” Glazed Ceramic, Flock, Cast Metal, Steel, LED Holo-Fan (2024) MG
(100 x 100 x 135 cm)
Harbor 99 MG
Acrylic and Structurepaste on Canvas
No Title (2023)
Acrylic on Canvas (85 x 85 cm)
Gate 3 (2023) SANAA
Acrylic and Structurepaste on Canvas (130 x 170 cm)
Gate 1 (2022) MG
Acrylic and Structurepaste on Canvas (30 x 40 cm)
5* All Inclusive (2033) SANAA
Acrylic on Canvas (150 x 90 cm)
No Title (2024) SANAA
Fiber-Reinforced Concrete, Steel, Chimes (40 x 90 x 100 cm)
In my multimedia work, I am moving within the in-between space where virtual and material reality meet and intertwine. I draw inspiration from our increasingly interconnected and digitized world, my personal experiences with technology dating back to my childhood, and mankind’s historical past. Born into the last generation with somewhat clearer defined boundaries between the digital and the physical world, I witnessed the advent of the smartphone and the internet becoming ubiquitous. New technology steadily creeping into my life felt like magic. I slowly became enchanted by its wonders and now I float with ease in the infosphere.
My upbringing in the catholic environment of south Germany, combined with the influence of my fathers strong interests in philosophy, mythology, and cultures from all around the world, have led me to discover parallels between the virtual and spiritual spheres. My existence in digitally networked environments manifests itself as a place with omnipresent, all-knowing, and divine qualities within my artworks. Living in the information age, where digitality has become a crucial extension of ourselves as social and cultural beings, questions start to arise:
“What is the essence of digital technologies? How can we learn from them and relate them to our perception of physical reality and understanding of ourselves? What do technological futures hold for us?”. Through my use of various media like painting, sculpture, and digital media, held in uncanny shapes, textures, and synthetic colors, combined in installations, I want to generate otherworldly, hybrid experiences. I often reference visual elements from old video games that I used to play as a kid. Games like The Legend of Zelda, Tomb Raider, and Pokémon turned me into a hero, adventurer, archeologist, and even Pokémontrainer; always exploring the given world until no pixel has been untouched.
Retranslating and reimagining virtual spaces and elements into physical material makes the blend of these two realities become a more tangible experience – not just experienced in the finished work but also during the making process. The directness of this approach activates and enhances my senses, amplifies my perception, and connects me to the object and its context. The raised awareness through (re)translation makes the experience of creating digitally inspired objects more immersive and adds a new layer. By confronting the public with unusual and immersive environments, I want to transport them to a realm of transcendence where constant transformations occur, inviting everyone to speculate and redefine reality.
Mara Calvo Torrico
- Untitled (2024) Sanaa
Oil on canvas (120 x 85 cm) - Falling … (2024) MG
Oil on canvas (120 x 85 cm) - At Lost (2024) MG
Oil on canvas (120 x 100 cm) - Simcha (2024) MG
Oil on canvas (24 x 40 cm) - Untitled (2024) MG
Oil on canvas (40 x 30 cm)
Identity, intimacy, playfulness and joy are central to my work. On canvas I bring diverse representations of women to life in a playful and warm way. Shapes appear and disappear, creating a sense of fluidity. The bodies are imperfect, energetic and vulnerable, and are created by playing with light and different materials. My colorful and warm palette gives a glimpse of my own cultural background. Each canvas creates a world in which there is room for both joy and freedom as well as discomfort and sadness.
Daily I struggle with the challenges that come with my identity as a tri-cultural woman (Peruvian, American, Jewish, Dutch). This has sparked my interest in the counter-narratives that exist about women and bi/tri cultural experiences, who fall between the existing categories of ethnicity, culture and race. Their presence is underexposed in society and therefore I strive for a safer, more inclusive and kinder world that comes to life on canvas. Although struggles exist, I explore possibilities to create a world where acceptance, self-confidence and freedom flourish.
Joost Hutjes
Rooftop Model 1, wood, paper mache (89 x 87 x 28 cm)
Rooftop Model 2, wood, paper mache (78 x 77 x 42 cm)
Rooftop Model 3, wood, paper mache (64 x 64 x 19 cm)
Through his upbringing, Joost Hutjes was introduced to architecture at an early age. He absorbed the intricacies of design and structure, which now serve as a fundamental aspect of his work. His series of rooftop models provides him with a way to engage with his environment. Herewith, he draws inspiration from memories, ideas, and emotions from his surroundings. Hutjes expresses both the appealing and the unappealing aspects, aiming to strike a balance in his creations. Together, his models offer a captivating glimpse into an environment that resonates with him.
His detailed works contain elements that are sleek and rigid, yet simultaneously personal and human. In an age dominated by machinery, Hutjes finds fascination in small imperfections of objects and structures. Not only do these imperfections unveil the humanity within them, but they also reveal the dedication and time invested in their creation. By utilizing second-hand materials, he incorporates remnants of their past lives into his work, adding an additional layer of depth and history to his sculptures.
