JAN VAN DER PLOEG
Jan van der Ploeg: Lyrics, November 5 – December 17, 2016
MINUS SPACE en Oaxaca: Panorama de 31 artistas internacionales, Multiple Cultural Venues, Oaxaca, Mexico, March 15 – April 30, 2012
Jan van der Ploeg: BIG CALM, September 18 – October 16, 2010
Minus Space, P.S.1 Contemporary Art Center / MoMA, NYC, October 19, 2008 – May 4, 2009
Jan van der Ploeg, July 2006
For the past three decades, Jan van der Ploeg (b. 1959 Amsterdam, Netherlands; lives Amsterdam) has exhibited his work extensively in both solo and group exhibitions in Europe, North America, Australia, and New Zealand. His recent solo exhibitions include Kunsthaus Baselland (Basel), Taubert Contemporary (Berlin), Gerhard Hofland Gallery (Amsterdam), Nieuw Dakota (Amsterdam), Boeske & Hofland (Leipzig), NP3 (Groningen), Atelier aan de Middendijk (Groningen), Two Rooms (Auckland), Sarah Cottier Gallery (Sydney), Hamish McKay Gallery (Wellington), Giacomo Guidi Gallery (Rome), Raygun Projects (Toowoomba, Australia), Shane Campbell Gallery (Chicago), and Klaus Benden (Cologne), among many others. In 2007, van der Ploeg mounted a large-scale, wall painting installation at the Hammer Museum in Los Angeles, CA.
Van der Ploeg’s work is included in the collections of the Stedelijk Museum (Amsterdam), Museum Boijmans van Beuningen (Rotterdam), Gemeentemuseum (The Hague), Rijksmuseum Twente (Enschede), and Daimler Contemporary Art Collection (Berlin), among others. He studied at the Rijksakademie van Beeldende Kunsten, Gerrit Rietveld Academie (both Amsterdam), and the Croydon College of Art (London).
In addition to his artistic work, van der Ploeg founded and directs PS, a highly regarded exhibition venue and program based in Amsterdam. PS aims to provide a platform for the work of upcoming international artists in an environment that exists between the conventions of an artist-run space and a commercial gallery.
“His paintings expand the best of contemporary non-objective work in their shear boldness and fearless scope, the entirety of the painting’s dynamics are always greater than the architecture that supports them…The impact of van der Ploeg’s paintings is located at the intersection of sensation and thought, between the work’s graphic visual impact and its conceptual underpinnings. His paintings are welcomingly antagonistic to narrative. Signifying instead a powerful commitment to the commingling of the familiar, new and strange potentials of color and form.” (Michelle Grabner)