Works from the 25 – 25 IS (2010) on the floor at SNO
(l to r, t to b) Tilman, Tallman, Heerkens, Hallard, Hsiao,
Arts, Voskuil, Winkler, Andrews, Roux, Dahlhausen,
Van Der Graaf, Deleget, Van Der Aa

August 7-29, 2010

Solo Installations
Guido Winkler & Iemke van Dijk

25 -25 IS Box
The 25 – 25 IS box contains work of 25 artists at 25 x25 cm. The edition consists of 75 boxes. Available at 395 EUR / 575 AUD. Participating artists include: Justin Andrews, Linda Arts, Chris Ashley, Sanne Bruggink, Christoph Dahlhausen, Matthew Deleget, Rene Eicke, Billy Gruner, Brent Hallard, Jose Heerkens, Gilbert Hsiao, Arjan Janssen, Sarah Keighery, Alexandra Roozen, Leopoldine Roux, Giles Ryder, Clary Stolte, John Tallman, Tilman, Richard Van Der Aa, Iemke Van Dijk, Jasper Van Der Graaf, Henriette Van ‘t Hoog, Jan Maarten Voskuil and Guido Winkler.

IS Group Show
Participating artists include: Jose Heerkens, Henriette van ‘t Hoog, Arjan Janssen, Jasper van der Graaf and Jan Maartin Voskuil

Installation view with works by (l-r)
Jan Maarten Voskuil, Evi Vingerling, Marius Lut,
Geeske Bijker, Tonneke Sengers

June 12 – August 7, 2010

Participating Artists: Steven Aalders, Linda Arts, Geeke Bijker, Rene van den bos, Jasper van der Graaf, Jose Heerkens, Arjan Janssen, Ditty Ketting, Klaas Kloosterboer, WJM Kok, Marius Lut, Jan van der Ploeg, Tonneke Sengers, Evi Vingerling, Jan Maarten Voskuil

Jose Heerkens, Passing Colours IV, 2009
Oil on linen, 35 x 35 cm

January 27 – February 27, 2010

Participating Artists:
Linda Arts, Marinus Augustijn, Gjalt Blaauw, Rob Bouwman II, Jose Heerkens, Lysan Linnartz, Marius Lut, Fred Pollack, Alexandra Roozen, Drewes de Wit

Installation view

November 15 – December 20, 2009

Works by Jose Heerkens

thru November 21, 2009

Installation views
Jasper van der Graaf & Linda Arts (left to right)

October 30 – November 21, 2009

Installation view

September 26 – October 4, 2009

A solo exhibition by Basel, Switzerland-based artist Daniel Göttin.

The word “inspire” (originally meaning “to infuse with breath”) is a verb, but can also transform itself into a noun or adjective. It’s very active, and yet also implies being receptive, even demands openness, a readiness to receive, and a sharpening of perception and awareness. From one thing, there is a direct connection to another thing, a kind of touch that is nurturing, rich and full of promise. Potential becomes realization; we wake up rejuvenated, re-energized, and ready for action.

This group of inspirational flotsam and jetsam from our homes and studios is incredibly varied, running the gamut from a poetic quote to the restoration of a house, from the image of a computer desktop to strips of colored tape on a wall. In some instances, there’s a surprising leap from the image seen here to the finished work, in others there is a clear and recognizable relationship. I hope that as you are intrigued by an image, you will click on it to reveal the caption or thoughts of the artist, and then go to the individual websites linked to each name. Through a dialogue about how the mysterious process of getting from A to B or even Z unfolds for each of us, new avenues of search can open up, and we can be re-inspired by this “Inspiration Information*”.

