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  • Entering into the exhibition in October 2019 was with Fumy Frig Sour, 2018 by Elena Narbutaite (b.1984, LI) a long laser line will cut across the exhibition space. In Fumy Frig Sour we see a sharp ‘cut’ of light between the exhibition space and the artwork, but also the sharpness of industrial light and tools. The kind of light is used to read and write optical disks, to transfer data. ⁠
⁠
Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Stanley Brouwn, Joseph Grigely, Kate Newby, Reiner Vrancken,  Katie West, and friends.⁠
⁠
IMAGE CAPTION: Fumy Frig Sour, 2018, laser by  Elena Narbutaitė⁠
⁠
IMAGE DESCRIPTION: a colour digital photograph of Shimmer's window. At the top, left corner of the photograph is a laser box on a stand attached to the wall. The stand allows us to position a laser that projects a narrow strip of light across Shimmer. The box is metal and the size of a small loaf of bread. It is very fragile and has to be finely tuned by experts. Out of the window are buildings and a large chimney stack, which makes up the public transport depot in Rotterdam. Often we hear buses and other vehicles coming and going. ⁠
  • Entering into the exhibition in October 2019 was with Fumy Frig Sour, 2018 by Elena Narbutaite (b.1984, LI) a long laser line will cut across the exhibition space. In Fumy Frig Sour we see a sharp ‘cut’ of light between the exhibition space and the artwork, but also the sharpness of industrial light and tools. The kind of light is used to read and write optical disks, to transfer data. ⁠

    Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Stanley Brouwn, Joseph Grigely, Kate Newby, Reiner Vrancken, Katie West, and friends.⁠

    IMAGE CAPTION: Fumy Frig Sour, 2018, laser by Elena Narbutaitė⁠

    IMAGE DESCRIPTION: a colour digital photograph of Shimmer's window. At the top, left corner of the photograph is a laser box on a stand attached to the wall. The stand allows us to position a laser that projects a narrow strip of light across Shimmer. The box is metal and the size of a small loaf of bread. It is very fragile and has to be finely tuned by experts. Out of the window are buildings and a large chimney stack, which makes up the public transport depot in Rotterdam. Often we hear buses and other vehicles coming and going. ⁠

  •  42  1  15 hours ago
  • Between moments, works and exhibitions at Shimmer we document on film the process, the unwrapping, the installing and the decision making involved. We've done this since we opened, we then take the film for hand-developing before scanning them (which we do ourselves). ⁠
⁠
There's something we enjoy about (latent) images that arrive after the fact, from within the in-between.⁠ These are images not ordinarily shared here or in press documentation.⁠
⁠
We do this pretty methodically and for some time we've been wondering what do to with these images "that do not fit". Since June 2019 we have been working on a program called "Iridescence and the Rising Wave". Something between the online and the hand-made or like these with images, a program that sits in-between (or outside) the 'online/offline' binaries.⁠
⁠
The program will bring together technical drawings of the Shimmer (a window sill, a door handle), remnants from artists' studios, these photos and much more. ⁠
⁠
IMAGE CAPTION: Shimmer Photo Archive⁠
⁠
IMAGE DESCRIPTION: black and white film photograph of Shimmer's interior.
  • Between moments, works and exhibitions at Shimmer we document on film the process, the unwrapping, the installing and the decision making involved. We've done this since we opened, we then take the film for hand-developing before scanning them (which we do ourselves). ⁠

    There's something we enjoy about (latent) images that arrive after the fact, from within the in-between.⁠ These are images not ordinarily shared here or in press documentation.⁠

    We do this pretty methodically and for some time we've been wondering what do to with these images "that do not fit". Since June 2019 we have been working on a program called "Iridescence and the Rising Wave". Something between the online and the hand-made or like these with images, a program that sits in-between (or outside) the 'online/offline' binaries.⁠

    The program will bring together technical drawings of the Shimmer (a window sill, a door handle), remnants from artists' studios, these photos and much more. ⁠

    IMAGE CAPTION: Shimmer Photo Archive⁠

    IMAGE DESCRIPTION: black and white film photograph of Shimmer's interior.

  •  56  2  28 May, 2020
  • 「 lasciati ispirare 」
.⠀⠀⠀⠀⠀⠀
Stanley Brouwn: «La gente disegnando degli schizzi contemporaneamente parlava, e a volte parlava più di quanto non disegnasse. Sugli schizzi possiamo vedere quello che le persone spiegano. Ma non possiamo vedere quello che hanno omesso perché avevano qualche difficoltà nel realizzare che quello che per loro è chiaro necessita di essere spiegato».
. ⠀⠀⠀⠀⠀⠀
‣ Stanley Brouwn, This Way Brouwn, 1961.
⠀⠀⠀⠀⠀⠀
____
#yuyiproject #casa #home #ispirazioni #artecontemporanea #contemporaryart #stanleybrouwn #thiswaybrouwn #maps
  • 「 lasciati ispirare 」
    .⠀⠀⠀⠀⠀⠀
    Stanley Brouwn: «La gente disegnando degli schizzi contemporaneamente parlava, e a volte parlava più di quanto non disegnasse. Sugli schizzi possiamo vedere quello che le persone spiegano. Ma non possiamo vedere quello che hanno omesso perché avevano qualche difficoltà nel realizzare che quello che per loro è chiaro necessita di essere spiegato».
    . ⠀⠀⠀⠀⠀⠀
    ‣ Stanley Brouwn, This Way Brouwn, 1961.
    ⠀⠀⠀⠀⠀⠀
    ____
    #yuyiproject #casa #home #ispirazioni #artecontemporanea #contemporaryart #stanleybrouwn #thiswaybrouwn #maps

  •  9  0  27 May, 2020
  • Standards, how they cross-over, how they compare other objects (coke cans, credit card, coins) become ways in measuring ‘norms’. In early January, Gordon Hall (1983, US) arrived at Shimmer to make a site-specific floor work of Shimmer’s doorway. Gordon’s work shifts standards, standardised door-frames find its grounding on the floor, the width of shoulders, the height of the person are rethought, reconsidered with all the possibility to pass-through still intact. ⁠
⁠
Utilising products from the hardware store, plaster, wall filler, concrete, and house paint, Gordon offers a renewed experience of the (gendered) body through the very materials that make up our homes, “so that in the moments we encounter one another, we are actually able to see differently than the way we have been taught”. ⁠
⁠
Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Stanley Brouwn, Joseph Grigely, Kate Newby, Reiner Vrancken,  Katie West, and friends.⁠
⁠
IMAGE CREDIT: Set (VII), 2020, cast concrete, 10 cm x 28 cm by Gordon Hall.⁠
⁠
IMAGE DESCRIPTION: a colour digital photograph that has been taken on the floor to get on the level of the cast concrete sculpture that is in the frame. The sculpture takes on many and no forms at the same time. The sculpture is smooth with several long indentations down one side. It could be a hard drive from the mid-2000s or a book, but what we do know that is a set of three and it must be positioned by the wall, out of the way and unnoticed.
  • Standards, how they cross-over, how they compare other objects (coke cans, credit card, coins) become ways in measuring ‘norms’. In early January, Gordon Hall (1983, US) arrived at Shimmer to make a site-specific floor work of Shimmer’s doorway. Gordon’s work shifts standards, standardised door-frames find its grounding on the floor, the width of shoulders, the height of the person are rethought, reconsidered with all the possibility to pass-through still intact. ⁠

