After Daan van Golden, Parts Project, The Hague

Daan van Golden, Richard Aldrich, Ronald de Bloeme, Carel Blotkamp, Indigo Deijmann, Maurice van Es, Fergus Feehily, Kees Goudzwaard, Mirthe Klück, Niek Hendrix, Robbin Heyker, Maja Klaassens, Marijn van Kreij, Just Quist, Magali Reus, Julian Sirre, Annemarie Slobbe, Alice Tippit, Riëtte Wanders.

September 5 - November 7, 2021

The origin of this exhibition lies in an encounter between the artists Robbin Heyker (1976) and Niek Hendrix (1985), who met by chance in 2015. It soon became apparent that Daan van Golden is an important reference point for both of them in their conception of art and their work. The concepts of “thoughtfulness” and “room for slowness”, in particular, played a central role in the discussions between Heyker and Hendrix.

Van Golden’s work is included in many museum collections, but he only produced a few works each year. He was therefore never very visible; his production was simply too low. Brushstroke by brushstroke, he built up an oeuvre that seemed to revolve around meditation, repetition, the personal, but also the mundane, the banal. Seemingly simple paintings unfold a stratification of complexities of the working of the image and its art historical context. In short, the fundamental question of what makes a painting, a painting and what does that mean? And what does that then mean for artistry? Both of them recognise themselves in these questions, but deal with them in a very different way. These are questions that, in the current art discourse, receive little attention in an institutional context.

Over the years, there have been many more artists for whom the work of the enigmatic Van Golden has been a source of inspiration, and each of these artists has approached it in a different way. Some even refer explicitly to Van Golden’s work.

The group exhibition that we are putting together based on the link with Van Golden is therefore not only a tribute to an important Dutch artist, but also a celebration of the far-reaching influence of his oeuvre on many generations of artists, worldwide moreover. An exhibition in recognition of the diversity and ambiguity of art and its makers. For us, the most important thing is to put on the agenda what Van Golden stands for, namely the previously mentioned ‘thoughtfulness’ and ‘slowness’.

Curators Niek Hendrix and Robbin Heyker

Parts Project

The exhibition has been made possible by Stroom Den Haag

Small Night Zine

THING'S SCREEN #2: Fergus Feehily's Into the Garden.

James Merrigan’s Podcast features Fergus Feehily’s 'Into the Garden', which as he states “I feel & believe is the closest I have gotten to having my own Fergus Feehily painting. Published in 2012, posted by the artist to me in 2013, I have kept it sealed in the glassine paper & envelope it came in. Among other things, especially the material mischief of 'Into the Garden', I discuss the idea of mark-making as best when it is ‘found’ rather than ‘forced’ upon the artwork – a "lower-case violence" “ - James Merrigan

Thing’s Screen

The 100 Archive

“Taking its title from the enigmatic inscription on a seventeenth-century Dutch-made plate, You & i are Earth, edited by Fergus Feehily, is a collection of essays on contemporary art by a wide range of Irish and international writers, all of whom share painting as a starting point. Exploring serendipitous connections and recovered histories, many of the essays lead the reader through a diverse range of thoughts and interests related to memory, music, history, literature, and personal experience.”

The 100 Archive

From the Archive, The Douglas Hyde Gallery, Dublin

Fergus Feehily

Pavilion

Gallery 1

October 9 - November 18, 2009

The Douglas Hyde recently featured this show as part of the From the Archive Project, which was requested by Gráine Stack. She wanted to look back at the exhibition by Fergus Feehily, Pavilion, which took place in 2009. In response, we have created this page compiling extracts of the exhibition catalogue’s visual essay, some images of the installation, and individual images of some of the artworks. We have also linked a review from the time by Maeve Connolly. 

This was Fergus Feehily’s first solo exhibition at the Douglas Hyde Gallery. He was also part of our exhibition programme in 2012, when an installation of his work exploring light, darkness and luminosity was presented as part of our The Paradise project. Fergus Feehily was also part of two our group exhibitions Dukkha (2014) and Interlude: Aspects of Irish landscape painting (2011).