* by Shuggie Otis

Participating Artists (left to right, row by row):

Stephen Maine | Richard Bottwin | Paul Corio | Joanne Mattera

Kevin Finklea | Billy Gruner & Sarah Keighery | Linda Arts | Erik Saxon

Henry Brown | Rory MacArthur | Melanie Crader | Matthew Deleget

Daniel Argyle | Li-Trincere | Chris Ashley | Linda Francis

Sylan Lionni | Shinsuke Aso | Douglas Melini | Brent Hallard

Lynne Harlow | Guido Winkler | Michael Zahn | Karen Schifano

Lynne Eastaway | Daniel Göttin | Simon Ingram | Daniel Feingold

VIEWLIST is our online project space where we invite artists and others to curate a visual essay of images. VIEWLIST exhibitions are experimental and usually thematic, and can include art works spanning various time periods, movements, and geographic locations. Exhibitions may also include ideas and images from disciplines outside of the visual arts. With VIEWLIST, we’ve created a venue that focuses exclusively on ideas, a kind of idealized curatorial space, where exhibition budgets, loans and acquisitions of art works, timelines, and all other logistics are set aside.

Installation view

June 27 – July 12, 2009

PIT (Project Initiative Tilburg) presents its second international artist at the artspace Argument: Martin Pfeifle (1975). Pfeifle was born in Stuttgart and is currently living and working in Düsseldorf. After Tilman (US/BE) PIT invited Pfeifle to come to Tilburg. “HEMMA” is the name of his installation, one he’s specially making for the occasion. Pfeifle belongs to a group of international artists working in abstract manner that PIT closely follows and seeks collaborating with.

Martin Pfeifles works are cuts into space. Although they always relate to their location and are built in situ, his settings exist nevertheless as self referential sculptures. Pfeifles settings are sometimes difficult to take in as a whole and best glimpsed piece by piece and little by little, His work occurs with the aid of geometric fragmentation. He breaks down the things he sees as well as the things he constructs into smaller elements. The exhibition space itself becomes his topic and everyday possibilities are sequestered to resolve his artistic inquiries.

Last month Pfeifle released his new catalogue, a beautiful publication that gives a nice overview of his work. It´s not the first time Pfeifles work can be seen in the Netherlands. In 2007 Museum Valkhof in Nijmegen showed his work.

The abstract genre is alive as ever, rejuvenating you could say. PIT-curator Linda Arts states ” That alone deserves attention. All over the world PIT connects with comparable initiatives. In Sydney, Düsseldorf, New York, Paris, Tokyo…”

As a wandering art initiative, without a self owned space, PIT will frequent different places and spaces. Its primary goal is promoting the abstract genre by presenting artists who are mainly living outside the Netherlands and working in a reduced manner. Beside this PIT also wants to enhance the exchange with similar artinitiatives in the world. Later this year Kunstpodium T and artspace De Verschijning offer PIT their hospitality.

Brent: Color scales, gray scales, drums, unwrapped columns, the feel of folds, all different measures of light that sometimes manifest as light ‘actually’, though all together register as interest in how things unfold, expose, and fold back – that draw attention to form while somewhat masquerading with it – Linda, what is the common thread that runs through your work?

Linda: Interesting that you refer to my work as folds, literal, or as a manner of speech—each way is interesting. For me everything I do leads back to light and space. What I am after is capturing a sense of space and how light naturally opens, informs, and suggests. When you concentrate on the one aspect [light] the other [space] becomes an irrevocable subject that needs attention. Each aspect involves the other, not altogether different from how we experience ‘real things’, or how nature informs. Actually the canvas itself stands in for a sort of space also. It’s a complex relation where you try to tie the two by engaging a process, sometimes ignoring one for the other. Looking for a reconciliation, accepting what is done, and further working through the given…in a manner. Eventually there exists a tension. The work, also, is as much about darkness as it is light.

At this point it’s probably quite important to mention that though my work may appear distant and concrete, or minimal, more or less the result of a mechanical process (especially when it’s photographed or digitally reproduced) -, this is not the case in reality! When it is reproduced the little irregularities in my work caused by hand and the under ground aren’t noticeable. And that’s a pity because it is a deliberate choice that they are seen. Human touch is allowed in my work, if not necessary. As I said: my work is about finding and combining opposites. This means that the tension between mechanical and handmade must also have its place, must be shown, to be felt and to have its indescribable effect…