    Utilising products from the hardware store, plaster, wall filler, concrete, and house paint, Gordon offers a renewed experience of the (gendered) body through the very materials that make up our homes, “so that in the moments we encounter one another, we are actually able to see differently than the way we have been taught”. ⁠

    Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Stanley Brouwn, Joseph Grigely, Kate Newby, Reiner Vrancken, Katie West, and friends.⁠

    IMAGE CREDIT: Set (VII), 2020, cast concrete, 10 cm x 28 cm by Gordon Hall.⁠

    IMAGE DESCRIPTION: a colour digital photograph that has been taken on the floor to get on the level of the cast concrete sculpture that is in the frame. The sculpture takes on many and no forms at the same time. The sculpture is smooth with several long indentations down one side. It could be a hard drive from the mid-2000s or a book, but what we do know that is a set of three and it must be positioned by the wall, out of the way and unnoticed.

  •  86  2  26 May, 2020
  • We meet in the year 4000 A.D., Mr. Invisible.

Privacy is disappearing from our world not only because governments, corporations and citizens are so unabashedly nosy, but because individuals – in the age of Facebook, Instagram and soul-bearing television talk shows – no longer seem to feel the need for privacy. For many in the 21st century, privacy is regarded as a terrifying prison in which you are forced to wallow in your own solitude. Privacy is seen as a form of non-existence. ‘4000 A.D.
When science and art are entirely
melted together to something new
When the people will have lost their
remembrance and thus will have
no past, only future.
When they will have to discover everything
every moment again and again
When they will have lost their need for contact with others …
Then they will live in a world of only colour, light, space, time, sounds and movement
Then colour light space time
sounds and movement will be free
No music
No theatre
No art
No
There will be sound
Colour
Light
Space
Time
Movement’
What kind of world is being evoked here? The year 4000 ad is a time that can hardly be envisaged. Picturing it means imagining you are dead and that, from death, you return to the world of the living. In that time people will no longer have a sense of memory, past or future. In other words, they will be living in a kind of eternal present. That must be something like eternity itself. This is what spirituality strives for, a world outside of time. Because everything is constantly being forgotten, everything has to be continually rediscovered. This is why it is a form of intensified being, of complete receptivity. Every time you look in the mirror you will see yourself for the first time. It is a world in which there is no need to connect with others, a world without the possibility even to do so: how can you make a connection with someone if you forget them the next instant? Man is what he sees and he has ceased to cast judgement. He has become blank on the inside, which means he can become what he sees. Four thousand years after Christ, the dream of the artist is realized and man has finally become abstract. Man is colour, light, space, time and movement.
  • We meet in the year 4000 A.D., Mr. Invisible.

    Privacy is disappearing from our world not only because governments, corporations and citizens are so unabashedly nosy, but because individuals – in the age of Facebook, Instagram and soul-bearing television talk shows – no longer seem to feel the need for privacy. For many in the 21st century, privacy is regarded as a terrifying prison in which you are forced to wallow in your own solitude. Privacy is seen as a form of non-existence. ‘4000 A.D.
    When science and art are entirely
    melted together to something new
    When the people will have lost their
    remembrance and thus will have
    no past, only future.
    When they will have to discover everything
    every moment again and again
    When they will have lost their need for contact with others …
    Then they will live in a world of only colour, light, space, time, sounds and movement
    Then colour light space time
    sounds and movement will be free
    No music
    No theatre
    No art
    No
    There will be sound
    Colour
    Light
    Space
    Time
    Movement’
    What kind of world is being evoked here? The year 4000 ad is a time that can hardly be envisaged. Picturing it means imagining you are dead and that, from death, you return to the world of the living. In that time people will no longer have a sense of memory, past or future. In other words, they will be living in a kind of eternal present. That must be something like eternity itself. This is what spirituality strives for, a world outside of time. Because everything is constantly being forgotten, everything has to be continually rediscovered. This is why it is a form of intensified being, of complete receptivity. Every time you look in the mirror you will see yourself for the first time. It is a world in which there is no need to connect with others, a world without the possibility even to do so: how can you make a connection with someone if you forget them the next instant? Man is what he sees and he has ceased to cast judgement. He has become blank on the inside, which means he can become what he sees. Four thousand years after Christ, the dream of the artist is realized and man has finally become abstract. Man is colour, light, space, time and movement.

  •  15  4  25 May, 2020
  • @shimmer_rotterdam Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer September 2019 until July 2020 ⁠
⁠
Pictured are works by Gwenneth Boelens, Zarouhie Abdalian, and Elena Narbutaite.⁠
⁠
Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year with contributions by Zarouhie Abdalian, Dean Bowen, Gwenneth Boelens, stanley brouwn, Liu Chao-tze, Theo van Doesburg, Marcel Duchamp, Joseph Grigely, Gordon Hall, Ian Kiaer, Elena Narbutaite, Kate Newby, Shanta Rao, Katie West, Ma Qiusha and friends.⁠
⁠
Building from Shimmer’s first program of fading exhibitions in, through, and out of each other, we now shift rhythms by curating singular artworks over stretches of time. Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer embodies slow deliberate processes with a changing register. By doing so the exhibition moves like water, unfixed, in motion. We understand the exhibition as a choreographic score where through shifting rhythms, registers, and movements artworks overlap, where ideas and generations cross-over. The format of our exhibition unfolds over time, opening up and crossing conceptual, spatial, and temporal borders.⁠
⁠
We are entering into times of deep environmental, global and mechanical change, where we need all the knowledge and crossovers we can get our hands-on. On our horizon are radical shifts of what and how we mean to each other, how we come together and how we share. With this in mind, we curate to reconsider the past to shape the future and to better accommodate us in the present. To not confine a history, a practice, a thought, an audience particular categories, but to give us all as much room as possible to draw alliances with artworks and each other.⁠
⁠
#art #arte #artpage #artist_spotlight #gwennethboelens #shantarao #elenanarbutaite #zarouhieabdalian #maqiusha #marcelduchamp #katiewest #stanleybrouwn #theovandoesburg #joesphgrigely #gordonhall #iankiaer #deanbowen #artist #poets #curator #rotterdam_gallery #loverotterdam #sculpture #artobjects #sculptuur #shimmer #artdaily #shimmerrotterdam #eloisesweetman  #jasonhendrikhansma
  • @shimmer_rotterdam Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer September 2019 until July 2020 ⁠

