Dolores Dolores is the project-space of the Amsterdam based Ellen de Bruijne Projects gallery.

Werkend zoals gewoonlijk

Opening this Saturday 19 november 5-7 PMLucile Desamory - FrankenbitingWhen the editors of a reality tv show need one of...

Opening this Saturday 19 november 5-7 PM

Lucile Desamory - Frankenbiting

When the editors of a reality tv show need one of the contestants to express something else than what she is actually saying, they move the words around, cutting and pasting sound, frankenbiting. Reality is scripted, the meaning of a speech sometimes completely turned to the opposite of what was originally said. The word “Frankenbite” combines “Soundbite” and “Frankenstein” and is a reality show editor’s most powerful tool for manipulating the viewer’s perception of a contestant.

The work of the artist and film maker Lucile Desamory explores the eerie and inexplicable. However, she is not concerned with references to another world, to a beyond, but with the limits of perception, viewed from an explicitly earthly perspective.

Her films and artworks have been shown internationally, amongst others at the Tate Modern, Anthology Film Archive, Fondation Cartier pour l’Art Contemporain and Cinémathèque Royale de Belgique, Kunsthalle Zürich, WIELS and Mu.ZEE Oostende.

In her broad practice, which has included diorama, film-making and live performance, collaborations take a big part. Desamory has collaborated among others with Kevin Blechdom, Nicholas Bussmann and Luke Fowler on film and music, Antonia Baehr and Lucy McKenzie on installations and film.

Lucile Desamory lives and works in Berlin

Exhibition | Lucile Desamory – Frankenbiting
19/11 – 24/12/2016
Opening: 19/11 17-19 hrs
Curated by Dorothé Orczyk

Opening tomorrow!Zhana Ivanova – Predictions 01/11/14 – 20/12/14On September 14, 2014 by invitation of Land Art Live, Zh...

Opening tomorrow!
Zhana Ivanova – Predictions 01/11/14 – 20/12/14

On September 14, 2014 by invitation of Land Art Live, Zhana Ivanova presented the specially commissioned performance Predictions. This large scale intervention took place on location at Robert Morris’ Observatory near Lelystad.
The function of a “cosmic compass” intended in Morris’ Observatory served as a starting point for Ivanova’s work. Her focus diverted however from the movements of the sun and the planets – instead she observed the site’s immediate environment. Each day a steady flow of trains, trucks, tractors, cars and bicycles passes by the Observatory’s perimeter – forming ever changing, and as far as we know incidental constellations. As patterns emerged and established, Ivanova predicted a scenario where daily chance and a perhaps grander scheme seemed to intersect. Viewers were invited to hear the predictions through individual headphones, and observe which of them would come true and which would not. A sound installation deducted from the event will be presented at the gallery

Zhana Ivanova’s practice centres on rearranging and reconfiguring daily patterns and systems to which we have grown accustomed. She often uses performance in order to artificially induce situations in which social and power relations fluctuate. Her constructions are initially formal and rule-governed; yet within them she insistently exposes the ambiguity of her own rules.

Zhana Ivanova (Bulgaria, 1977) lives and works in Amsterdam. She was educated at the Queen Mary University College, London and at DasArts, Amsterdam. In 2013 she completed a residency at the Rijksakademie van Beeldende Kunsten, Amsterdam. Her works have been realized in galleries and festivals internationally, most recently Fondation Galeries Lafayette Paris (2014), Stedelijk Museum Bureau Amsterdam (2013), Performatik – Brussels Performance Biennale (2013), Crikoteka Krakow (2012), Arsenic (Lausanne), W139 Amsterdam (2012), Frascati, Amsterdam (2012). In January 2015 Ivanova will have a solo presentation at Kunsthalle Basel (CH)

Zhana Ivanova- Predictions
Opening: 1 November 2014, 5 -7 pm
Exhibition: 1 November – 20 December 2014
Curated by Dorothé Orczyk
Voice: Michael Blass
Image: Geert van der Wijk

Last chance to visit the exhibition Painter & Servants by Craig

Last chance to visit the exhibition Painter & Servants by Craig Drennen.

Craig Drennen – Painter and Servants 02/03/13 – 06/04/13 “Painter & Servants” marks the first solo exhibition project for Craig Drennen at Dolores/Ellen de…

Opening Saturday March 2nd 5-7pmCraig Drennen - Painter & Servants“Painter & Servants” marks the first solo exhibition p...

Opening Saturday March 2nd 5-7pm

Craig Drennen - Painter & Servants

“Painter & Servants” marks the first solo exhibition project for Craig Drennen at Dolores/Ellen de Bruijne Projects, and his first solo project in Europe. The exhibition is comprised of works on paper based on the character “Painter” and the character “Several Servants” from Shakespeare’s Timon of Athens.

