Rooms Performance Festival 2025

Aftermovie Rooms 2024
Music / Composer: Vanessa Lann, 9×13 Orange Drummer Beat!, performed by: NeoFanfare 9×13
cover photo: © Sanne Peper


Save the date for performance festival Rooms on 25 & 26 January 2025.

A weekend full of performance, music, dance, and film that will stay in your mind and body for a long time.

Keep an eye on this website and our socials for updates regarding Rooms. Follow @marres_maastricht

Photo: © Sanne Peper

Press

For press requests, imagery and interview requests, please contact communicatie@marres.org

Alejandro Galván

Photo: Neeltje de Vries, Courtesy No Man’s Art Gallery

Chronicle of Mexico

In November 2024, the artist Alejandro Galván (Mexico, 1990) will commence a painted chronicle of Mexico from the perspective of the largest slum in Mexico City. The artist resides in Nezahualcóyotl, at the outskirts of Mexico City, a place in which political neglect and violence issues have configured the social panorama. His often highly detailed paintings blend realism with mythology, narrating his experiences growing up in this environment, bidding farewell to his family, and depicting the corruption of the Mexican state and police. His style builds upon the great muralists, with a significant difference – his influences are drawn from television and heavy metal, sources that set him apart from the prevailing, more minimalist and conceptual style in Mexican contemporary art.

Lucid dream

The artist, holding Mexican politics and corruption responsible for the widespread violence and injustice in society, will paint the entire house of Marres in an attempt, as he writes, to outline a lucid dream of Mexican society. In doing so, he poses the following questions: How can we incorporate the most unique chapters of our history into a global narrative? How can we realize that our traumas and sufferings are shared, and that perhaps solving and overcoming global issues is a path that must be collectively trodden? With his work, Alejandro Galván aims to demonstrate that he and his fellow residents of Nezahualcóyotl are not ‘marginalized’ or ‘forgotten,’ but simply belong to a group of people with an unheard story. A story that shares fundamental similarities with the tales of people from other countries, cities, villages, or even times. The reason Galván paints is that he does not want any story to be lost.

Integral installation

To facilitate this monumental work, Marres invites the artist to begin working in November 2024, and the exhibition will be completed by June 2025. During the process, multiple openings will be organized for visitors, inviting them to participate in the creation of the integral installation. A publication will accompany the chronicle, featuring young writers suggested by the artist who grew up with him.

Keep an eye on this website and our socials for updates regarding this monumental project of Alejandro Galván at Marres. Follow us at @marres_maastricht

Photo: Neeltje de Vries, Courtesy No Man’s Art Gallery

Press

For press requests, imagery and interview requests, please contact communicatie@marres.org

Currents 11

Currents 10: Luca Tichelman, This is us
Photo: Rob van Hoorn

In 2024, Marres Maastricht and Jester in Genk (BE) jointly present the exhibition Currents 11. A young team will curate the exhibition, showcasing work by recently graduated artists from academies in Belgium, North Rhine-Westphalia and the southern Netherlands.

With Currents, Marres, House for Contemporary Culture, acts as a platform for emerging artists and curators to contribute to an international infrastructure for talent development. Jester, house for contemporary art in Genk, also pursues this same objective. 

The exhibition will be embedded in a broader guidance trajectory in which training, networking and professionalisation are central. After 10 editions, Currents is an established platform for young artists and curators. Over the past years, 150 artists from different academies have exhibited their work, have given presentations and participated in workshops. By participating in the project, 25 promising international curators have given their careers a firm boost.

Currents 10: Luna Mahoux, 2 strong for 2 long
Photo: Gert Jan van Rooij

Introducing the curators for Currents 11

Marres (Maastricht, NL) and Jester (Genk, BE) have chosen Harriet Middleton Baker, Michał Grzegorzek, Nadim Choufi and Lucas Odahara as the curatorial team for the group exhibition Currents 11

Coming from different cities – Berlin, London, Beirut, and Warsaw – and working in different fields, the members of this year’s curatorial team met at the Jan van Eyck Academy. Lucas Odahara (left), Harriet Middleton Baker (center left) and Nadim Choufi (center right) are visual artists. Their artistic practices show a common research interest in historical power structures and alternative futures. Writer and curator Michał Grzegorzek (right) focuses on queer theory in the visual and performative arts.

The curator team was selected through an open call.