    Pictured are works by Gwenneth Boelens, Zarouhie Abdalian, and Elena Narbutaite.⁠

    Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year with contributions by Zarouhie Abdalian, Dean Bowen, Gwenneth Boelens, stanley brouwn, Liu Chao-tze, Theo van Doesburg, Marcel Duchamp, Joseph Grigely, Gordon Hall, Ian Kiaer, Elena Narbutaite, Kate Newby, Shanta Rao, Katie West, Ma Qiusha and friends.⁠

    Building from Shimmer’s first program of fading exhibitions in, through, and out of each other, we now shift rhythms by curating singular artworks over stretches of time. Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer embodies slow deliberate processes with a changing register. By doing so the exhibition moves like water, unfixed, in motion. We understand the exhibition as a choreographic score where through shifting rhythms, registers, and movements artworks overlap, where ideas and generations cross-over. The format of our exhibition unfolds over time, opening up and crossing conceptual, spatial, and temporal borders.⁠

    We are entering into times of deep environmental, global and mechanical change, where we need all the knowledge and crossovers we can get our hands-on. On our horizon are radical shifts of what and how we mean to each other, how we come together and how we share. With this in mind, we curate to reconsider the past to shape the future and to better accommodate us in the present. To not confine a history, a practice, a thought, an audience particular categories, but to give us all as much room as possible to draw alliances with artworks and each other.⁠

    #art #arte #artpage #artist_spotlight #gwennethboelens #shantarao #elenanarbutaite #zarouhieabdalian #maqiusha #marcelduchamp #katiewest #stanleybrouwn #theovandoesburg #joesphgrigely #gordonhall #iankiaer #deanbowen #artist #poets #curator #rotterdam_gallery #loverotterdam #sculpture #artobjects #sculptuur #shimmer #artdaily #shimmerrotterdam #eloisesweetman #jasonhendrikhansma

  •  123  1  23 May, 2020
  • Different positions, different possibilities are inherent in the exhibition format of Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer. Entering with Ian in January was Coffee Mill, 1911/1947, a work that Marcel Duchamp (b.1887−1968) created in several mediums including painting, printing and drawing. The Coffee Mill is a highlight of Duchamp’s exploration of the mechanical object as a found art object. This work exemplifies the personal and mechanical, originally made for his brother Raymond Duchamp-Villon who had requested artworks for his kitchen. On the sketch, Duchamp writes, “when I painted the Coffee Mill it was the first time I became interested in machine forms, the arrow indicates the direction in which the machine should turn. The handle is shown in different positions, for different possibilities”. This work intersects the personal and the industrial, an intersection that becomes increasingly more present as the exhibition moves over time.⁠
____⁠
⁠
Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Joseph Grigely, Kate Newby, Reinier Vrancken, Katie West, and Stanely Brouwn.⁠
⁠
IMAGE CREDIT: Coffee Mill, 1911/1947, work-on-paper, private collection & Set (VII), 2020, cast concrete, 10 cm x 28 cm⁠
⁠
IMAGE DESCRIPTION: colour digital photograph of shimmer interior. On the wall far from the camera is the Coffee Mill by Marcel Duchamp. It is installed high up on the wall because it is installed at the same height as a work by Elena Narbutaitė shown earlier in the show. Her work, two lasers of blue and red, cast to lines on the wall, they hit at the height of a famous Lithuanian basketball player that was known to be very tall. On the floor, close the bottom right of the images is a Set (VII) by Gordon Hall, it is a smooth concrete sculpture. On the left of the picture, is a small corner of Ian Kaier's work. ⁠
  • Different positions, different possibilities are inherent in the exhibition format of Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer. Entering with Ian in January was Coffee Mill, 1911/1947, a work that Marcel Duchamp (b.1887−1968) created in several mediums including painting, printing and drawing. The Coffee Mill is a highlight of Duchamp’s exploration of the mechanical object as a found art object. This work exemplifies the personal and mechanical, originally made for his brother Raymond Duchamp-Villon who had requested artworks for his kitchen. On the sketch, Duchamp writes, “when I painted the Coffee Mill it was the first time I became interested in machine forms, the arrow indicates the direction in which the machine should turn. The handle is shown in different positions, for different possibilities”. This work intersects the personal and the industrial, an intersection that becomes increasingly more present as the exhibition moves over time.⁠
    ____⁠

    Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Joseph Grigely, Kate Newby, Reinier Vrancken, Katie West, and Stanely Brouwn.⁠

    IMAGE CREDIT: Coffee Mill, 1911/1947, work-on-paper, private collection & Set (VII), 2020, cast concrete, 10 cm x 28 cm⁠

    IMAGE DESCRIPTION: colour digital photograph of shimmer interior. On the wall far from the camera is the Coffee Mill by Marcel Duchamp. It is installed high up on the wall because it is installed at the same height as a work by Elena Narbutaitė shown earlier in the show. Her work, two lasers of blue and red, cast to lines on the wall, they hit at the height of a famous Lithuanian basketball player that was known to be very tall. On the floor, close the bottom right of the images is a Set (VII) by Gordon Hall, it is a smooth concrete sculpture. On the left of the picture, is a small corner of Ian Kaier's work. ⁠

  •  77  1  19 May, 2020
  • Stanley Edmund Brouwn (25 de junho de 1935 - 18 de maio de 2017) era um artista conceitual holandês nascido na América do Sul. Seus trabalhos exploraram a desmaterialização. Como artista anônimo, ele exemplificou o conceitualismo dos anos 1960. Seus trabalhos mais conhecidos incluem "This Way Brouwn", "Afghanistan-Zambia" e "BROUWNTOYS 4000AD".
.
.
Stanley Edmund Brouwn (25 June 1935 - 18 May 2017) was a South American-born Dutch conceptual artist. His works explored dematerialization. As an anonymous artist, he exemplified 1960s conceptualism. His best-known works include “This Way Brouwn”, “Afghanistan-Zambia” and “BROUWNTOYS 4000AD”. #stanleybrouwn #arquivocmb #cmbarchives #coleçãomoraesbarbosa #moraesbarbosacollection
  • Stanley Edmund Brouwn (25 de junho de 1935 - 18 de maio de 2017) era um artista conceitual holandês nascido na América do Sul. Seus trabalhos exploraram a desmaterialização. Como artista anônimo, ele exemplificou o conceitualismo dos anos 1960. Seus trabalhos mais conhecidos incluem "This Way Brouwn", "Afghanistan-Zambia" e "BROUWNTOYS 4000AD".
    .
    .
    Stanley Edmund Brouwn (25 June 1935 - 18 May 2017) was a South American-born Dutch conceptual artist. His works explored dematerialization. As an anonymous artist, he exemplified 1960s conceptualism. His best-known works include “This Way Brouwn”, “Afghanistan-Zambia” and “BROUWNTOYS 4000AD”. #stanleybrouwn #arquivocmb #cmbarchives #coleçãomoraesbarbosa #moraesbarbosacollection

  •  25  0  13 May, 2020
  • Stanley Brouwn, Step of Pedestrian on Paper, pegadas sobre papel, 1963.

