EFFECT RATING

EFFECT RATING


JOHANN ARENS












Titled after one of the works on show, Effect Rating is an expansive selection of Johann Arens' most recent works. Bringing together this group of works for the first time, this show describes the artist's continuous interest in the complex and often contradictory concurrence between imagery and actual social space. 

The works vary in format and display – from a scale model and installations to online presentation, photo wallpaper, projections and video screenings. Although Arens employs the language of both sculpture and film, at the core of his practice is a cinematographic preoccupation with different modes of moving image production. His work is an evolving system of collected, collaged and digitally processed imagery that responds to the conventions of film and its representation of reality. 







Much of Arens' works is concerned with the role of the various 'devices' used in image production; which then assume an object-like quality. Considering their social dimension he explores how they shape one's own viewing behaviour and with this, indirectly portrays the body of an active, producing 'user'. 
A complex but stylized investigation in forms, structures and processes of viewing and role-attributing, this exhibition further traces Arens' interest in methods of filmic expression and viewing practices. 





Johann Arens (b.1981) was born in Aachen, Germany. After graduating from the Gerrit Rietveld Academy in Amsterdam in 2006, he has worked in Berlin during a 5-month residency by the Nipkow Program and received a one-year stipend by the Netherlands Foundation of Visual Arts. Lately he completed his MFA at Goldsmith, University of London.
Recent expositions include ‘New Contemporaries’ at the ICA London, ‘Deceptive Eye’ at the Institute of Continuation in Stockholm, and ‘No Soul For Sale’ Festival at Tate Modern in London. Amongst others he participated in ‘A useful-looking useless object’ at Sierra Metro in Edinburgh and ‘I'll explain you everythiinnngggg’, Chert Berlin.






opening 3rd of march, 20:00h
exhibition open from 7th of march - 1st of april 
wednesday - sunday 12:00h - 18:00h


DE SERVICE GARAGE
cruquiusweg 79
1019 AT Amsterdam

Exhibition was realised with kind support of the Sandberg Institute, CreativeColors & VriendenvandeSERVICEGARAGE.

HOUR HOUSE

HOUR HOUSE

MORGAN BETZ, KEREN CYTTER, FRANK KOOLEN, BENJAMIN MAYMAN, MARTIJN OLIE, DARAGH REEVES &  SJOERD TIM








Against the backdrop of a giant house of cards paintings, collages, sculpture and video form an instable but fixed equilibrium. In a process related manner these works comment, question and complement one another creating a versatile but at the same time focused gesamtkunstwerk.

The seven artists studied together at De Ateliers in Amsterdam from 2001-2004. In that period their work, or more specific the attitude towards their work, was similar in approach: a direct, personal and self-conscious approach towards the media and themes they choose. Now, seven years later, it's time to meet again and see if these similarities still exist.

opening 17th of december, 20:00

exhibition open from 21th of december - 29th of january

wednesday - sunday  12:00 - 18:00

DE SERVICE GARAGE

cruquiusweg 79 

1019 AT Amsterdam

WE NEED A WHOLE LOT OF FLOWERS

WE NEED A WHOLE LOT OF FLOWERS

KATI KÄRKI, HANNE LIPPARD, PHIL BABER AND SARA CAMPOS

"I knock at the stone's front door.
‘It’s only me, let me come in.’

‘I don't have a door,’ says the stone.”

—Wisława Szymborska, “Conversation With a Stone”


A stone is a stone. And so is a gravestone and a pebble by the road. Lippard, Kärki, Campos, and Baber have all taken an interest in stones—Baber splitting one open in search of its essence, Campos freezing one down over several days in order to establish a relation to an unknown place, Kärki finding spatial time embedded in their textures, and Lippard discovering that her father’s purchase of the “Observer’s Book of Geology” in 1968 has proven vital for her existence.

In this show, the four artists bring together a number of works which attempt to deal with the stone in its brute, material facticity. These investigations will be presented throughout October in the Service Garage, Amsterdam (ensuring, in accordance with local council regulations, a distribution of no more than 250 kilograms per square metre).

DOUBLE SOLO/ SINGLE DUO

DOUBLE SOLO/ SINGLE DUO

of stranger we can achieve two/ 

me together say believe your can/ 

dream you danger be it Come is/ 

of mind it Free one you/

REBECCA STEPHANIE & ISFRID ANGARD SILJEHAUG




De Service Garage presents Isfrid Angard Siljehaug and Rebecca Stephany — Double Solo/Single Duo. Angard Siljehaug and Stephany have been collaborating on performance and video projects since 2009. The exhibition will bring together works from their individual and collaborative practice.
The subtitle of the exhibition can be looked at as a metaphor for the practise of Isfrid Angard Siljehaug and Rebecca Stephany: having a verse from 'When Two Become One' (Spice Girls) processed by web application Dada Poetry Generator, the syntax is suspended. This intervention causes an atmosphere where established logics and common truths are put into question.

Double Solo/Single Duo consists of a wall drawing by Angard Siljehaug, objects and a drawing by Stephany, an overview of their collaborative video works and a performance during the opening with new work especially made for this occasion.