From left to right: Harriet Middleton Baker, Michał Grzegorzek, Nadim Choufi en Lucas Odahara.
Photo: Ugo Woatzi

Press

For press requests, imagery and interview requests, please contact communicatie@marres.org

Limburg Biënnale 2024

Limburg Biënnale 2022 – Photo: Gert Jan van Rooij

In the summer of 2024, Marres – in collaboration with Odapark, Venray – is organizing the third edition of the Limburg Biënnale: a group exhibition that connects the professional with the amateur arts.

With an overwhelming number of 3,000 submitted artworks, the open call for the Limburg Biënnale closed on March 10, 2024.

Both previous editions of the Limburg Biënnale were a great success. In 2022, Marres received 1,600 submitted artworks after placing the open call, 500 more than in 2020. The Limburg Biënnale proved to be a real crowd pleaser and became the best-attended exhibition at Marres in 2022. For many participants, the group exhibition boosted their careers and enriched their portfolios.

Open Call

The open call has now closed.

Marres and Odapark invited everyone who feels like an artist to participate in the Limburg Biënnale through our open call, including artists not connected to Limburg. From February 19 to March 10, 2024, interested parties, young and old, established and unknown, from individual to collective, could register with a maximum of three existing artworks. This could be any type of work: painting, video, sculpture, audio, performance, etc.

Jury

The jury and curatorial team, consisting of 18 professional artists, will assess the submissions without knowing the applicants’ identities. They will then arrange their chosen selection in a space at Marres or Odapark, where the artworks will be shown alongside their own. The jury includes members from both Limburg and beyond.

The jury days took place on April 11-12. During the week of April 29-May 3, 2024, the selected artists have been informed.

Submission days

The dates for the submission days are:
Odapark – May 31st & June 1st
Marres – June 7th & 8th

FAQ

Jury

Karina Beumer (Peize, 1988) maintains an interactive artistic practice that is sustained by engaging in dialogues with – or being captivated by – something or someone else. This results in videos, installations, and publications that emerge from drawings of observations, and unannounced performances. Beumer searches for an absurd and surreal relationship between the inner world (thoughts, miscommunication) and the physical world (language, networks). In a dreamlike universe, she connects banal issues with personal fantasies by using strategies from existing structures such as pop songs, blockbusters and live action role-playing games. Her work was previously shown at Het Vincent van GoghHuis (Zundert) and at various galleries in Antwerp, among others. Her film titled (…) is on show at 2doc.nl and Beumer is currently looking for a replacement for herself.

Photo: Chloe Op De Beeck

Eugenie Boon (Willemstad, 1995) is a Curaçaoan visual artist based in The Hague. She graduated cum laude from HKU in 2020, winning the award for Artistic Achievement. In her practice she combines storytelling and commentary, and translates these in her performances, paintings, and installation. Her works can be found in several collections amongst which that of Stedelijk Museum Schiedam, and Vrije Universiteit Amsterdam, AMC. 

Katrein Breukers (Tilburg, 1991) lives and works in Rotterdam. She graduated from FHK, Tilburg and did a master’s program in Fine Arts at AKV St. Joost Breda. In her work, Beukers engages with different techniques and materials, especially from the realm of ceramics and textile arts, in order to honour practices of decorative craftmanship that have historically been excluded from the category of fine arts. A primary example of this pursuit is the returning feature quilting in the majority of her recent works. Beukers’ has showed in numerous galleries and art spaces including KunstRAI in Amsterdam, Art Rotterdam, and NS16 Tilburg. She has been nominated for various prizes, and was awarded the AG-Kunstprijs 2017.

Anne Büscher (Stuttgart, 1991) bridges art, design, and science through artistic experiments wherein she expands the commonly perceived functions and identity of well-known materials such as glass, stone, photographic paper, air, light, and electricity. Büscher’s works evolve from her keen awareness of the inherent sensitivity of objects, and plays with the relationship between authenticity and imagination. They take the form of arrangements, artistic documentation, and objects that reach their full potential only when activated or used. Büscher has attended many residencies internationally and has shown at many venues, including PAD Paris, TOKAS Tokyo, Miriam Gallery New York, and Ludwig Forum Aachen.

Bonno van Doorn (Amsterdam, 1977) graduated from the Gerrit Rietveld Academy in 2008, after which he gained notoriety for his paintings and sculptures that he incorporates into elaborate installations. His work has been shown at various venues, including C&H Galerie (Amsterdam), Greylight Projects (Brussels), Supermarket Art Fair (Stockholm) and at Marres in Maastricht. Van Doorn moreover taught at the Hogeschool voor de Kunsten in Utrecht and at the Gerrit Rietveld Academy in Amsterdam. He is co-founder of ART BAR KIPPY.

