Leen Voet verwerkt elementen uit visuele en literaire bronnen met subtiele humor in schilderijen, installaties en tekeningen, die ze systematisch in reeksen samenbrengt. Vanuit een voyeuristische blik op het leven, de schilderkunst en het kunstenaarschap, reflecteert Voet over stereotypen, het lokale, de autonomie van het individu en over oorsprong en herkomst. Haar stijl balanceert op de grens van het picturale en wordt gekenmerkt door levendige kleuren, afgelijnde kleurvlakken en geometrisc...

Noud and Ruby decided to spruce up their living room in 1965 by refurnishing the fireplace and adding a new sofa, a tufted corner piece in a classy shade of beige velveteen; not a right-angled design, but a soft, sensual curve snaking around the corner of the room. Noud and Ruby’s redecorating set the scene for what would become a sincere and erotic collaboration between the couple that spanned almost ten years and documented both fashion and fantasy. But the pictures were never intended to...

‘Then, Now, and Then’ consists of 16 films that Marijke van Warmerdam made during her stay in Rome in 2017 and subsequent visits to the city. All the films are loops, and most last no longer than a few minutes. They portray life on the street as the artist takes us on a walk through the city. Distance and proximity, visibility and invisibility, movement and rotation alternate as the films show how the dynamism of the Baroque lives on in today’s Rome. With her keen eye for abstract image...

The first in a series by the Sikkens Foundation, this pocket-sized publication of the Mondrian Lecture given by Charles Jencks reprints his talk in full, along with various images. Jencks discusses the possibility that architecture and well-being can have a direct correlation, exploring how architecture can influence society, business productivity, profits and hospitals. He elaborates with examples of architectural determinism from both ancient and modern history, with a special focus on his ...

The Architecture Observer offers an overview of different forms of modern architecture in Central America since the outset of the 20th century. Although modern architectures constituted only a small percentage of the total building production in Guatemala, Honduras, El Salvador, Nicaragua, Costa Rica, and Panama, they hold in these countries an evident symbolic significance. Such buildings functioned as models for the desired societal, economic, and cultural changes, or as aspirational placeh...

Matthieu Ronsse creates paintings that often seem unfinished, comprised of references to old masters, fragments from his private life, or clippings from books on photography and architecture. He challenges the traditional painting method, questioning its qualities of materials, techniques, subject, and history. ‘A Procession of Lobsters’ offers an overview of work that Ronsse creates ‘in situ’: at a petrol station, in the house of a collector, for a catering company, within watchtower...

Kunstenaar José Vermeersch (1922-1997) staat bekend om zijn keramieken figuren van heterogene figuren. Hij was echter ook schilder, wever en ontwerper en creëerde een rijk oeuvre dat doordrongen is van zijn passie voor mensen, dieren en het leven.

Dit boek is een eerbetoon aan het ontstaan van het figuratieve werk van Vermeersch en laat, aan de hand van een honderdtal beelden en schilderijen, zien hoe zijn picturale en keramische oeuvre op een bijzondere manier met elkaar zijn verweven. He...

'Il Libro dell'Arte' wordt binnen de kunst- en restauratiewereld beschouwd als het absolute standaardwerk op het gebied van de oude schildertechnieken. Het is het best bewaarde middeleeuwse traktaat over kunst en wordt vermeld in zowat alle studies over schilder- en restauratietechniek. Van 'Il Libro' zijn dire manuscripten overgeleverd. Deze Nederlandse vertaling berust op de oudste en meest originele versie; een afschrift uit 1437 dat gekopieerd werd door een gevangene in de Florentijnse Ca...

We live in a single-use society, where fashion is fast, disposability is the norm and it is easier to replace than to repair. We don't need to mend things anymore – and yet we do. What is it about Homo faber – man the maker – that cannot resist fixing what is broken?

As we start to decouple from the linear take-make-waste model that has dominated Western economies since the Industrial Revolution and seek something more circular, an enquiry into what mending means has never been more urg...