Esta série data de 1960 e também é conhecida como transeuntes.

Brouwn espalha folhas de papel em branco nas calçadas de Amsterdã. Os transeuntes no caminho de a para b, que cruzam a rota de Brouwn, deixam suas pegadas nas folhas de papel. Brouwn mais tarde recolhe esses pedaços de papel.
.
.
Stanley Brouwn, Step of Pedestrian on Paper, footprints on paper, 1963.

This series dates from 1960 and is also known as passers-by. The artist describes the work as follows:
Brouwn scatters blank sheets of paper on the sidewalks of Amsterdam. Passers-by on their way from a to b who cross Brouwn's route, leave their footprints on the sheets of paper. Brouwn later collects these pieces of paper.

#stanleybrouwn 
#coleçãomoraesbarbosa 
#moraesbarbosacollection
  • Stanley Brouwn, Step of Pedestrian on Paper, pegadas sobre papel, 1963.

    Esta série data de 1960 e também é conhecida como transeuntes.

    Brouwn espalha folhas de papel em branco nas calçadas de Amsterdã. Os transeuntes no caminho de a para b, que cruzam a rota de Brouwn, deixam suas pegadas nas folhas de papel. Brouwn mais tarde recolhe esses pedaços de papel.
    .
    .
    Stanley Brouwn, Step of Pedestrian on Paper, footprints on paper, 1963.

    This series dates from 1960 and is also known as passers-by. The artist describes the work as follows:
    Brouwn scatters blank sheets of paper on the sidewalks of Amsterdam. Passers-by on their way from a to b who cross Brouwn's route, leave their footprints on the sheets of paper. Brouwn later collects these pieces of paper.

    #stanleybrouwn
    #coleçãomoraesbarbosa
    #moraesbarbosacollection

  •  10  0  13 May, 2020
  • At the end of January, a.r. Nef, gonfable, 2013 by Ian Kiaer (1971, UK) entered into the exhibition to join From No.4 Pingyuanli to No.4 Tianqiaobeili by Ma Qiusha as well as Floor Door (for Jason and Eloise), and Set (VII), (VIII), (IX) by Gordon Hall. Ian’s work is a huge translucent inflatable sculpture that almost filled the entirety of Shimmer. Like many of the artists in the exhibition, Kiaer uses everyday materials, but his case perhaps once used by someone else to make his work. a.r. Nef, gonfable can be modified by the exhibitor by inflating the work or allowing it to slump to different shapes. Modification is made patching the work with scotch tape. Typical of all his work, a.r. Nef, gonfable rests between chance and intentionality and pushes our perception to the periphery. ⁠
⁠
Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We continue with the exhibition until July 2020 with works by Reinier Vrancken, Joseph Grigely, Kate Newby, Katie West, and Stanley Brouwn.⁠
⁠
IMAGE CREDIT: a.r. Nef, gonfable, 2013, plastic, silver foil, fan, scotch tape, 600 cm x 240 cm x 200 cm by Ian Kiaer.⁠
⁠
IMAGE DESCRIPTION: colour digital photograph of the interior of Shimmer. Most of the image is taken up by a.r. Nef, gonfable, 2013 by Ian Kiaer. His artwork is transparent with sections of light brown. It is almost inflated to capacity, like a blow-up mattress. Behind the artwork is a translucent piece of plastic covering what was once a doorway, now it allows light to pass through to the hallway behind it. LED tube lights are turned on and the room is very bright.
  • At the end of January, a.r. Nef, gonfable, 2013 by Ian Kiaer (1971, UK) entered into the exhibition to join From No.4 Pingyuanli to No.4 Tianqiaobeili by Ma Qiusha as well as Floor Door (for Jason and Eloise), and Set (VII), (VIII), (IX) by Gordon Hall. Ian’s work is a huge translucent inflatable sculpture that almost filled the entirety of Shimmer. Like many of the artists in the exhibition, Kiaer uses everyday materials, but his case perhaps once used by someone else to make his work. a.r. Nef, gonfable can be modified by the exhibitor by inflating the work or allowing it to slump to different shapes. Modification is made patching the work with scotch tape. Typical of all his work, a.r. Nef, gonfable rests between chance and intentionality and pushes our perception to the periphery. ⁠

    Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We continue with the exhibition until July 2020 with works by Reinier Vrancken, Joseph Grigely, Kate Newby, Katie West, and Stanley Brouwn.⁠

    IMAGE CREDIT: a.r. Nef, gonfable, 2013, plastic, silver foil, fan, scotch tape, 600 cm x 240 cm x 200 cm by Ian Kiaer.⁠

    IMAGE DESCRIPTION: colour digital photograph of the interior of Shimmer. Most of the image is taken up by a.r. Nef, gonfable, 2013 by Ian Kiaer. His artwork is transparent with sections of light brown. It is almost inflated to capacity, like a blow-up mattress. Behind the artwork is a translucent piece of plastic covering what was once a doorway, now it allows light to pass through to the hallway behind it. LED tube lights are turned on and the room is very bright.

  •  111  2  12 May, 2020
  • Stanley Brouwn
Le Commencement du Monde
Voor Constantin Brancusi 1984
#stanleybrouwn
  • Stanley Brouwn
    Le Commencement du Monde
    Voor Constantin Brancusi 1984
    #stanleybrouwn

  •  17  0  11 May, 2020
  • Stanley Brouwn 
Op de Hoogte Gebracht 2017
#stanleybrouwn
  • Stanley Brouwn
    Op de Hoogte Gebracht 2017
    #stanleybrouwn

  •  14  0  11 May, 2020
  • By far the most historic work that we’ve shown in Shimmer is this work by Theo van Doesburg completed in 1922. Key member and founder of the De Stijl. For sometime we at Shimmer have been looking at the practices of interwar period artists with great interest.