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Fergus Feehily’s unconventional ‘paintings’ (sometimes the work has little to do with applying paint to a support) are modest and restrained. Invariably elegant, they are often based on a found object or image that is transformed by a sequence of improvisational moves or procedures.

At the heart of this new collection of works is a curious relationship between reticence and revelation: in many of the paintings the surfaces are partly obscured by sheets of plywood, both raw and coloured. Typically, their tone is reflective and withdrawn; Feehily never uses strength or bravura to communicate with the viewer. His work is nonetheless emotionally resonant; it may look like a kind of formalism, but it isn’t.

Text by John Hutchinson

You & i are Earth

A seventeenth-century object, excavated from a London sewer, serves as a touchstone for this book. This object, and the act of its retrieval, bring to mind a sense of temporality, a reminder that things are sometimes lost but can also be recovered.

You & i are Earth, edited by Fergus Feehily, comprises a collection of texts that share painting as a starting point. Many of the essays lead us through a diverse range of thoughts and interests related to memory, music, history, literature, and personal experience, often taking note of the seemingly incidental yet pivotal. Like the inscription on the found object, paintings contain moments, feelings, obsessions – traces of life preserved in layers of pigment.

With contributions by Annie May Demozay, John Graham, Jack Hanley, Mary Heilmann, Naotaka Hiro, Fergus Feehily, Rebecca O’Dwyer, Paul P., Eleanor Ray, Luis Sagasti, Carole Seborovski, Mark Swords, Stephen Truax, and Joost van den Bergh.

Published by Paper Visual Art , March 2021

Design: an Atelier Project Kindly supported by The Arts Council of Ireland, 12 × 18.9 cm, 112 pages, 8 b/w and 14 colour illustrations, softcover ISBN 978–1–9161509–1–1

Contemporary Art Daily, Early Lonesome, La Maison de Rendez-Vous, Brussels

Early Lonesome, LA MAISON DE RENDEZ-VOUS, featured on Contemporary Art Daily. LA MAISON DE RENDEZ-VOUS is a Brussels-based space shared by four international galleries: LambdaLambdaLambda, Prishtina; Lulu, Mexico City; MISAKO & ROSEN, Tokyo; and Park View/Paul Soto, Los Angeles. Akin to the Alain Robbe-Grillet novel from which it borrows its name, LA MAISON DE RENDEZ-VOUS will feature a shifting cast of characters drawn from the programs and networks of the participating spaces.

Contemporary Art Daily

Art Viewer, Early Lonesome, La Maison de Rendez-Vous, Brussels

LA MAISON DE RENDEZ-VOUS is a cabin, it might be a hut or a salon out of time, a step into the past or a pause, a waiting room. It is a novel read on a train, on a speeding shinkansen, or as dumb as it sounds, a dream. The novel has no beginning and no end. The past is adjacent with the now. Dreams have become unmentionable, normal and yet unknowable, but things still arrive in dreams. Feehily’s work pulls in all sorts of directions, both temporal and physical, though at their core these works are simple and modest things, paint, paper, wood, the found, the made and the glued. Perhaps this gluing and assembling is what gives them the potential to range across so many associations. Like a small salon, a beautiful hut, a waiting room or a meeting place, they contain most anything we can think about.

MISAKO & ROSEN is pleased to present a solo exhibition by artist Fergus Feehily. Feehily was born in Dublin (1968) and lives and works in Berlin and Helsinki. Significant exhibitions include the Douglas Hyde Gallery, Dublin, Walker Art Center, Minneapolis, Dallas Museum of Art and Tokyo Opera City Art Gallery. Feehily recently curated the exhibition. Constellations, for the Academy of Fine Arts, Helsinki.