“Since early 2008 I have organized my studio practice around the play Timon of Athens, written by William Shakespeare between 1605 and 1608. It is considered to be Shakespeare’s most difficult and obscure work, and is the only one of his plays not performed in his lifetime. I do not use this project to valorize failure. Rather, failed projects provide me with empty cultural bandwidth within which to house my own subjectivity. I am proceeding through the cast of characters listed in the dramatis personae beginning with the minor characters. For each character I produce distinct works based on contemporary associations. The final result will be a body of related artworks comprised of separately considered parts. The exhibition environment becomes a “stage” wherein the characters must visually and conceptually interact.

For Dolores I chose the characters Painter and Several Servants. The pieces for Painter are made by layering drawing and disparate painting techniques and finishing with a Polaroid—itself a painted illusion. The organizing principle for the Painter pieces is the “X” shape, since painting’s contested position within contemporary art begins from a state of cancellation. The works for the Servants are made to form smiling faces from manipulated component parts. The Servants must always be smiling, no matter the awkwardness of their rendering or their low source materials.

Timon of Athens is a failed play of contested authorship, bewildering technique, and a disputed relationship to the accepted canon. That is to say, it mirrors my own position within the art world very well.”
– Craig Drennen

Craig Drennen is an American artist living in Atlanta, GA. He is represented by Samsøn gallery in Boston and Saltworks gallery in Atlanta. His work has been reviewed in Artforum, Art in America, and The New York Times. He teaches at Georgia State University and serves as dean of the Skowhegan School of Painting and Sculpture. He is on the board of Art Papers magazine and has worked in the exhibition departments of the Guggenheim Museum, the Jewish Museum, and the International Center of Photography, among others. Since 2008 he has organized his studio practice around Shakespeare’s Timon of Athens.

Image: Craig Drennen, Double Painter 2, 2013, graphite, acrylic, oil, alkyd on paper, 101.5cm x 203cm

Opening: 2 March 2013, 5-7pm
Exhibition: 2 March – 7 April 2013
Curator for Dolores: Dorothé Orczyk

Opening this Saturday, January 19th, 5-7 pmKarin Hasselberg - Considering Sites

Opening this Saturday, January 19th, 5-7 pm
Karin Hasselberg - Considering Sites

Discoteca Flaming Star 03/11/12 - 31/12/12Dolores is proud to present a new installation by the Berlin based collective ...

Discoteca Flaming Star 03/11/12 - 31/12/12

Dolores is proud to present a new installation by the Berlin based collective Discoteca Flaming Star. Founded by Cristina Gómez Barrio and Wolfgang Mayer, they work as an interdisciplinary collaborative art group, which uses songs and other forms of oral expression, understanding them as a personal response to historical events and social and political facts. They reflect upon their work by combining and recomposing it, revitalizing existing work and distilling a fresh point of view.

The installation at Dolores derives from different inspirations; Black banner III (2009) which divides the Dolores can be seen as a spatial transformation and functions as a “think-textile”. The banner contains repeatedly the words “NoBoris” which are woven in the 12 meter long textile. The text refers to Boris Lurie, one of the founders of NO!art, which found its base in 1960 in New York. Being a social art rebellion movement, its members were revolting against the capitalist art market and art system in general, stating that NO!art 'is socially relevant, personal expression, it is social art, it is protest art, it is political art, it is anti-art.'

This social engagement is reflected in Study for Agora (Test) (2011) and the video piece Agora (2012). The work refers to the ancient Greek “agora”; the market square used as an open gathering place for discussions. With the Agora Discoteca Flaming Star has evoked this space thinking of friends engaged in a conversation while walking together. Discoteca Flaming Star creates an intangible space where the artists and the audience are welcome to think differently, each distilling its own meaning.

Opening: 3 November 2012
Exhibition: 3 November – 31 December 2012
Curator for Dolores: Dorothé Orczyk

Ellen de Bruijne Projects proudly presents the work of Los Angeles based artist Simone Forti. By many regarded as one of...

Ellen de Bruijne Projects proudly presents the work of Los Angeles based artist Simone Forti. By many regarded as one of the key figures in postmodern dance, Forti prefers to be referred to as a movement artist. By improvising she explores pure movement and its relation to the mind, in her latest work enriched by language as one of her central interests. Her work links linguistics to movement by translating the word into gesture and speech into choreography.

According to Simone Forti improvisation can never be purely natural and spontaneous as it will always be influenced by the dancers’ personal style or desire to express. By using only movements of everyday life, she aims to objectify improvisation. These movements are strengthened by the ephemeral character of her choreographies due to their truly improvisational core.