Loes van Roozendaal
Untitled (2024) MG
Acrylic and oil on canvas (45 x 35 cm)
Untitled (2024) SANAA
Acrylic and oil on canvas (45 x 35 cm)
Untitled (2024) SANAA
Acrylic and oil on canvas (30 x 25 cm)
Untitled (2024) SANAA
Acrylic and oil on canvas (30 x 25 cm)
Loes van Roozendaal uses items from her home as the starting point for her paintings. She repeatedly painted the same glass at different times of the day. The act of repeating shows how the glass remains the same, but the circumstances surrounding the glass continuously alter the material of the object. In this way, van Roozendaal not only captures the object, but also makes more complex concepts, such as light, space, and time, visible in her work.
By applying different layers of oil paint on top of each other and utilising the direction of the brush, subtle changes emerge as the viewer moves back and forth in front of her bright canvases. This inventive approach permits Van Roozendaal to come close to the material of the actual object. Her paintings react to the space and light, just like the glass does in her home. Van Roozendaal manages to capture the ever-changing nature of our environment in her paintings. Time momentarily stops, while simultaneously making visible the depicted moment in time that shows everything around us is constantly in motion.
Text: Hagar Schuringa
Nino Angelo
Clash of Youth I (2023) MG
Acrylic on canvas (140 x 140cm)
Clash of Youth II (2023) SANAA
Acrylic on canvas (140 x 140cm)
Nino Angelo’s expressive paintings revolve around struggle and clashes. Colors, animals, memories and emotions alternate on his large canvases. Much of what Nino paints comes from his own emotions and memories. By making memories tangible, they gain new meaning and become part of the present and the future. In addition to the fact that his memories play an important role in his work, intuition often takes over while painting. Each time he creates a new environment and the analytical mind disappears. While painting, Nino searches for a balance between abstraction and figuration. The chaos that unfolds there invites the viewer to keep looking and to discover something new each time. For Nino it is important that the work reveals itself slowly and continuously.
(text: Hagar Schuringa)
Marta Ramirez
Montera (2024) MG
Oil on canvas (160 x 180 cm)
“Mosquero #1” (2024) SANAA
Oil on canvas (200 x 120cm)
“Puyas” MG
Watercolor and oil stick on paper (2024)
12 (21 x 15 cm) // 8 (30 x 12 cm)
In this series, I explore objects rooted in Spanish tradition and folklore. The bullfighter’s hat, the decorations of animals during festivities, and a series of works dedicated to the spearheads used to control cattle. By presenting these objects outside of their cultural context, they become abstracted not in form but in meaning and are open to new interpretations. This detachment from tradition allows viewers to engage with these symbols in unfamiliar ways, while I reflect on the narratives that shaped my heritage and reconsider their significance in my present self.
Inne Feenstra MG
Video “View between N 53 12.484, E 7 2.655 and N 53 16.052, E 7 2.310” (see stills)
Inne Feenstra [2001, Haarlem] makes video installations and kinetic sculptures. In his work he often focuses on one object or a non-human entity such as an organism. He investigates how humans give meaning to the subject from their body-subject. The subjects he chooses are often everyday and recognizable. The actions or events that take place with the subject have a strong physical relationship. For example in his most recent works; a threat from a running fighting dog, the monumental size of a falling tree or a rotating camera in relation to a rotating bus. In his research Inne plays with the components of the medium of film. Such as camera movements, movements of the object, time, space and rhythm. These components seem to become leading instead of the narrative. In addition, part of his research is how we experience the subject from the body within the medium of film. He tries to create an embodied experience by presenting the video work in combination with a kinetic installation. In it, he explores the tension between the immaterial experience of watching film, where you empathize with the film image and tend to forget your body, and the material experience of the kinetic installation that elicits a physical response.
Inne lives and works in The Hague. In 2024, Inne graduated from the Fine Arts program at the Utrecht School of the Arts. The work ‘Binnenstebuiten boom’ [2022] has been included in the collection of the Verbeke Foundation, Belgium. This makes him the youngest artist to date to be included in the collection. From 2024 to 2026, he will participate in the two-year post-academy De Ateliers.
Kris Reijersen van Buuren
Sokken met gaten (2024) MG
oil on canvas (60 x 50 cm)
Voor de Tent (2024) SANAA
oil on canvas (40 x 30 cm)
Je mag me niet Filmen (2024) SANAA
oil on canvas (55 x 50 cm)
Een warme dag in de winter (2024) MG
oil on canvas (60 x 55 cm)
In my paintings I am looking for a cinematic layer. I do this by working with close-ups and framing. By cropping and zooming in, it feels as if the action is taking place just outside the frames of the painting. You feel that something is about to happen, or you suspect that something has just happened. This invites the viewer to project a narrative onto the scene themselves. I often get my inspiration from the things that happen around me and use videos and photos that I have taken of my friends. These snapshots often evoke a voyeuristic and vulnerable feeling, which contributes to the cinematic aspect of my work. By limiting my color palette, I ensure that the works carry a certain glow, which transforms the scene from something “everyday” to something that floats above reality.
Puck Dekker
Performance artist
Forklift art
The large forklift forks incl. cushion/rug MG
small forklift forks and with words engraved and the fabric patches SANAA
Inquire for pricing information.