Art Rotterdam

6 - 9 February 2020
Van Nelle fabriek

The fair offers an annual stage to the newest developments in visual art. The focus on recent art, the variety of different sections, the connection with the city of Rotterdam and the fascinating location give Art Rotterdam a unique atmosphere. 

 
Joana Schneider:

The work that Joana Schneider will be showing at Art Rotterdam is more graphic and abstract than her earlier work and she made it especially for the fair. The starting point for her work is the harbour area of Rotterdam. The countless containers in bright

colours represent for Schneider a work that is closely related to her choice of materials and knotting techniques. The tiles that make up the work are made with the addition of a new material, namely concrete, which increases the labourintensity and
manufacturability of her work.
In addition, Schneider's work is on more levels about labour - not only about translating and drawing from other fields of work and crafts involved in the production process, but also about the enormous value of labour for her own practice. The physical work is an enormous effort, but also a form of liberation. That is why all the work involved in sewing and weaving the ropes is done by hand. Herein lies a sincere interest in the future of craft and labour. Schneider believes that the advent of artificial
working methods will lead to a revaluation of craft and work processes because certain knowledge can never be replaced by computers and machines.


Florentijn de Boer:

Phantomride was a popular film genre in Great Britain and the US at the end of the 19th century. The films show a vehicle that drives forward, usually filmed by a cameraman who is tied to the front of the vehicle. The term Phantomride - ghost ride - was used because only the track and the landscape could be seen by the position of the camera; the movement seemed to come from an invisible force.

This way of filming paves the way for the viewer to move around in the camera / stunt man and he travels through the landscapes as it were. This principle has become a starting point for the work that Florentijn de Boer will show at Art Rotterdam.


In her increasingly richer and more layered paintings, she incorporates a wide range of subjects that are partly inherent to painting, such as the formal functioning of perspective space, but also more generally by telling new stories. She makes compositions from countless refined and detailed black and white drawings that show fragments of an imaginary reality. She uses these zoomed, amorphous forms from fantastic and alienating worlds, such as magic realism, science fiction films, art books, poems, graphic novels, mythology, Japanese Manga books, and the cyclic patterns in nature, which she lays in layers on top of each other. In this way new illusionary, comic-like stories arise that she translates into her own visual language.


Her works always have a provocative narrative title, such as Ventriloquist and In what salt rivers we want to wash this story in which transformations of humans and animals, mythical figures and landscape-like elements play a role, but the power of the works is that they offer freedom to associate and interpret yourself. In this way she initiates communication and reflection.

She always uses her hands as a 'brush' to apply both solid and liquid strokes to the rough linen with oil pastels, which remain deliberately visible in various places. She uses the impressionistic way of painting that is inspired by Japanese Manga drawings from the 19th century. Because of the uncontrolled and random brush strokes, these were a great source of inspiration for the impressionists.


With her publication entitled "Phantomride" she wants to further break open the two-dimensional character of painting. In this publication she has bundled drawings and details from drawings that precede the making of a painting. The publication is, as it were, an extra carrier of her stories and adds a deeper layer to the drawings and paintings.


Scrolling through the book, you recognize elements from the paintings, and vice versa. This creates an interaction and the viewer is tempted to participate in the whole. With this she refers back to the term Phantomride.