TAKE ME SOMEWHERE NICE

TAKE ME SOMEWHERE NICE

Artist: Anna Lesiczka, Alicja Mackiewicz, Maria Ilieva, Mina Yee, Nabila Ayu Aviani

Curated and proposed by: Yan-Zhi Kang

Open: 24-26TH OF SEPTEMBER
friday 17-22, saturday 13-22, sunday 13-22
Exhibition opening: 24TH OF SEPTEMBER 17.00H

Short description: As part of Hoogtij #66, Take Me Somewhere Nice creates a heterotopic space within See Lab by arranging collected objects chosen by the artists in juxtaposition to the space and to each other.

The artists are assigned to create a specific environment or collect objects with particular intimate stories, symbols, memories or personal values to the artist - and this approach allows the opportunity to gather seemingly random objects that are almost unrelated to each other.

This juxtaposition of objects in an art space creates a sense of the other, which refers to the previously mentioned heterotopia. Because of these myriad of memories, the space may function like a time capsule, or an archive, as the objects stacks time infinitely.

For every person playing in a different role, this space, which is structured outside the existing system, order, norms and values, has different and unique functions and meanings.The final balance found in the incompatibility may be "somewhere nice".

Sharing Circle - A participatory event on the opening night:

Picture that journey you took home from the supermarket everyday when you were young.
A neighbour’s neglected garden, with unruly plants,
A local market on a busy and warm Saturday morning, with all the bright colours of produce and layered noise of sellers yelling their bargained prices,
The quiet corner you spent your time at in elementary school.
Where is a nice place for you? Close your eyes. What do you see? What can you feel?
Maybe you can feel the warmth of the sun greeting your eyelids,
Or gusts of wind dancing through your ears.
In our sharing circle, we invite all of you to join us, and to share where that nice place is for you, and to go on that imaginary trip together, one after another. There are no rules- you are free to share as little or as many as you want, whenever you want.

The circle will unfold in an organic manner - no moderators will be present, no recording. We strive towards a warm conversation between ourselves.

The sharing circle will take place on the 24th of September, from 19:00.

photography: Anke van den Berg

NAVID NUUR

photos: Astrid Callens and Navid Nuur

See Lab provided Navid Nuur the space he needed to work undisturbed and in full focus on his artwork for the Senate of the Dutch Parliament.

Artis Bio:
Navid Nuur (b. 1976, Tehran) lives and works in The Hague. He started out as a graphic designer and illustrator, but around ten years ago decided to move into autonomous work, and quickly became a rising star in the international art world. He has had one-man shows at the Marta Herford Museum in in Herford, Germany, at Centre Pompidou in Paris, Parasol Unit in London and the Bonnefanten Museum in Maastricht. Nuur has received the Volkskrant Art Prize (2010), the Charlotte Köhler Prize (2010), the Royal Award for Modern Painting (2011) and the Discoveries Prize at Art Basel in Hong Kong (2013) for his work.

I'M NOT WHERE I'M SUPPOSED TO BE

I'm Not Where I'm Supposed To Be

Artist: Biba Cole, Alejandra López and Daisy Madden-Wells

Hosted by: Helena Sanders - sea-legs.net

Instagram Livestream: 5TH MARCH, 20:00 H
March 6th and 7th:

Visit In Person, by Appointment Only : 1 person per 30 minute slot, between the hours of 12:00 and 17:00 - contact: dmaddenwells@gmail.com

Short description: As part of Hoogtij #64, artists Biba Cole, Alejandra López and Daisy Madden-Wells let you in on a narrative-based show of negligible plot. At See Lab project space they will allow their practices to overlap and seep into each other, both inhabiting, and guiding the viewer through the space via drawing, sculpture, soundtrack and moving image. The central theme of ‘sneaking’ will loom large, exacerbated by the atmosphere of precarity that currently surrounds us. What it means to sneak, to be a sneak — to be present, absent, or perhaps somewhere in between.

They ask: when you live and move on the cusp of remonstration, what does it mean to make your way through a space? Is creeping/sneaking/sauntering a choice, or is it foisted upon you by those who would make you unwelcome? 

Am I creeping, or do you just not want me here? Presenting... a wandering path for creeps and saunterers, exploring the uncanniness of proximity; the closer you get, the more nonsensical things become.

I’m not where I’m supposed to be.

Am I creeping, or do you just not want me here? Presenting... a wandering path for creeps and saunterers, exploring the uncanniness of proximity; the closer you get, the more nonsensical things become.

Iʼm not where Iʼm supposed to be.

Artist Bios

Biba Cole (UK) is an interdisciplinary artist who examines the relationships between her own body, water, and writing, as vessels that are continually overflowing. Positioning failures as generative actions, giving value to slippages from known languages.The moving body has no edges: it leaks, expands, and retracts. Swimming in pools of excess material - questions of productive action, consumption, language, disgust, and desire emerge.

Alejandra López is an artist born in Elche, Spain, and based in The Hague. Her practice seeks to question how visual, and material languages have an effect on the way we feel. Thinking through drawing in order to re-frame and digest found imagery, stories, and personal encounters. concerned with ideas of coexistence with non humanness, and non verbal communication, with ways of accessing the world we live in without conquering or controlling it. Focusing on sensation and feeling, exploring immediate surroundings and materialities. Her work manifests as installation, drawing, sculpture, and moving image.