Coming out of Spainish Influenza and being conscripted into the WW1 these artists found new languages during the utter collapse of society. Through new methods and ways of practicing, a search for a new way of working and considering society came to the fore. 
At Shimmer we see this nearly 100 year old painting as a  reminder from the past that there will be ways to re-invent, re-consider and re-define.

Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer embodies slow deliberate processes with a changing register. We are entering into times of deep environmental, global and mechanical change, where we need all the knowledge and crossovers we can get our hands-on. On our horizon are radical shifts of what and how we mean to each other, how we come together and how we share. With this in mind, we curate to reconsider the past to shape the future and to better accommodate us in the present. To not confine a history, a practice, a thought, an audience particular categories, but to give us all as much room as possible to draw alliances with artworks and each other.
  • By far the most historic work that we’ve shown in Shimmer is this work by Theo van Doesburg completed in 1922. Key member and founder of the De Stijl. For sometime we at Shimmer have been looking at the practices of interwar period artists with great interest.

Coming out of Spainish Influenza and being conscripted into the WW1 these artists found new languages during the utter collapse of society. Through new methods and ways of practicing, a search for a new way of working and considering society came to the fore. 
At Shimmer we see this nearly 100 year old painting as a reminder from the past that there will be ways to re-invent, re-consider and re-define.

    Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer embodies slow deliberate processes with a changing register. We are entering into times of deep environmental, global and mechanical change, where we need all the knowledge and crossovers we can get our hands-on. On our horizon are radical shifts of what and how we mean to each other, how we come together and how we share. With this in mind, we curate to reconsider the past to shape the future and to better accommodate us in the present. To not confine a history, a practice, a thought, an audience particular categories, but to give us all as much room as possible to draw alliances with artworks and each other.

  •  143  21  21 April, 2020
  • I misunderstood the shadows in the Allegory of Plato's Cave for a long time. The shadows are not representations of objects in the real world. They are the negative space of them. They have been removed or displaced from their structure. Instead focus on the space around them. I think about the part of my brain that is always trying to add and accumulate things to create meaning. I try to fight that part. Here are some artworks that have been inspiring to me that maybe attempt the same. I'm sure there are more. #rachelwhiteread #stanleybrouwn #sethprice #michaelasher #samlewitt
  • I misunderstood the shadows in the Allegory of Plato's Cave for a long time. The shadows are not representations of objects in the real world. They are the negative space of them. They have been removed or displaced from their structure. Instead focus on the space around them. I think about the part of my brain that is always trying to add and accumulate things to create meaning. I try to fight that part. Here are some artworks that have been inspiring to me that maybe attempt the same. I'm sure there are more. #rachelwhiteread #stanleybrouwn #sethprice #michaelasher #samlewitt

  •  84  3  19 April, 2020
  • He never showed up at openings, he did not allow his work to be reproduced, and for most of his career, he also declined to give interviews or to be photographed. Most catalogues for shows that include his art include statements like, “At the request of the artist, no bibliographical information is provided here.”
-
Stanley Edmund Brouwn (1935 – 2017) was a South American-born Dutch conceptual artist. His works explored dematerialization.
-
Brouwn explored human activity in terms of the time, measured distances and direction throughout his work. The artist even created his own units of measure, such as the Brouwn cubit, the Brouwn foot, or the Brouwn step. He was an absent artist often using the observers themselves as pieces of art or their hands to create his works, like it was in This way Brouwn series. He prioritized over the creative process itself not over the artist’s person.
-
He made art through the relentless repetition of modest actions. Adopting a straightforward idea and getting to work, he embodied a statement that Sol LeWitt would make in his “Sentences on Conceptual Art” in 1969: “Irrational thoughts should be followed absolutely and logically.” He walked cities and counted his steps. When he approached passersby, who did not draw directions for him, he displayed blank sheets of paper.
-
Stanley Brouwn raises an important topic. The one about privacy. Today, privacy is seen as a form of non-existence. We display ourselves to others and do not wish for one moment to be lost from view, to be alone for an instant. This is not the case for Brouwn: he is the man who wishes to remain invisible. And yet, he has created a memorable and recognizable brand for himself.
-
By being absent, you are all the more present. 
#stanleybrouwn #dematerialization #conceptualartist #steps #direction #passerbys #participatoryart #personalbranding #privacy #absence #presence #nonnegotiables #100nonnegotiables
  • He never showed up at openings, he did not allow his work to be reproduced, and for most of his career, he also declined to give interviews or to be photographed. Most catalogues for shows that include his art include statements like, “At the request of the artist, no bibliographical information is provided here.”
    -
    Stanley Edmund Brouwn (1935 – 2017) was a South American-born Dutch conceptual artist. His works explored dematerialization.
    -
    Brouwn explored human activity in terms of the time, measured distances and direction throughout his work. The artist even created his own units of measure, such as the Brouwn cubit, the Brouwn foot, or the Brouwn step. He was an absent artist often using the observers themselves as pieces of art or their hands to create his works, like it was in This way Brouwn series. He prioritized over the creative process itself not over the artist’s person.
    -
    He made art through the relentless repetition of modest actions. Adopting a straightforward idea and getting to work, he embodied a statement that Sol LeWitt would make in his “Sentences on Conceptual Art” in 1969: “Irrational thoughts should be followed absolutely and logically.” He walked cities and counted his steps. When he approached passersby, who did not draw directions for him, he displayed blank sheets of paper.
    -
    Stanley Brouwn raises an important topic. The one about privacy. Today, privacy is seen as a form of non-existence. We display ourselves to others and do not wish for one moment to be lost from view, to be alone for an instant. This is not the case for Brouwn: he is the man who wishes to remain invisible. And yet, he has created a memorable and recognizable brand for himself.
    -
    By being absent, you are all the more present.
    #stanleybrouwn #dematerialization #conceptualartist #steps #direction #passerbys #participatoryart #personalbranding #privacy #absence #presence #nonnegotiables #100nonnegotiables

  •  11  0  12 April, 2020
  • Em 1960,  em amsterdam, o artista Stanley Brouwn pediu a quem passava na rua que lhe indicasse como chegar de A a B através de desenhos. 
É um trabalho de arte q se chama "this way Brouwn" (por aqui, Brouwn) e eu amei. 
O trabalho é o registro do desenho, mas é tbb outras coisas não registradas, como a fala e os gestos da pessoa explicando o caminho, a parte nao desenhada, a parte nao falada, a pressa... enfim, tem duas pessoas tentando se fazer entender, é bonito demais. eu sou muito perdido na rua e sempre peço indicações. Se der fique em casa e dá um google nesse artista. #stanleybrouwn
  • Em 1960, em amsterdam, o artista Stanley Brouwn pediu a quem passava na rua que lhe indicasse como chegar de A a B através de desenhos.
    É um trabalho de arte q se chama "this way Brouwn" (por aqui, Brouwn) e eu amei.
    O trabalho é o registro do desenho, mas é tbb outras coisas não registradas, como a fala e os gestos da pessoa explicando o caminho, a parte nao desenhada, a parte nao falada, a pressa... enfim, tem duas pessoas tentando se fazer entender, é bonito demais. eu sou muito perdido na rua e sempre peço indicações. Se der fique em casa e dá um google nesse artista. #stanleybrouwn

