Wat zijn de openingstijden?

Woensdag 11:00 - 18:00 Donderdag 11:00 - 18:00 Vrijdag 11:00 - 18:00 Zaterdag 13:00 - 18:00

The Backspace

Project space of galerie Diana Stigter The Backspace is the project space of Diana Stigter where the gallery shows artists that should be seen in Amsterdam.

Old, young, small, big etc, it doesn't matter. As long as we think it's good art; it can be shown here! The Backspace is curated by Sjoerd Kloosterhuis

10/10/2013

"Burn Out - Car Drawing #2"

In the backspace we will show a new work of the British artist Ruth Proctor. The piece is called Burn Out - Car Drawing #2 and consists out of a drawing, a sculpture, a film and a performance; a dense installation in which the burning of tarmac does the magic.

Proctor is interested in the relationship between the figure in space and the object in space, plus movement and performance and how this can be interpreted. Also the aspect of repetition is a returning topic.

Ruth Proctor (1980) studied painting at the Royal College of Art in London. She just showed at the Sainsbury Centre for Visual Arts in Norwich, Hollybush Gardens in London and the Nomas Foundation in Rome. In October her work will be included in the exhibition The World Turned Upside Down. Buster Keaton, Sculpture and the Absurd at the The Mead Gallery at Warwick Arts Centre in Coventry and in January 2014 she will have a solo exhibition at Norma Mangione Gallery in Torino.

03/05/2013

Parallell to Jimmy Robert's exhibition 'F230 Rose dragee' we invited Becky Beasley for a show in the Backspace.

The show consists of 3 works. The Mirror piece is one Beasley’s first diasec mounted colour works - in which photographs are permanently encapsulated between highly reflective perspex and aluminium sheets. Beasley has explored the colours in the negatives, drawing on the chromatic complexities of surface, light and film stock in relation to the subjective difficulties encountered when dealing with remembered colour. The works become elaborations on the subject of colour and language, in particular the ‘ish’ used in the English language - silverish, goldish - to attempt to describe indefinite colours. The photographs become repositories for colour and surface.

The series broken is based on a story about Thomas Bernard.
Full title: Brocken (I) During my conversation with Thomas Bernhard, he suddenly took a broken window handle out of his pocket and placed it quite carefully in front of him on a table with some newspapers. Full title: Brocken (II), As it happened, the window handle was lying on a copy of the Viennese newspaper ÅDie PresseÇ. Bernhard was visibly displeased by this fact and decided to re-arrange the papers so that his window handle came to lie on the Neue Zürcher Zeitung'.

Becky Beasley (b.1975, United Kingdom) started her studies at Goldsmiths College, London, UK and recieved her MA from the Royal Collega of Art in London, UK in 2002. Selected solo exhibitions include: 'Setting', Laura Bartlett Gallery, London, UK (2012), 'The Outside, Art Now' Tate Britain, London, UK (2012), 'The Outside', Francesca Minini, Milan, IT (2011), '13 Pieces, 17 Feet', Park Nights, Serpentine Gallery Summer Pavilion Live Event, London (in collaboration with Chris Sharp). Upcoming is Beasley's solo show 'Spring Rain" at Spike Island, Bristol, UK and touring to Leeds City Art Gallery, UK.

12/04/2013

Please join us tomorrow (17-19hrs) for the opening of the Becky Beasley exhibition. At the same time Jimmy Robert will have a show in the main gallery space. Hope to see you all!

08/03/2013

Last 2 days to see Gabriele De Santis's beautiful and strong show. Today we are opened until 18hrs and tomorrow we will be there from 13-18hrs.

26/02/2013

Gabriele De Santis show "Looking for a Madeleine in Baalbek" can be seen until March 8th.

26/02/2013

"Of course the Chronovisor isn't an actual time machine, because that would be silly; it was more like a time window' proclaims Mr. Ernetti 'So it's like a TV?' Laughs Proust. 'And whats yours? A book? How can you travel on paper?' grunts Ernetti You can't, of course. But you can read from right to left' and with that begins the dream…. I met a dancer in a field - dancing fields. Spin, twist, entail. It was just like reading a book, in few seconds and I'm struggling to see my leaves With my eyes through that pages Come, I'll offer you a glass of future Futuro futurooo ooooooo I am feeling rough I am wearing glasses or plexiglasses ooo - oo - ooooh! should I go ho - o - ome? Where is your new kisser? Come, I'll offer you a glass of future Futuro futurooo – ooooooo Animals now form the shapes of boats on the wall. Let's make some music, get a bike and summon the stars ...And then If a little dreaming is dangerous, the cure for it is not to dream less but to dream more, to dream all the time…." Gabriele De Santis (Italy 1983) graduated from Camberwell College of Arts in London (MA 2010) after which he took part in the Solid Void Diogene Recidency in Turin, IT (2011). Solo shows include: Frutta, Rome, IT (2012), Mostyn Oriel Museum, Llandudno, Wales curated by Adam Carr, AB, A project dreamt by Gabriele De Santis, Nomas Foundation, Rome, IT and Cura Project Space, London, UK (all upcoming). “Re-Generation”, MARCO, Rome, IT (2012) “Footnotes, CAC, Vilnius (2013) and “I wanna be a Masterpiece, ISCP, New York, USA travelling to Henri More Institute, Leeds, UK (2013) are among the group shows in which De Santis recently participated /will participate in.