Isfrid Angard Siljehaug (º1986, Norway) is doing her MA in Artistic Research at the Royal Academy in The Hague and Rebecca Stephany (º1980, Germany) is currently artist in residence at the Rijksakademie, Amsterdam.

photographie: NIELS VIS

NIKLAUS RUEGG; THE FAT GHOST

THE FAT GHOST


NIKLAUS RUEGG


Niklaus Rüegg's work uses the form of the traditional comic book as
source material in his multi-disciplanairy practice. However, he
tackles the obvious and is constantly seeking for disappointment,
deception and anti-climax.

REVISIT EXQUISIT

REVISIT EXQUISIT


KALEB DE GROOT EN ROOSJE KLAP


De Groot en Klap presenteren een dynamische installatie van 1.500 m2 op
zowel de eerste etage als het dak van de Service Garage. Revisit Exquisit is 
de afsluitende tentoonstelling van De Service Garage op de huidige locatie, 
waarbij De Groot en Klap rigoreus een gedeelte van het dak open zagen om 
daglicht naar binnen te laten.


Revisit Exquisit bestaat uit inflatables, vuurwerk, hout, beton en zeef-
drukken. De constructies, de houtsculpturen en hergebruikte kunst-
werken vormen een abstracte dynamische installatie, waarbij het on-
duidelijk waar het kunstwerk begint of eindigt. Door het integreren van
terugkerende architectonische elementen stellen De Groot en Klap
essentiële vragen over het presenteren van kunst. De kleurige reeks
zeefdrukken bevat vormen die direct refereren naar de elementen van
de installatie. De zeefdrukken, opgebouwd uit 26 drukgangen – met
in iedere drukgang een kleur- en vormreferentie naar een letter uit het
alfabet – zijn een rechtstreekse ode aan elkaars werk en discipline.


De tentoonstelling in de Service Garage is een voortzetting van het
project Exquisit Gunpowder City 16 Shot in Xiamen (China) uit 2008.
Er werden veertien inflatables ontwikkeld, die verwezen naar archi-
tectonische basisvormen, opgeblazen in een oud vissersdorpje dat
geleidelijk gesloopt werd. Deze inflatables van Chinees bouwzeil zijn
in de Service Garage te zien in een nieuwe context. Bij deze tentoon-
stelling verscheen een gelijknamige publicatie bij uitgeverij Revolver
(Frankfurt Am Main, 2008).


De dynamische installatie Revisit Exquisit neemt de tentoonstelling
Dylaby in het Stedelijk Museum in 1962 als referentiepunt en verwijst
tegelijkertijd met de architectonische ingreep in het dak – een glazen
kasconstructie – naar Sandbergs’ in 2006 gesloopte Nieuwe Vleugel
van het Stedelijk Museum, jarenlang het ‘huis’ van het Amsterdamse
kunstenaarsinitiatief en de plek voor experiment in een museale context.


Kaleb de Groot werkt als beeldend kunstenaar aan site-specific installaties, 
performances en werken in mixed media. Ontwerper Roosje Klap werkt aan 
publicaties voor opdrachtgevers in de culturele sector en aan opdrachten in 
de openbare ruimte. De samenwerkingsprojecten van De Groot en Klap over-
schrijden de eigen vakgebieden. Revisit Exquisit en andere projecten gaan 
vaak over deze overschrijding, maar ook over de frictie, de fascinatie en de 
overeenkomsten van ieders vak.


Art Amsterdam
De tentoonstelling Revisit Exquisit is onderdeel van het speciale Art Amsterdam 
VIP verzamelaarsprogramma ‘Club C’ van Renée Steenbergen en Donna Wolf. 
Een inflatable van het duo De Groot en Klap wordt bij ‘Paved Paradise’ op Art
Amsterdam getoond (26 t/m 30 mei 2010). Daarnaast is Revisit Exquisit onderdeel 
van het stedelijke parallelprogramma Art in Amsterdam (voorheen Tijdelijk Museum).

AMSTERDAM-BERLIN

AMSTERDAM-BERLIN 


GERWALD ROCKENSCHAUB, TJEBBE BEEKMAN, ARTURO HERRERA, MARC BIJL, JOHN VON BERGEN, HADASSAH EMMERICH, GEROLD MILLER, MAARTEN JANSSEN, WAFAE AHALOUCH EL KERIASTI, BERND TRASBERGER, MARKUS GUTMANN, VINCENT VULSMA, VERONICA BROVALL, SEBASTIAAN DACEY, TJORG DOUGLAS BEER

An interesting art world has to be progressive in all areas, from non-profit to commercial and from emerging to established. Missing one of those elements will have consequences on the whole, but what happens if several parts are missing? How can Dutch art be expected to participate internationally when museums are closed, when international artists are not often represented and energy slowly evaporates?
Artists have to function in a situation that is not very inspiring and take the initiative to move to more interesting conditions. Berlin is for many artists a place where the energy is very much present, where opportunities and quality are available but at the same time is a city of freelancers not making a lot of money. The project Amsterdam-Berlin shows Dutch- and international artists who are inspired by and working in the city Berlin. With this project de Service Garage wants to be part of the movement that stands for the development of the art in Amsterdam and The Netherlands.