  •  89  3  12 April, 2020
  • Art & Language - Ready-made missing, 1967⁠
Simon Lee Gallery presented a special exhibition named  Towards Infinity: 1965-1980.⁠
A unique exhibition that gathered artists from across the international scope of the Conceptual art movement, with a special focus on the period between 1965 and 1980. Exploring the attitudes towards formal and material conventions.⁠
⁠
•⁠
⁠
Art & Langage - “Ready-made missing”, 1967⁠
La galerie Simon Lee a présenté une exposition spéciale intitulée “Towards Infinity” (vers l’infini) : 1965-1980.⁠
Cette exposition unique a rassemblé des artistes internationales du mouvement de l'art conceptuel, avec un accent particulier sur la période entre 1965 et 1980. Elle explore les attitudes à l'égard des conventions formelles et matérielles.⁠
⁠
•⁠
•⁠
•⁠
⁠
#TowardsInfinity #VitoAcconci #GiovanniAnselmo #ArtandLanguage #JohnBaldessari #MelBochner #AlighieroBoetti #MarcelBroodthaers #StanleyBrouwn #DanielBuren #AndréCadere #LucianoFabro #HansPeterFeldmann#bluechipgallery#exhibition#bluechipgallery#gallery#exhibition#GilbertandGeorge#contemporaryart#contemporaryartist#21stcentury #MichelangeloPistoletto #PaulThek #KeijiUematsu #SimonLeeGallery #London simonleegallery #artandartist123 #123artandartist456 ⁠
⁠
( #📷 @123artandartist123 )⁠
  • Art & Language - Ready-made missing, 1967⁠
    Simon Lee Gallery presented a special exhibition named Towards Infinity: 1965-1980.⁠
    A unique exhibition that gathered artists from across the international scope of the Conceptual art movement, with a special focus on the period between 1965 and 1980. Exploring the attitudes towards formal and material conventions.⁠

    •⁠

    Art & Langage - “Ready-made missing”, 1967⁠
    La galerie Simon Lee a présenté une exposition spéciale intitulée “Towards Infinity” (vers l’infini) : 1965-1980.⁠
    Cette exposition unique a rassemblé des artistes internationales du mouvement de l'art conceptuel, avec un accent particulier sur la période entre 1965 et 1980. Elle explore les attitudes à l'égard des conventions formelles et matérielles.⁠

    •⁠
    •⁠
    •⁠

    #TowardsInfinity #VitoAcconci #GiovanniAnselmo #ArtandLanguage #JohnBaldessari #MelBochner #AlighieroBoetti #MarcelBroodthaers #StanleyBrouwn #DanielBuren #AndréCadere #LucianoFabro #HansPeterFeldmann#bluechipgallery#exhibition#bluechipgallery#gallery#exhibition#GilbertandGeorge#contemporaryart#contemporaryartist#21stcentury #MichelangeloPistoletto #PaulThek #KeijiUematsu #SimonLeeGallery #London simonleegallery #artandartist123 #123artandartist456 ⁠

    ( #📷 @123artandartist123 )⁠

  •  86  1  9 April, 2020
  • Although Shimmer is closed to the public, we are not alone as we have @gordon_hall_ 's and Ian Kaier's artworks keeping us company. ⁠
⁠
Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Joseph Grigely, Kate Newby, Katie West, and friends.⁠
⁠
#art #arte #artpage #artist_spotlight #gwennethboelens #shantarao #elenanarbutaite #zarouhieabdalian #maqiusha #marcelduchamp #katiewest #stanleybrouwn #theovandoesburg #joesphgrigely #gordonhall #iankiaer #deanbowen #artist #poets #curator #rotterdam_gallery #loverotterdam #sculpture #artobjects #sculptuur #shimmer #artdaily #shimmerrotterdam #eloisesweetman  #jasonhendrikhansma
  • Although Shimmer is closed to the public, we are not alone as we have @gordon_hall_ 's and Ian Kaier's artworks keeping us company. ⁠

    Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Joseph Grigely, Kate Newby, Katie West, and friends.⁠

    #art #arte #artpage #artist_spotlight #gwennethboelens #shantarao #elenanarbutaite #zarouhieabdalian #maqiusha #marcelduchamp #katiewest #stanleybrouwn #theovandoesburg #joesphgrigely #gordonhall #iankiaer #deanbowen #artist #poets #curator #rotterdam_gallery #loverotterdam #sculpture #artobjects #sculptuur #shimmer #artdaily #shimmerrotterdam #eloisesweetman #jasonhendrikhansma

  •  51  0  9 April, 2020
  • Although Shimmer is closed to the public, we are not alone as we have @gordon_hall_ 's and Ian Kaier's artworks keeping us company. ⁠
⁠
Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Joseph Grigely, Kate Newby, Katie West, and friends.⁠
  • Although Shimmer is closed to the public, we are not alone as we have @gordon_hall_ 's and Ian Kaier's artworks keeping us company. ⁠

    Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Joseph Grigely, Kate Newby, Katie West, and friends.⁠

  •  61  1  7 April, 2020
  • These T-shirts survived the Artist Spectrum sale back in September. Now I have gone from full time work to zero work so I can give it the big push.
£20 each plus p&p or if someone is feeling bold and gets in there quick, you can have all seven for £120 plus p&p.

All are unisex 100% cotton, one of a kind shirts. 
Everybody else has a f**king gallery. (L)
Will fuck for food. (S)
Which way Brouwn? (M)
Soon all art will be wearable or text able. (M)
Please ❤️ Me. (M)
I can't afford to be an artist anymore. (S)
I make money pushing it around for other people. (S)

#artistsupportpledge #tshirt #spectrum #artistspectrum #stanleybrouwn #fuck #for #food
  • These T-shirts survived the Artist Spectrum sale back in September. Now I have gone from full time work to zero work so I can give it the big push.
    £20 each plus p&p or if someone is feeling bold and gets in there quick, you can have all seven for £120 plus p&p.