26/02/2013

Antonio Vega Macotela’s work is multidisciplinary, site-specific and often engages particular communities. It explores notions of exchange, specifically regarding currency as a mediation device through which social relations are established. It addresses an alienating economic system and its social structures. He uses art as a tool that may change the meaning of everyday life as well as re-contextualize it. His pieces work at two levels first, at a concrete one: they are almost a form of activism, since they have an impact in people’s life. And secondly at a metaphorical level, when art audiences read his interventions as metaphors themselves. In Vega Macotela’s latest film we see five soldiers with different ranks and ages who are telling the recurrent dreams that they had since the day that they became part of the military. In Mexico the army holds a position that is far from civil society and full of masculinity. Soldiers are not supposed to show their vulnerable sides or weaknesses. Therefore the soldiers were afraid of being recognized while telling their dreams and it was agreed with the artist that they would do it soundless, just moving their lips. After a week the film was shown to a group of deaf people who were asked to write down the stories that they just had seen. It turned out that the lip reading was inaccurate as the writings were a combination of their interpretation of the dreams and of what they really could have read. With this intimate film Vega Macotela is showing the process of re-contextualization and making the spectator aware of the subjectivity in which he views the world. Antonio Vega Macotela’s (1980, Mexico) lives and works in Amsterdam and Mexico-City. He studied at the National Fine Arts School ENAP in Mexico-City and he currently studies at the Rijksakademie in Amsterdam. In the last years Vega Macotela participated in numerous exhibition. A short selection: Honor Faser Gallery, Los Angeles, (solo 2012), Manifesta 9 (2012), ‘The Ungovernables’, The New Museum Triennial, New Museum, New York, USA, (2012), ‘Informal economies’, Stedelijk Bureau Amsterdam (2011) and the 29th Bienal de Sao Paulo, Brazil (2010). Forthcoming is his solo show at Labor, Mexico-City (2013).

26/02/2013

Robin Waart (NL, 1978) studied Classical Literature in Amsterdam and graduated from the Rietveld Academy in 2010. He is now a student in the Master of Artistic Research, KABK/Conservatory, The Hague. Waart’s work deals with questions of repetition, collecting, memory and nostalgia. Often the inner language of a medium, whether book, film, Polaroid or a cliché, marks the starting point of a project. Like the sculptor who doesn’t sculpt or the lover with no one to love, Waart makes pictures while avoiding being a photographer, or produces a book about not-writing. He is interested in how we all echo the stories and the words of others, and how we are influenced by myths of individuality and origin(ality) – noticing that what we start with is always a fragment, that fragments are rem(a)inders, but beginnings too. Recent exhibitions include: "World book design 2011-12", Printing Museum, Tokyo (JP), "Promenadologues #1", cneai, Chatou (FR), "De Best Verzorgde Boeken 2011/The Best Dutch Book Designs 2011", Stedelijk Museum, Amsterdam (NL), Frankedael Foundation, Amsterdam, NL (solo), Photography and Ruin, NYPL, New York, USA, (Almost) all my little polaroids, Galerie Johan Deumens, Leipzig, DE (solo) all in 2012, "Books on Books", Swiss Institute, New York, (USA) and "ordered groupings, inheritance, Kyber Institute of Contemporary Arts, Halifax (CN) both in 2011.

26/02/2013

The oeuvre of Mounira Al Solh is multidisciplinary and moves between video, photography, installation, writing and painting. Her approach is not documentary but fictional, even fantastic. While transforming dramatic situations into ironical ones, she seems to be making conscious periodic parallells between socio-political issues and aesthetics. She frequently appropriates other artworks, and often metamorphoses into other characters and mainly fictional artists. Mounira Al Solh studied painting at the Lebanese University in Beirut and at the Gerrit Rietveld Academy in Amsterdam. From 2006-08, she was a resident at the Rijksakademie in Amsterdam. Recently, she showed her work at a solo show in Stedelijk Museum Bureau Amsterdam (SMBA). Forthcoming shows (all in 2012) include: "I decided not to save the world", Tate Modern, London, (UK) and Salt, Istanbul (TK), Bucharest Biennial, Bucharest, (RO) and "The Ungovernables",The New Museum Triennial, New Museum, New York (USA).

26/02/2013

"What a relief, to burst like a great bubble of flesh, a great bubble of transparent soap in which he recognised his face" In November we show a collaborative project by Tom Gidley and Collier Schorr. Three collages of Schorrs are presented with three ceramics of Gidleys that play off each other, acting partly as quotation marks, or projections into reality by the collages themselves. The title is a quote from the Russian novel “The Case of Comrade Tulayev”, by dissident writer Victor Serge, a classic of the Stalinist era. It suggests a transformation, a physical reaction to a psychological state. This and the political chaos described in the novel relate to the central object, Gidley’s ceramic sculpture “Inner Despot”, but also to the strong, but poetic collages of Schorr, in which androgyny plays a major part. Tom Gidley (England, 1968), receieved his MA at Central St. Martins, London. Recent solo shows include: Paradise Row, London, UK (2012), Young British Art II curated by Ryan Gander, Whitstable Biennale, Zurich, CH (2012 group), Keep me Posted, Posted, London, UK (2011), LOG, Bergamo, IT, (2010), Aldrich Contemporart Art Museum, Conneticut, USA (2010) and Limoncello, London, UK (2009). Collier Schorr (United States, 1963) graduated from The Schoolof Visual Arts, New York. Recent solo shows include: Arts Cameralis, Katowice, PL (2011), Istanbul Bienal (2011 group) 303 Gallery, New York, USA (2010), Stuart Shave Modern Art, London, UK (2010), ‘pictures by Women: A History of Moderns Photography, MOMA, New York, USA (2010 group) and Barbara Weiss, Berlin, DE (2009).

Adres

Amsterdam
1016SH

Openingstijden

Woensdag	11:00 - 18:00
Donderdag	11:00 - 18:00
Vrijdag	11:00 - 18:00
Zaterdag	13:00 - 18:00

Telefoon

+31206242361

Website

http://www.dianastigter.nl/

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