Pablo Hannon (Santiago, 1973) Pablo Hannon (Santiago, 1973) explores many of expressions in his artistic practice. Rooted, or rather, restless in activism, be it due to his roots in Mapuche (Chile), or his awareness to other injustices elsewhere, he founded The School; a fluid, autonomous space and methodology that facilitates accessible, interdisciplinary collaborations with local and international participants. Hannon’s own artistic experiments rely on illustration and design, and play with the improvisational and performative interaction of the audience. He also shares his knowledge, skills and playfulness at various art schools, including Hoge School Zuyd.

Photo: Ilse Jooken

Jan Hoek (1984) is always attracted to the beauty of outsiders worldwide, and is ever keen to collaborate with people who are normally overlooked. In Hoek’s universe, ‘normal’ people are strangers and the ‘outsiders’ rule. As such, Hoek has photographed a realm of superstars, like the taxi drivers of Nairobi, has created psychedelic zines about sex tourism capital Pattaya (Thailand), and made a series about the Maasai (Kenya & Tanzania) to defeat their stereotypical depictions. He has presented works at Foam (Amsterdam), Unseen Festival (Amsterdam), Photoville (New York), Fomu (Antwerp) and Lagos Photo (Lagos).

patricia kaersenhout (we/us) (Den Helder, 1966) is an Afro-Dutch visual artist and thinker. In her work, she explores the ever-present legacy of slavery and colonialism in the Dutch context and beyond. kaersenhout critically and radically engages with issues of race, sexuality and gender, and is recognized for her unbridled commitment to artistic and activist projects. She is known for her multifaceted projects in- and amongst society, whereby she asks her audience to reflect on their own possible involvement in the Dutch and European colonial history and its contemporary legacy. kersenhout’s works include, a monument commemorating the Trans Atlantic slavetrade, Unveiling Monument of Flight and Resistance, which was commissioned by the municipality of Utrecht,Acknowledge Rebuild: Wunderkammers of Rotterdam’s Colonial Past commisioned by the Kunsthal and Museum Boijmans van Beuningen in Rotterdam, and a monograph Open-Ended Visons of Possibilities which was published by Japsam publishers and launched in 2023.

Photo: © Paco Núñez

Paul Kooiker (Rotterdam, 1964) studied at the Royal Academy of Art in The Hague and at the Rijksakademie in Amsterdam (1990-1992). Kooiker was awarded the Prix-de-Rome Photography in 1996 and the A. Roland Holst Award for his oeuvre in 2009. Kooiker’s work has been featured in numerous solo and group exhibitions at home and abroad, including at Museum Folkwang, Essen (2021/22, DE); Museum Voorlinden, Wassenaar (2020, NL); Centraal Museum, Utrecht (2020, NL); FOMU Fotomuseum, Antwerp (2018, BE); Fotomuseum Den Haag (2014, NL) and Museum Boijmans Van Beuningen, Rotterdam (2009, NL). His work is in numerous international public and private collections.

Accordion content.

The artistic practice of Maartje Korstanje (Goes, 1982) is driven by a strong awareness of the finiteness of life and her engagement with this awareness. Korstanje’ s work focuses on the tension between growth and decay, both in the natural world and in the artificial, but mainly in the borderland where the two worlds meet. Intuition and imagination are significant motivators in this creative body of work. Although Korstanje works with a variety of materials, cardboard is a fixed base which she constantly seeks to re-explore. Korstanje studied at the Academy for Art and Design St. Joost (Breda) and the Sandberg Institute (Amsterdam). She was one of the winners of the Prix de Rome in 2007 and was nominated for the Volkskrant Visual Arts Prize in 2014. She also participated in several residency programs and her work has been presented at Kunstmuseum Den Haag, ISCP New York and Gyeonggi Museum of Contemporary Ceramic Art in Korea, among others.

The artistic practice of Maartje Korstanje (Goes, 1982) is driven by a strong awareness of the finiteness of life and her engagement with this awareness. Korstanje’ s work focuses on the tension between growth and decay, both in the natural world and in the artificial, but mainly in the borderland where the two worlds meet. Intuition and imagination are significant motivators in this creative body of work. Although Korstanje works with a variety of materials, cardboard is a fixed base which she constantly seeks to re-explore. Korstanje studied at the Academy for Art and Design St. Joost (Breda) and the Sandberg Institute (Amsterdam). She was one of the winners of the Prix de Rome in 2007 and was nominated for the Volkskrant Visual Arts Prize in 2014. She also participated in several residency programs and her work has been presented at Kunstmuseum Den Haag, ISCP New York and Gyeonggi Museum of Contemporary Ceramic Art in Korea, among others.