photographie: CHARLOTT MARKUS

CHROMAKEY

CHROMAKEY


PIETER PAUL POTHOVEN

Pieter Paul Pothoven ventured to the remote Lapis Lazuli mines in North East Afghanistan. He mapped the source of ultramarine blue, a color that plays an important role in European visual culture. The comprehensive research project 'Chromakey' juxtaposes pseudo geological and art historical notions, within the inevitable context of the contemporary news media.

pieterpaul.nl

LETS TAKE IT OUTSIDE

LETS TAKE IT OUTSIDE

DANIEL HOFSTEDE, BENJAMIN ROTH, ZORO, FEIGL, LINDA NIEUWSTAD, CHARLOTT 

MARKUS, THIJS RHIJNBURGER, FRANK AMMERLAAN, FRASER STEWART, ARIK VISSER, NATHAN VAN HEIJNSBERGEN, MARTHA BENEDIKTE HJORTH JESSEN, MAURICE VAN DAALEN

curated by PIETER VERBEKE

To be able to work and exhibit in one place is one of the trademarks of the Service Garage and the resident artists. As a celebration of its 2nd year anniversary the exhibition Lets Take It Outside explores the effect of this benefit.

As the working conditions at the Service Garage change from season to season – in summertime the temperatures inside can be compared to those of a Finnish sauna, while during wintertime it nearly drops down to zero degrees – the behavior of the work changes when it is moved from the studio to the exhibition space. This is a remarkable feature for the resident artists of the Service Garage: the works are moved to the other side of the wall, out of the studio to leave the private character of the working space, and so become part of a public event.

For some of them the studio is only a place for study, while their works are physically created outside of it. Others use it purely as a room for experiment, or as a space to start from scratch and shape a work into its eventual final form. This variety of working methods demands different ways of dealing with the exhibiting of those works. This is emphasized in Let’s Take It Outside by withdrawing the works from a classical presentation. Hereby, the title also points to a confrontation between the works and the artists: They've abandoned the intimacy of their studios to deal with the Service Garage exhibition space in an individual way.

During the exhibition the artists will research what the making process means to them. Where it all begins and ends. The artists place manipulation versus sincerity, the private versus the public and a first sketch versus the exhibited.

TWO WAYS

TWO WAYS

VIOLA GROENHART

Two Ways portrays two men as they climb a rocky, lifeless looking mountain. The men’s efforts are strenuous and the mood is tense. As we follow the youngest man on foot, we can feel his increasing anxiousness of keeping up. When his tension grows to a peak, something breaks. While losing foothold, almost falling, we stumble upon a different path.

The work of Viola Groenhart consists primarily of short films and videos that balance between classical cinema and fine arts. In her work she investigates how the moving image can be used to create a counterbalance to contemporary image-culture and the predominantly rational and consumptive state of mind it produces. The detailed and silent world Viola Groenhart creates with her films, offers an opportunity for broadening the way of looking, thinking and understanding to which we have become so habituated in daily life.

Viola Groenhart studied Fine Arts at the Gerrit Rietveld Academy in Amsterdam and Integrated Media at the Emily Carr Institute in Vancouver, Canada. She currently attends the post-graduate and audiovisual research centre Le Fresnoy, Studio National des Arts Contemporains, in Tourcoing, France.Two Ways was produced by Le Fresnoy Studio National des Arts Contemporains and was shot on location at Wasdale Head, Cumbria, United Kingdom, early 2009. The film could not have been realized without the very generous support of the Fonds voor  Beeldende Kunst en Vormgeving and BE-PART Platform for Contemporary Art.

filmstills "Two Ways", 2009

CHAOS BECOM SCSMS

CHAOS BECOM SCSMS


MARC OOSTING


Voor zijn tentoonstelling ‘CHAOS BECOM SCSMS’ onttrekt Marc Oosting ruimte aan de Service Garage om een installatie te doen verrijzen die gelijktijdig sculptuur is als een omgeving voor zijn schilderijen en objecten. Zowel de installatie als de afzonderlijke  werken tonen zijn fascinatie voor tekst en tekens, die op dubbelzinnige wijze worden ingezet, als zelfstandig beeld en als leesbaar gegeven.

photographie: GERT JAN van ROOIJ

QUANTUMVIS V

QUANTUMVIS V

RC de Ruimte i.s.m deSERVICEGARAGE

Het uitgangspunt van Quantumvis V is het bijeen brengen van een grote groep kunstenaars en zoveel mogelijk invalshoeken en disciplines zichtbaar maken. Van abstract tot figuratief, van 2D tot 3D installaties, van foto's naar video's.

 

Tentoonstelling is samengesteld door
Frank Ammerlaan, Joop Stoop,Thijs Rhijnsburger, Linda Nieuwstad, Margreet Bouman, en Willem Gorter