In News Animations the news becomes the choreographer, determining Forti’s movements and speech. This seemingly infinite series of performances started as an attempt to fully comprehend the news through improvisations. Moving and speaking became a method of inquiry and social commentary, implementing all words that come to mind. These words arise from questions, feelings and speculations about the world brought to us by the news. Also incorporated in Forti’s drawings, the artist has found a way to practice improvisation in the two-dimensional as well. Thought becomes movement becomes line becomes word.

Simone Forti (IT, 1935) is a dancer/choreographer /writer. After her studies and apprenticeship with Anna Halprin, she studied composition at Merce Cunningham Studios. Here she started working with choreographers like Trisha Brown, Yvonne Rainer, and Steve Paxton. Forti went on to be a pivotal figure in the Judson Dance Theater community. Over the years her work has evolved from her early Dance Constructions, through her animal movement studies and News Animations, an improvisational dance narrative form wherein movement and language spontaneously weave together. In 2005 Forti received the Guggenheim Fellowship and currently she’s teaching improvisation at UCLA.

Throughout the years, writing has been part of Forti’s process. Among her writings are: Handbook in Motion (1974) published by The Press of the Nova Scotia College of Art and Design; Oh,Tongue (2003) and Unbuttoned Sleeves (2006) both published by Beyond Baroque Books.

Florian & Michael Quistrebert - Amnesic cisenmAAmnesic cisenmA is an exhibition based on a video installation with the s...

Florian & Michael Quistrebert - Amnesic cisenmA

Amnesic cisenmA is an exhibition based on a video installation with the same title. The mirroring words in the title reflect the recurrence of symmetry in Florian & Michael Quistrebert‘s work. The installation consists of three videos, each showing a basic shape adapted to the width and height of the screen on which it is displayed.

We do work with pure materials; the pure things we have in our flat get transformed into something else. It’s actually all very low-tech. We like to join low and high. Low culture, high culture; low materials, high materials. The results are like collages that play with references and result in a kind of transcendence.*

The artists use basic techniques such as montage, collage, fragmentation, and sequencing for constructing their work. Mainly based on painting and video, they work within a formal language using basic geometric shapes, such as circles, squares and rectangles. In doing so, Florian & Michael Quistrebert often use references to the aesthetics of modernism in their work.

While they worked with symbols of occultism in previous works, they try to eliminate figurative elements in their more recent work; When we were using symbols of the occult in previous videos or even in our paintings, we were clashing the transcendence or progressive moments of modernism with the occult, which possesses hidden, other knowledge. We were kind of playing with “rolled-up” idea of Progressivism. *

In this exhibition, the relation between the work and the viewer is of crucial importance. Because initially there is no clear meaning, but only the vagueness of the work, the viewer is dependent on one’s own context, background and memory to give meaning to the images.

Florian & Michael Quistrebert (FR, 1982 &1976) studied at Ecoles des Beaux-Arts de Nantes and were residents at Triangle Studio in New York. Their work has recently been shown in the Marrakech Biennale, Galerie Stadtpark, (AUS), Harris Lieberman (NY), le Nouveau Festival – Centre Pompidou Paris and PSM Gallery, Berlin. Currently Florian & Michael Quistrebert are residents at the Rijksakademie.

During the opening there will be a book launch of Florian & Michael Quistrebert’s new book Brothers of the Shadow, published by galerie Crèvecoeur Paris.

Opening: Saturday, 7 April 17-19 hrs.
Exhibition: 07/04 – 19/05 2012
Curator for Dolores: Dorothé Orczyk
* The quotes are taken from the catalogue of the exhibition Undisciplined Oscillator at Galerie Stadtpark, Krems (AUS) 2012

Special thanks to Marijn van Kreij
Photo: Stefan Lux

Benjamin Greber - Dolores' LavatoriumBenjamin Greber“Dolores’ Lavatorium” Benjamin Greber researches contemporary societ...

Benjamin Greber - Dolores' Lavatorium

Benjamin Greber
“Dolores’ Lavatorium”

Benjamin Greber researches contemporary society as if he were an anthropologist. By reproducing technical objects, or fictional ready-mades as he likes to call these, Greber reflects upon certain temporal processes taking shape in our society. In his work, the artist investigates technical objects and questions their value.

When producing the elements for his installations Greber uses a strict process to reproduce the actual industrially produced equivalent. He starts with a basic model in cardboard, which is painted and coated with an epoxy resin. In the next step, the object's surface is manipulated by mimicking real life processes like staining, damaging, repairing, and repainting the object. The composition of traces of these physical processes combined with precise painterly interventions show the object in various stages of its existence. This idea takes further root by showing the same object in a series of exhibitions, each time in a different stage.