Art Viewer

Early Lonesome, La Maison de Rendez-Vous, Brussels

Solo show at LA MAISON DE RENDEZ-VOUS, a Brussels-based space shared by four international galleries: LambdaLambdaLambda, Prishtina; Lulu, Mexico City; MISAKO & ROSEN, Tokyo; and Park View/Paul Soto, Los Angeles. Akin to the Alain Robbe-Grillet novel from which it borrows its name, LA MAISON DE RENDEZ-VOUS will feature a shifting cast of characters drawn from the programs and networks of the participating spaces. Less a pop up than a committed initiative that seeks to create dialogue, exchange and connection, LA MAISON DE RENDEZ-VOUS intends to be a synthetic crossroads, a semi-open source program, a modest node among the vibrant artscape of Brussels.

Opening January 16, 2020

LA MAISON DE RENDEZ-VOUS

Perfect Presence book, Joost van den Bergh, London

Tantra, Jain and Hindu Ritual art from India

Tantra, a term known in the West for its associations with sex, magic and esoteric mysticism, has had an impact on many religions and philosophies, including Buddhism, Hinduism, Taoism, Jainism, Vajrayana, Bönpo, Ayurveda and Shamanism.

Alongside related ideas of ‘mantra’ (knowledge through sound) and ‘yantra’ (the means to leading a Tantric existence), the philosophy of Tantra claims that reality (prakriti) is pure consciousness, pure being, pure bliss – a reality that is, however, veiled by illusion (maya). Through purification, elevation and reaffirmation of identity, Tantra aims to help us return to this unadulterated state of being.

In this book, art collector and dealer Joost van den Berg explains his fascination with Tantra imagery began with a chance discovery of the catalogue for the Tantra exhibition (1971) at the Hayward Gallery in London. It also features specially commissioned writings by scholars including modern art critic and curator Mel Gooding.

Perfect Presence is Berg’s third publication on this subject. It contains many examples of Tantric art from the 18th and 19th centuries alongside the work of contemporary artists such as Shezad Dawood and Ruth Marten who are inspired by this mystic art.

Published on the occasion of the exhibition, Perfect Presence: Tantra, Jain & Hindu ritual art from India at The Redfern Gallery, London (31 October – 8 November 2019), and in association with Asian Art in London 2019.

Artists include Shezad Dawood, Nicola Durvasula, Fergus Feehily, Alexander Gorlizki, Ruth Marten, Profulla Mohanti, Kalu Ram, Sayed Haider Raza Vaykul and Acharya Vyakul

Texts by William Dalrymple, Nicola Durvasula, Mel Gooding, Jim Masselos, Zoë Slatoff and Virginia Whiles

Perfect Presence

Scenarios of Desire II, Emergent, Veurne

Curators: Roxane Baeyens, Koen Delaere, Bas van den Hurk

Kunstenaars: 

Koen Delaere & Bas van den Hurk

 Matthew Allen, Thomas Bakker, Matea Bakula, Raymond Barion, Marieke Berghuis, Julie Cockburn, Catharina Dhaen, Piet Dieleman, Jeroen Doorenweerd, Aleana Egan, Fergus Feehily, Tatjana Gerhard, Sanne Jansen, Tyrell Kuipers, Antonietta Peeters, Fawn Rogers, John Stezaker, Jolijn Van Den Heuvel, Jochem Van Laarhoven, Dan Van Severen

Emergent

Non-Standard Time, Galerie Christian Lethert

April 12 – June 28, 2019 Opening Friday April 12 at 6:00 pm

Same as before. Changing, altered. Difference. Sameness. Past, present, future. “Time, time, time, see what’s become of me…” 1 The same as always. Different every time. ‘round about midnight. 2 Portals. Entrance and exit. Pathways. “They laughed at me when I said I wanted to be a comedian, well they’re not laughing now.”3

1 A Hazy Shade of Winter, recorded by The Bangles in 1987, a cover version of the Simon & Garfunkel song, originally released on October 22, 1966. 2 The album 'Round About Midnight was released by Miles Davis in 1957, it opens with the song of the same title, written by Thelonious Monk, Bernie Hanighen and Cootie Williams. 3 Bob Monkhouse. Monkhouse was a veteran British comedian, and this one of his most famous jokes.

christianlethert.com