Astrid Meijer, Karin de Visser, Marcel Prins Kees de Bruijn, Christina de Vos, Raph de Haas, Henrique van Putten
The Glove in Art
The Glove in Art is an initiative by Artist Astrid Meijer, in which she challenges artists to respond to works she made from old gloves, from her glove collection, under the motto of: 'throwing down the glove' and 'taking up the glove'. .
Some artists were even literally handed a glove, but this is mainly about a connecting and inspiring process, in which the substantive interfaces in each other's work are central.
Astrid Meijer is interested in the processes of growth and decay, vigor, nature and lust and she collects old materials with traces of history, used old leather gloves and beach finds.
She hopes that the viewer can reconcile with the creatures she has brought together here in the (time) capsule of the Museum of All Times.
White Peacock, by Henrique van Putten, introverted and high in the poster window, symbolizes human (im)habits. Beautiful at first glance, but if you look longer you will see that, overly fixated on a small imperfection on her white plumage, she is injuring herself.
A contrast is provided by Saint Lucia (with the gouged eyes) images from the series of saints by Christina de Vos in the altar window, together with the viewing boxes by Kees de Bruijn.
The works of art in the rabbit window by Marcel Prins (Upskirt) and Astrid Meijer have a frivolous slant; Spring is coming again. Dulce est desipere in loco (it's nice to be crazy from time to time).
Karin de Visser made a cherishing heart in which she received a pair of old torn, extremely frayed gloves. Here you can see Sphere of Labor wearing a work glove in the Paintings window.
At the entrance, near the door window, Basse Couture by Astrid Meijer hangs on the left and on the right a drawing that Raph de Haas made based on a small horror story starring a glove, which Astrid Meijer wrote for him. Because, according to her, Raphs' drawings so flawlessly depict our dark side of humanity that we so like to ignore.
The vulnerable-looking female torso in the interior is from Corsage-Studio. This duo previously made 'human constructions' black textile figures that depict vulnerability as well as the capacity for compassion and the urge to survive. Started with their series Oceans-Sea of desire,
Based on images of victims washed ashore after the tsunami. Astrid Meijer saw a link in the piles of washed-up textile rags that she picks up on the beach to unravel and cherish. Such as the Basse Couture image. Corsage–Studio has also made refined couture from old fishing nets, in which all repairs deepen the visual power.
(Rotterdam, February 13, 2016)
