Speech by Ade Darmawan (Ruangrupa)

Dear members of the Bundestag, my name is Ade Darmawan, and today I’m addressing you as part of ruangrupa. Let me start with a brief comment about history. In 1955, Arnold Bode established documenta in Kassel, Germany, to heal the wounds of the Second World War. A few months before, in that same year, a group of leaders collectively laid the ground for what would be known as the Non Aligned Movement, in Bandung, Indonesia, discussing a way forward independent from and built on the wounds of the colonial powers. I feel the need to retell these historical facts because histories can show us how the world imagined how to deal with atrocities and deep wounds at the same time but differently.

Documenta 15 – Kassel: curated by Ruangrupa

Ruangrupa: “We want to create a globally oriented, collaborative and interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach strives for a different kind of collaborative model of resource use in economic terms but also with regard to ideas, knowledge, programs and innovations.

Documenta fifteen will take place from June 18 until September 25, 2022 in Kassel.

Q&A The soundless dialogues

Whether she tackles the paper with a scalpel to create waves, or with a soldering iron to burn holes, her works invariably stem from an individual desire for silence: ‘not as pure abstractions, but rather as soundless musical scores.’

Q&A with Zaida Oenema by Manuela Klerkx

About ‘Chemistry’

Chemistry at Helder Gallery is an exhibition about floating ideas, thoughts and visions. Images and words from the exhibition by Albertus Pieters

Q&A with Sanne Terweij

“The trick is to be open to change
without losing sight of the end goal.” Sanne Terweij

On Saturday 11 June, the ‘Chemistry’ exhibition, featuring work by David Engel, Sigrid van Woudenberg and Sanne Terweij, will open at Galerie Helder. Sanne Terweij, 38, creates compositions consisting of flat, metal elements that she arranges by colour: from light to dark and from warm to cold. The countless shades and nuances of brightness bring the square or elongated metal elements to life as it were. The energy radiated by her work can be compared to that of an abstract painting with colour use that is simultaneously stimulating and soothing. On the occasion of the exhibition, I asked Sanne a number of questions about her work on the interface between craft and art.

Q&A Sanne Terweij on Galleryviewer by Manuela Klerkx

The Solo Project, Brussels

Over a career spanning more than three decades, Cecilia Vissers has experimented widely with abstract and conceptual art practices. Working variously in metal sculpture, photography and printing techniques, Vissers’ art references to the wild landscapes of Ireland and Scotland. Her employment of industrial materials and techniques, as well as her overarching approach to her art practice, have precedents in constructivism.

‘A Clear day’ Zaida Oenema in San Francisco

“In absolute focus, I search for silence. Not in the sense of lacking human sound, but rather as stillness; as an equivalent of inner peace, wonder, and slowing down. Silence as a form of positive emptiness, so that there is an actual space to be able to see and perceive the things around you anew.”

Municipal Bonds is delighted to announce Zaida Oenema’s debut exhibition in the United States, A Clear Day, on view February 19–April 16, 2022. The Dutch/Finnish artist’s work features abstractions of the natural world, cut and burned into reliefs on paper. Inspired by the environment’s temporal moments—moving shadows, rippling water, waving fields—Oenema’s work is a meditation on cultivating clarity, the resonance of quietude.

With a sensibility for distilling both mind and matter, Oenema tethers to monochrome and minimalism. Her approach appears as a concentrated structure, involving restrained color and reductive form. Based in The Hague, the Netherlands, Oenema explores a palette connected to the nearby North Sea coastline, in shades of blue and grey, pervasive white, warm yellow, and an occasional anchor of black. And her geometric shapes and patterns act as her own language, appearing in her work as familiar symbols derived from nature.

Using pen and pencil, scalpel and soldering iron, Oenema renders work on the border of two-dimensional and three-dimensional. With extreme eye-hand precision, she meticulously sculpts line and surface through the rhythmic action of incision and repetition. Working with recurrent forms—burned circles of suns, incised blades of grass, cut saw-tooth waves—her picture plane is at once orderly and dynamic. As such, the surface changes with the interplay of material, texture, and its response to light.

Oenema employs the grid as a foundational element of her work, for its formal restraint yet conversely for its inherent liberation, which allows for her free-hand drawing with blade and iron tip. Her technical rigor is less systematic or machine-like, more conductive and human. “I see my work not only as an abstraction, but as a kind of conversation or a musical score with a continuo, a harmonic structure, in it. The human hand provides the vibration to create its melody.

FEBRUARY 19 – APRIL 16, 2022

Municipal Bonds

Minnesota Street Project

1275 Minnesota Street, #204

San Francisco, CA 94107