By applying these methods Greber wants the sculptures to be charged with a narrative aura which raises questions about the origin, sense, past and future of these reproduced objects and their context.

I think everyone has an image of each object in mind which is associated with metaphors made by our social experiences with this object. By transforming those existing objects into sculptures this may reveal metaphors and its inner meanings to our lives.

In the Dolores' Lavatorium exhibition, different stages in the process of installing and deinstalling a series of sinks is shown. The traces of both past, current, and future events refer to the perishability of the world and our comprehension of how things should appear. It is never clear which stage has already passed and which is yet to come. The first trace is that of the positioning of the sinks on the wall. The second set of traces is formed by fragments of the sinks spread on the floor, as if the sinks are taken from the wall and have been destroyed. The third trace of their existence take shape in a pile of transport boxes, either containing new sinks, or left over from the previous instalment.

Benjamin Greber (Germany, 1979) graduated at Kunstakademie Münster. Recent exhibitions include among others Marta Herford, Wilhelm-Hack-Museum, Ludwigshafen, NICC in Antwerp and Lokaal 01. Last year Greber was granted the Stiftung Kunstfonds Art Grant.

Opening: Sat. 25 February 2012 17 – 19 hrs
Exhibition period: 25/02 – 31/03 2012
Curator for Dolores: Dorothé Orczyk

Ellen de Bruijne PROJECTS

Ellen de Bruijne PROJECTS

Tomorrow is the last day to visit the shows by Marianne Viero and Annaïk Lou Pitteloud. You're all very welcome!

07/01/12 Opening Marianne Viero/Annaïk Lou Pitteloud

07/01/12 Opening Marianne Viero/Annaïk Lou Pitteloud

29/10 opening Telling Textures, Dolores by Katrin Mayer

29/10 opening Telling Textures, Dolores by Katrin Mayer

Katrin Mayer - Telling Textures, DoloresThe interior is not defined by a continuous enclosure of walls but by the folds,...

Katrin Mayer - Telling Textures, Dolores

The interior is not defined by a continuous enclosure of walls but by the folds, twists and turns in an often discontinuous ornamental surface. Referring to the architect Gottfried Semper, who reversed the hierarchical order where cladding is secondary to structure, Katrin Mayer’s work deals with spatial textures in a notion of having discursive layers of interiors within its interiors. Seeing Dolores as a curated insert within a gallery structure she develops a specific texture that reflects on the term of masking. “The imposed mask of femininity can be re-appropriated through masquerade to produce another spatiality, an ‘elsewhere’. But this ‘elsewhere’ is not so much a place, as a displacement of place.” (> Luce Irigaray)

Katrin Mayer (DE) lives and works in Berlin. She studied visual art in Hamburg where she also was a fellow of the post-graduate program Deconstruction and Design: Gender. Her artistic work concerns installation-based emplacements in specific discourses and spatial contexts, directed by her interest in theories of difference, gender and identity.

Recent solo and group exhibitions include So as to form surfaces at Kunstverein Düsseldorf, Living Archives at KUB Arena, Kunsthaus Bregenz, Beginning good. All good. at KUB Arena, Kunsthaus Bregenz, Seams and Notches at RECEPTION Gallery Berlin, The End of the World as we Know It at Kunsthalle Mulhouse, Balloons / '“Your very own words.“ Indeed! And who are you?' (Brion Gysin) at Open Space, Art Cologne, Fake or Feint in Berlin, SPACE REVISED - #1 Friendly Takeovers at Gesellschaft für aktuelle Kunst, Bremen and Indicated by Signs at Kunstverein Bonn.

Upcoming shows include Verdeckte Adressaten at Weiße Rose-Stiftung / Platform3 in Munich and the spatial concept for PostPorn Parliament which will take place at W139 in Amsterdam and Kampnagel in Hamburg next year. For updates please visit

Opening: Sat. 29th October 17 – 19 hrs
Exhibition period: 29/10 – 24/12
Curator for Dolores Karin Hasselberg


Singel 372


Woensdag 13:00 - 18:00
Donderdag 13:00 - 18:00
Vrijdag 13:00 - 18:00
Zaterdag 13:00 - 18:00


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Kunst & Vermaak in de buurt

Andere Kunstgalerie in Amsterdam

Alles Zien

Andere Kunstgalerie in Amsterdam (alles zien)

ANAÏS Arti et Amicitiae Arti et Amicitiae Limpression Galerie Ron Mandos Galerie Bart Galerie Mokum Gallery WM Lang Art Open Ateliers Jordaan Aronson Antiquairs of Amsterdam The House of Human Foam Fotografiemuseum Amsterdam Sally’s Fault Art Associates