    All are unisex 100% cotton, one of a kind shirts.
    Everybody else has a f**king gallery. (L)
    Will fuck for food. (S)
    Which way Brouwn? (M)
    Soon all art will be wearable or text able. (M)
    Please ❤️ Me. (M)
    I can't afford to be an artist anymore. (S)
    I make money pushing it around for other people. (S)

    #artistsupportpledge #tshirt #spectrum #artistspectrum #stanleybrouwn #fuck #for #food

  •  55  7  23 March, 2020
  • Stanley Brouwn
This Way Brouwn 1962
#stanleybrouwn
  • Stanley Brouwn
    This Way Brouwn 1962
    #stanleybrouwn

  •  15  0  18 March, 2020
  • Het Gebouw, Leidsche Rijn, Utrecht, (2005) a building planned by the conceptual artist stanley brouwn (1960-2005). stanley brouwn used his own measure of his body (the sub-foot, the sub-ell and the sub-step) and tested these against the universally adopted the metric system or other locally used units of measure. Based on the sub-foot, the sub-ell and the sub-step, brouwn planned his first building in Utrecht (Nederland). #HEAVYPAINT #digitalpainting⁠
#utrecht #nederland #leidscherijn
#stanleybrouwn #hetgebouw

#art #arquitectura #arquitetura #architektur #architecture #Архитектура

#conceptualart 
#digital #digitalart
#illustration #environmentalart
  • Het Gebouw, Leidsche Rijn, Utrecht, (2005) a building planned by the conceptual artist stanley brouwn (1960-2005). stanley brouwn used his own measure of his body (the sub-foot, the sub-ell and the sub-step) and tested these against the universally adopted the metric system or other locally used units of measure. Based on the sub-foot, the sub-ell and the sub-step, brouwn planned his first building in Utrecht (Nederland). #HEAVYPAINT #digitalpainting
    #utrecht #nederland #leidscherijn
    #stanleybrouwn #hetgebouw

    #art #arquitectura #arquitetura #architektur #architecture #Архитектура

    #conceptualart
    #digital #digitalart
    #illustration #environmentalart

  •  59  0  6 March, 2020
  • Stanley Brouwn This way Brouwn 1964 #stanleybrouwn
  • Stanley Brouwn This way Brouwn 1964 #stanleybrouwn

  •  18  0  29 February, 2020
  • a.r. Nef, gonfable, 2013, plastic, silver foil, fan, scotch tape, 600 cm x 240 cm x 200 cm by Ian Kiaer and Set (VII), 2020, cast concrete, 10 cm x 28 cm by Gordon Hall⁠
⁠
Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Joseph Grigely, Kate Newby, Katie West, and friends.⁠
⁠
#art #arte #artpage #artist_spotlight #gwennethboelens #shantarao #elenanarbutaite #zarouhieabdalian #maqiusha #marcelduchamp #katiewest #stanleybrouwn #theovandoesburg #joesphgrigely #gordonhall #iankiaer #deanbowen #artist #poets #curator #rotterdam_gallery #loverotterdam #sculpture #artobjects #sculptuur #shimmer #artdaily #shimmerrotterdam #eloisesweetman  #jasonhendrikhansma
  • a.r. Nef, gonfable, 2013, plastic, silver foil, fan, scotch tape, 600 cm x 240 cm x 200 cm by Ian Kiaer and Set (VII), 2020, cast concrete, 10 cm x 28 cm by Gordon Hall⁠

    Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Joseph Grigely, Kate Newby, Katie West, and friends.⁠

    #art #arte #artpage #artist_spotlight #gwennethboelens #shantarao #elenanarbutaite #zarouhieabdalian #maqiusha #marcelduchamp #katiewest #stanleybrouwn #theovandoesburg #joesphgrigely #gordonhall #iankiaer #deanbowen #artist #poets #curator #rotterdam_gallery #loverotterdam #sculpture #artobjects #sculptuur #shimmer #artdaily #shimmerrotterdam #eloisesweetman #jasonhendrikhansma

  •  147  4  29 February, 2020

Top #StanleyBrouwn Posts

  • Shimmer is thrilled to announce our new program titled Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer
with Zarouhie Abdalian, Gwenneth Boelens, Dean Bowen, stanley brouwn, Liu Chao-tze, Theo van Doesburg, Marcel Duchamp, Joseph Grigely, Gordon Hall, Ian Kiaer, Elena Narbutaite, Kate Newby,Shanta Rao, Katie West, and Ma Qiusha. We look forward to seeing you all soon!
  • Shimmer is thrilled to announce our new program titled Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer
    with Zarouhie Abdalian, Gwenneth Boelens, Dean Bowen, stanley brouwn, Liu Chao-tze, Theo van Doesburg, Marcel Duchamp, Joseph Grigely, Gordon Hall, Ian Kiaer, Elena Narbutaite, Kate Newby,Shanta Rao, Katie West, and Ma Qiusha. We look forward to seeing you all soon!

  •  154  10  7 October, 2019
  • a.r. Nef, gonfable, 2013, plastic, silver foil, fan, scotch tape, 600 cm x 240 cm x 200 cm by Ian Kiaer and Set (VII), 2020, cast concrete, 10 cm x 28 cm by Gordon Hall⁠
⁠
Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Joseph Grigely, Kate Newby, Katie West, and friends.⁠
⁠
#art #arte #artpage #artist_spotlight #gwennethboelens #shantarao #elenanarbutaite #zarouhieabdalian #maqiusha #marcelduchamp #katiewest #stanleybrouwn #theovandoesburg #joesphgrigely #gordonhall #iankiaer #deanbowen #artist #poets #curator #rotterdam_gallery #loverotterdam #sculpture #artobjects #sculptuur #shimmer #artdaily #shimmerrotterdam #eloisesweetman  #jasonhendrikhansma
  • a.r. Nef, gonfable, 2013, plastic, silver foil, fan, scotch tape, 600 cm x 240 cm x 200 cm by Ian Kiaer and Set (VII), 2020, cast concrete, 10 cm x 28 cm by Gordon Hall⁠

    Higher! Higher! Lower, Lower. Louder! Louder! Softer, Softer is an exhibition that unfolds over one year. Since September 2019, we have shared space with works by Zarouhie Abdalian, Gwenneth Boelens, Liu Chao-tze, Marcel Duchamp, Gordon Hall, Ian Kiaer, Elena Narbutaitė, Shanta Rao, and Ma Qiusha. We will continue with the exhibition until July 2020 with works by Joseph Grigely, Kate Newby, Katie West, and friends.⁠