Marijn van Kreij (Middelrode, 1978) is a visual artist and teacher. His recent work includes drawings, paintings, collages and mobiles which he brings together in carefully composed exhibitions. In his work he combines art historical references with illustrations from children books, food packaging or found poetry. The reuse of image and language, working with repetition, and a focus on the act of drawing and painting itself are at the core of his multifaceted practice. In the summer of 2018, his work was featured in the solo exhibition Nude in the Studio at Marres. Van Kreij teaches at the Gerrit Rietveld Academy and collaborates with other makers from the art and theater world within the collective it is part of an ensemble.

Anouk Kruithof (Dordrecht, 1981) is a trans-disciplinarian who engages in various digital and analog practices. Her works depict the transience and the chaos of this world by addressing urgent social issues and speaking to these from personal experience. In doing so, Kruithof aims to lay bare the sensitivities of the current Zeitgeist. Kruithof has previously held solo exhibitions at Foam Amsterdam, Centro de la Imagen Mexico City and Stedelijk Museum Amsterdam. Her work has also been included in the collections of SFMoMA (San Francisco), Museum Folkwang (Essen) and Museum Voorlinden (Wassenaar). Kruithof was selected for The Gallery of Honour of Dutch photography at Nederlands Fotomuseum in 2021, and her most renowned project Universal Tongue was exhibited in at various museum internationally. 

Birthe Leemeijer (Amsterdam, 1972) lives in Heemstede. She studied at the Rietveld Academy and the Sandberg Institute and furthermore completed a training in horticulture. For her, working in open space is the ideal condition to question the meaning of art and its place in the world. In order to realize this, she enters into collaboration with different parties and stakeholders who help give the project content and form. The presence or absence of other life forms (plants, animals) and the value we ascribe to them plays an increasingly important role therein. Works that Leemeijer has realized include a Reserve for Loneliness in Almere, the IJsfontein in Dokkum, and L’Essence de Mastenbroek. The latter is a perfume, the result of a search for the essence of the polder Mastenbroek. The scent, a liquid landscape, finds its way to all kinds of exhibitions around the world through a secret pipe system, such as an installation in the Dutch pavilion at the World Expo in Dubai in 2021 and soon in the Museum Krona in Uden. In 1996, was awarded the Prix de Rome prize for Art in Public Space. 

Photo: Lola Mooij

Fleur Pierets (Zelzate, 1973) is a Belgian performance artist, best-selling author and LGBTQ+ activist. Together with her wife Julian P. Boom, she founded Et Alors? Magazine and launched 22-The Project (2017), a performance artwork in which the couple planned to marry in every country that legalized same-sex marriage at the time. They married in four countries before Boom’s untimely death. This led to Pierets’ writing debut, her memoir Julian (2018), which is currently being adapted into film by Lukas Dhont’s production house. Pierets’ subsequently wrote a two-part children’s book Love Around the World (2019) and Love is Love (2020), and a new novel Heerlijk Monster (2022). She also speaks on the importance of LGBTQ+ rights at consulates, embassies and at companies such as Google worldwide. She is currently working on an opera, a new novel and a performance artwork that will premiere in March of 2024. 

Jan Rothuizen (Amsterdam, 1968) is a contemporary visual artist with many publications to his name, some of which have been translated into English, Spanish and Chinese. His work is featured monthly in the Volkskrant, and has been exhibited at various renowned institutes internationally, such as the Museum of Modern Art in New York, Stedelijk Museum in Amsterdam and at the International Architecture Exhibition of La Biennale di Venezia. A new edition of his book “The soft atlas of Amsterdam” will be published this fall. He was previously a juror for the AFK Amsterdam Prize (2022) and is a member of several national art committees. 

Photo: Stijn Rademaker

Sanne Vaassen (Heerlen, 1991) explores the fluid transition of matter and phenomena within her artistic practice, such as the cycle of water, the transformation of trees during the seasons, and the evolution of language. Central themes within her diverse works are hence time and processes of change. In doing so, Vaassen’s work shares an interface with other disciplines such as ecology, geography, history and anthropology. Her work has previously been shown in several group and solo exhibitions nationally and abroad, including the Bonnefantenmuseum (Maastricht), SALTS (Basel), Unit 1 Gallery (London), and 601Artspace (New York). She was also a resident at the Jan Van Eyck Academy in 2014-2015.