Daisy Madden-Wells is a multidisciplinary artist and Pisces, born in South London, and currently based in den Haag. She works from an adoration for the decorative — where form and material grapple with each other, aiming to achieve a groovy dissonance. At present her artistic concerns include playing with the lineage and mutations of heraldic forms and ritual, their hidden violence, and the use of non-humanness to explore humanity.

About Hoogtij #64:On Friday 5 March you can visit Hoogtij from 7 p.m. Each participant makes a film especially for this evening, which can be viewed below at the locations. You can find here also more info about the video and/or exhibition on hoogtij.net.

photography: Anke van den Berg

Video by: Jesse Siegel

Ultra Atlantic Blue

UltraAtlantic Blue

Solo exhibition
by Patricia Pinheiro de Sousa

Open:
Artist Talk
06/12/20 -17:00 -17:40 H (online)

Exhibition
12/12/20 - 13.00 - 17.00 H
13/12/20 - 13.00 - 17.00 H

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‘’The far west coast of Europe, with 800 kms of coastline facing the Atlantic, was a convenient location for extracting large amounts of this mineral for a short period of time. This mineral was meant to produce a blue pigment, the UltraAtlantic Blue. 

Blue could have become the new green if the pigment wouldn’t have been called ‘Ultra Atlantic’ and if the sea urchin Cidaris cidaris wouldn’t be constantly passing in front of the cameras that monitored the drilling. 

By the time the name was replaced by a more conventional name and the cameras properly camouflaged, it was just too late. ‘’

The UltraAtlantic Blue is the name of a fictional blue pigment, whose production is only possible by harvesting a particular mineral deep in the Atlantic Ocean. It is also the title of the exhibition that brings together the most recent works of Patricia Pinheiro de Sousa. The works present fictional scenarios, outlined by the exploitation of mineral resources seen from historical and economical perspectives. 

photography: Lili Berger

UMA STARTS A NEW RIVER

UMA STARTS A NEW RIVER

Solo exhibition
by Menghua Wu

Open:
28/11/20 - 13.00 - 17.00 H
29/11/20 - 13.00 - 17.00 H
30/11/20 - 13.00 - 17.00 H
01/12/20 - 13.00 - 17.00 H

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Photo’s: Menghua Wu

Uma starts a new river is a series of reborn mythological paintings about origination, salvation and transformation. Norming and deforming of figures naturally emerge as experimental elements from my painting process.
My source of inspiration comes from fragmented Mongolian folklore I heard, or stories I had never been told. Somehow they found their way to my memory, in other words, my imagination. Maybe I just need those stories so much, that I have to tell them to myself.
By painting them, I want to give material form, back to those forgotten stories, a rebirth. Showing them in See Lab, I dream to find a kind space and celebrate those primordial images coming back to this world.

Now the question is, why do reborn Mongolian ancient myths matter? It is not about consigning the history of everything the past has brought, nor about making a new lie to hypnotise ourselves. It is about having access to an alternative world through a new river.
This alternative world originates from a lost civilisation protocol, which is not human centred nor man dominated. There are different ways of being, not only life or death, but existing in-between, existing in the metamorphosis, always staying in the becoming, always changing. Like the Mongolian heroine or Shaman who can alter her shape and store her soul in others.
The instinctive energy flow of this river has the power to unfold a world which was once real, leading us to where we come from, where time comes from.

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Uma begint een nieuwe rivier is een serie herboren mythologische schilderijen over ontstaan, verlossing en transformatie. Het normeren en vervormen van figuren komt vanzelfsprekend naar voren als experimentele elementen uit het schilderproces.
Mijn inspiratie komt van gefragmenteerde Mongoolse folklore die ik heb gehoord of verhalen die ik nooit heb gehoord. Op de een of andere manier vonden zij hun weg naar mijn geheugen, met andere woorden, mijn verbeelding. Misschien heb ik die verhalen gewoon zo hard nodig, dat ik ze mezelf moet vertellen.

Door ze te schilderen wil ik materiaal vorm geven aan die vergeten verhalen - een wedergeboorte. Exposerend in See Lab, droom ik ervan een vriendelijke ruimte te vinden om die oerbeelden te vieren die naar deze wereld terugkeren.
Nu is de vraag: waarom zijn herboren Mongoolse oude mythes van belang? Het gaat er niet om dat alles uit het verleden de geschiedenis heeft voortgebracht, noch om zelf een nieuwe leugen tegen hypnose te bedenken. Het gaat erom dat we via een nieuwe rivier toegang hebben tot een alternatieve wereld.
Deze alternatieve wereld is ontstaan uit een verloren beschavingsprotocol, dat niet op de mens gericht is en niet door de man wordt gedomineerd. Er zijn verschillende manieren van zijn, niet alleen leven of dood, maar er tussenin bestaand, bestaand in de metamorfose, altijd in het worden, altijd aan het veranderen. Zoals de Mongoolse heldin of sjamaan die haar vormen kunnen veranderen en hun ziel in anderen opslaan.
De instinctieve energiestroom van deze rivier heeft de kracht om een wereld te ontvouwen die eens echt was, ons leiden naar waar we vandaan komen, waar tijd vandaan komt.