    #art #arte #artpage #artist_spotlight #gwennethboelens #shantarao #elenanarbutaite #zarouhieabdalian #maqiusha #marcelduchamp #katiewest #stanleybrouwn #theovandoesburg #joesphgrigely #gordonhall #iankiaer #deanbowen #artist #poets #curator #rotterdam_gallery #loverotterdam #sculpture #artobjects #sculptuur #shimmer #artdaily #shimmerrotterdam #eloisesweetman #jasonhendrikhansma

  •  147  4  29 February, 2020
  • Opening tomorrow from 6 – 8 PM!!
TOWARDS INFINITY: 1965-1980
•
VITO ACCONCI | CARL ANDRE | GIOVANNI ANSELMO | ART & LANGUAGE | JOHN BALDESSARI | MEL BOCHNER | ALIGHIERO BOETTI | MARCEL BROODTHAERS | STANLEY BROUWN | DANIEL BUREN | ANDRÉ CADERE | LUCIANO FABRO | HANS-PETER FELDMANN | GILBERT & GEORGE | MICHELANGELO PISTOLETTO | PAUL THEK | KEIJI UEMATSU
•
Showing until 7 September in London.
•
Simon Lee Gallery is pleased to present Towards Infinity: 1965-1980, an exhibition of major works conceived by artists from across the international scope of the Conceptual art movement, with special focus on the period between 1965 and 1980.
•
•
Detail: André Cadere ‘B 02403010’, 1975. 
#TowardsInfinity #VitoAcconci #GiovanniAnselmo #ArtandLanguage #JohnBaldessari #MelBochner #AlighieroBoetti #MarcelBroodthaers #StanleyBrouwn #DanielBuren #AndréCadere #LucianoFabro #HansPeterFeldmann #GilbertandGeorge #MichelangeloPistoletto #PaulThek #KeijiUematsu #SimonLeeGallery #London @simonleegallery #carlandre
  • Opening tomorrow from 6 – 8 PM!!
    TOWARDS INFINITY: 1965-1980

    VITO ACCONCI | CARL ANDRE | GIOVANNI ANSELMO | ART & LANGUAGE | JOHN BALDESSARI | MEL BOCHNER | ALIGHIERO BOETTI | MARCEL BROODTHAERS | STANLEY BROUWN | DANIEL BUREN | ANDRÉ CADERE | LUCIANO FABRO | HANS-PETER FELDMANN | GILBERT & GEORGE | MICHELANGELO PISTOLETTO | PAUL THEK | KEIJI UEMATSU

    Showing until 7 September in London.

    Simon Lee Gallery is pleased to present Towards Infinity: 1965-1980, an exhibition of major works conceived by artists from across the international scope of the Conceptual art movement, with special focus on the period between 1965 and 1980.


    Detail: André Cadere ‘B 02403010’, 1975.
    #TowardsInfinity #VitoAcconci #GiovanniAnselmo #ArtandLanguage #JohnBaldessari #MelBochner #AlighieroBoetti #MarcelBroodthaers #StanleyBrouwn #DanielBuren #AndréCadere #LucianoFabro #HansPeterFeldmann #GilbertandGeorge #MichelangeloPistoletto #PaulThek #KeijiUematsu #SimonLeeGallery #London @simonleegallery #carlandre

  •  500  7  2 July, 2018
  • Travelling from New York to London ...
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TOWARDS INFINITY: 1965-1980
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VITO ACCONCI | GIOVANNI ANSELMO | ART & LANGUAGE | JOHN BALDESSARI | MEL BOCHNER | ALIGHIERO BOETTI | MARCEL BROODTHAERS | STANLEY BROUWN | DANIEL BUREN | ANDRÉ CADERE | LUCIANO FABRO | HANS-PETER FELDMANN | GILBERT & GEORGE | MICHELANGELO PISTOLETTO | PAUL THEK | KEIJI UEMATSU
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Opening Tuesday 3 July from 6 – 8 PM, and showing until 7 September.
•
Simon Lee Gallery is pleased to present Towards Infinity: 1965-1980, an exhibition of major works conceived by artists from across the international scope of the Conceptual art movement, with special focus on the period between 1965 and 1980. During the 1960s and 1970s a disillusionment with pervasive movements in art and the influence of radical European theoretical thought inspired a re-evaluation of long-held attitudes towards formal and material conventions.  Taking its title from Giovanni Anselmo’s seminal work of the same name, Verso l’infinito (1969), the exhibition explores the dematerialisation of the art object and the dismantling of concepts that had bolstered the definition and context of traditional art-making well into the 20th century.
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Image: Art & Language ‘Ready-made missing’, 1967.
#TowardsInfinity #VitoAcconci #GiovanniAnselmo #ArtandLanguage #JohnBaldessari #MelBochner #AlighieroBoetti #MarcelBroodthaers #StanleyBrouwn #DanielBuren #AndréCadere #LucianoFabro #HansPeterFeldmann #GilbertandGeorge #MichelangeloPistoletto #PaulThek #KeijiUematsu #SimonLeeGallery #London @simonleegallery
  • Travelling from New York to London ...

    TOWARDS INFINITY: 1965-1980

    VITO ACCONCI | GIOVANNI ANSELMO | ART & LANGUAGE | JOHN BALDESSARI | MEL BOCHNER | ALIGHIERO BOETTI | MARCEL BROODTHAERS | STANLEY BROUWN | DANIEL BUREN | ANDRÉ CADERE | LUCIANO FABRO | HANS-PETER FELDMANN | GILBERT & GEORGE | MICHELANGELO PISTOLETTO | PAUL THEK | KEIJI UEMATSU

    Opening Tuesday 3 July from 6 – 8 PM, and showing until 7 September.

    Simon Lee Gallery is pleased to present Towards Infinity: 1965-1980, an exhibition of major works conceived by artists from across the international scope of the Conceptual art movement, with special focus on the period between 1965 and 1980. During the 1960s and 1970s a disillusionment with pervasive movements in art and the influence of radical European theoretical thought inspired a re-evaluation of long-held attitudes towards formal and material conventions. Taking its title from Giovanni Anselmo’s seminal work of the same name, Verso l’infinito (1969), the exhibition explores the dematerialisation of the art object and the dismantling of concepts that had bolstered the definition and context of traditional art-making well into the 20th century.


    Image: Art & Language ‘Ready-made missing’, 1967.
    #TowardsInfinity #VitoAcconci #GiovanniAnselmo #ArtandLanguage #JohnBaldessari #MelBochner #AlighieroBoetti #MarcelBroodthaers #StanleyBrouwn #DanielBuren #AndréCadere #LucianoFabro #HansPeterFeldmann #GilbertandGeorge #MichelangeloPistoletto #PaulThek #KeijiUematsu #SimonLeeGallery #London @simonleegallery

  •  494  7  11 June, 2018