The extensive retrospective by David Lynch Someone is in my House is now open and attracts a lot of Dutch and international visitors. This does not withhold the Bonnefantenmuseum
from launching three new exhibitions:
A Posthumous Collaboration: Ine Schröder and her Archive
In a double exhibition and a comprehensive publication, the Bonnefantenmuseum is focusing on the ground-breaking artistry of Ine Schröder (1951 Heerlen Maastricht 2014). Mainly active within the art scene of the Euregion, Schröder won the respect of the local and regional art community during her working life. After her death in 2014, museum curator Paula van den Bosch and artist and curator Joep Vossebeld collaborated with, Maastricht University and Flacc Genk (B) on researching Ine Schröder's artistic legacy, which had largely disappeared through the artist's own doing.
Fortunately, each work and each exhibition was well documented by Schröder through photographs, sketches and notes. From this archive, Schröder now emerges as a remarkably steadfast artist with an impressively diverse oeuvre. It is also a soulful and poetic oeuvre, resounding with an uncompromising view of art and artistry. Ine Schröder deliberately let her works disappear. She regarded her work not as a cumulation of autonomous things, but as one big network of objects that were linked together in space and time.
The presentation in the Bonnefantenmuseum is in two parts, comprising work by Ine Schröder (second floor until 01.09.2019) and an experimental exhibition (third floor until 26.05.2019), which has been developed by Joep Vossebeld (1989 Echt). It revolves around the question of how a museum can represent an oeuvre that the artist destroyed in part, based on an artistic principle that puts the art object in perspective and focuses on transience.
An important part of the exhibition is the archive book Uncorrected Proof, about Ine Schröder's archive. Containing around 700 photos, alongside essays by Paula van den Bosch, Brenda Tempelaar and Joep Vossebeld that address subjects like forming, curating and presenting museum collections, the book goes beyond a regular oeuvre publication.
Dan Walsh: Pressing Matter
Based on the renewed interest in abstract painting that has been evident for a while now in a younger generation of artists, the Bonnefantenmuseum has developed an exhibition programme with a revisionist slant. The exhibition Pressing Matter by Dan Walsh (1960 Philadelphia) is presented in this context. The ornamental abstraction of this veteran American painter is rooted in the economical visual idiom of minimal painting from the 1960's and 70's. Perceptibly inspired by artists like Sol Lewitt (1928 Hartfort, Connecticut New York 2007), whose work forms an important cornerstone of the Bonnefantenmuseum's collection, Walsh's painting is created within the strict parameters of a grid and square, and follows self-imposed rules and procedures. Although most of the compositions consist of complex combinations of different decorative structures, they appear relaxed and natural, as though they have casually adapted themselves to the picture plane. Looking at the patterns in his paintings evokes a world of associations, ranging from ornamental architecture to fabrics from all corners of the world. Walsh thus succeeds in bridging the gap between a modernist tradition that strives for autonomy and the collective history of applied arts.
Dan Walsh is also a fervent book maker. In a series of handmade books, he experimented with the art of printing, not only with offset print and photography, but also with photogravure and woodcut, and etching techniques like drypoint: traditional reproduction methods that require dedication, patience and craftsmanship. The Bonnefantenmuseum has brought together twelve recent paintings, a series of works on paper and a few handmade books. The exhibition is accompanied by a richly illustrated catalogue. Curator: Paula van den Bosch.
Beating Time: Collection presentation contemporary art
With guest contributions by: R.W. Beerens (1950 Weert - Maastricht), Andrea Éva Györi (1985 Budapest - Rotterdam), Marianne van der Heijden (1922 Kerkrade - Maastricht 1998), Chantal Le Doux (1977 Geleen Maastricht) and Servie Janssen (1949 Eindhoven - Nijmegen 2018)
Art conquers time. Take Rembrandt's self-portraits, for example. See how he observes us, true to life, over the centuries. Today's artists are also confronted with the task of outwitting time. How do they do it? How does their work escape the inevitable march of time? Beating Time brings together works from the collection that bear a distinct relation to the phenomenon of time. The exhibition includes guest contributions by artists who have been working in Maastricht for decades already, or who worked in the city for a longer or shorter period. In their work, these artists try to transcend past, present and future, thereby resorting to various tactics. Curator: Paula van den Bosch.