Wessel Verrijt (Lierop, 1992) makes sculptures, architectural vehicles, tactile mobiles and lively characters. These are both robust and fragile, chaotic and orderly. They appear to be living beings and suggest a ritual or a procession that has come to a halt. As such, Verrijt explores the idea of ‘living matter’; when body and matter merge and matter takes on human traits and emotions. In this way, the sculptures merge with the physical body in so-called ‘hybrid entities’. Materials considered forgotten and abandoned, driven by consumerism and industrialism, find themselves in the dead corners of our ecosystems. In Verrijt’s work, they awaken as a rebellion against their briefly planned lives. In 2021, Verrijt showed his first solo exhibition Das Leben am Haverkamp in The Hague. He also followed several residencies in The Netherlands and abroad, and will show a new series of sculptures at the H3H Biennale (Oosterhout) & CODA Museum (Apeldoorn) in 2023.

Marenne Welten (Valburg, 1959) lives and works in Middelburg. In her work, she investigates the way emotions, associations, and memories shape our perception and the way in which we ascribe meaning to things. She graduated from the Academie voor Beeldende Kunsten St. Joost in Breda, after which she lived and worked in Antwerp for a few years. Since then, her paintings and collages have been exhibited in various group and solo exhibitions at home and abroad, including several showings in New York, Stedelijk Museum Breda, Albada Jelgersma Gallery Amsterdam and Kunsthalle Lingen. Her work is currently represented by galleries Harkawik (New York) en Tegenbosch van Vreden (Amsterdam), and is supported by the Mondriaan Fund.

Marenne Welten

Han van Wetering (Maastricht, 1948) is a visual artist who is known, among other things, for his famed sculptures that are permanently located in the center of Maastricht. Wetering’s work ‘t Zaat hermenieke (1993), his colorful ensemble of carnival people, is for instance home to the Vrijthof, and other works have previously been shown at various galleries within and outside of Limburg. To conceive of his sculptures, van Wetering works with various materials such as bronze and ceramics, but as a seasoned artist and renowned ‘rebel’ he is also skilled at many other forms. 

Photo: © Fotomeulenhof

Photo: Rob van Hoorn
Marenne Welten is missing from the photograph

Opening
Limburg Biënnale 2024

With great pleasure, Odapark and Marres invite you to the festive opening of the Limburg Biënnale 2024!

This is the third edition of the Limburg Biënnale and the first that we are organizing in collaboration. We therefore welcome you at both our locations, in Venray and Maastricht.

Date

Saturday, June 29th, 2024

Location & time

Odapark
Merseloseweg 117, Venray
2:00PM (walk-in from 1:30PM, open till 5:00PM)

Marres
Capucijnenstraat 98, Maastricht
5PM

Opening Limburg Biënnale #2, 2022
Photo: Rob van Hoorn

Press about
Limburg Biënnale 2024

L1: Limburg Biënnale voor het eerst ook in Odapark Venray (NL) L1 Cultuurcafé: Limburgse kunstenaars voor de derde keer in de spotlight (NL)

For the press

For press requests, visual materials and interviews, please contact communicatie@marres.org.

Press release (.pdf) Subscribe to press list

Partners / thanks to

‘I’ Stick-sculptures of Martin Brandsma

Photo: Twan Wiersma

The exhibition project This is the Border by Martin Brandsma (1972, Wolvega) deals with collaboration, behavior and boundaries in and around buitenplaats Kasteel Wijlre. This is the Border consists of an exhibition in the Koetshuis, presenting new and existing work by the artist, and a series of interventions in places around the buitenplaats and in the South Limburg region, including Marres’ public city garden.

Partly active as a behavioral biologist, Brandsma has spent the past 12 years studying the shrike: a mysterious songbird with raptor traits. Thus, the artist started making stick sculptures from various materials, which he calls “I” and places in the natural habitat of the shrike, and which were used by the birds as lookouts, among other things. In addition, in recent years Brandsma placed his stick sculptures in public spaces such as art museums – where they relate (sometimes uninvited) to the art on display.

I-58,I-74, I-49 will be on view at Marres until at least December 3, 2023. The city garden is freely accessible Tuesday through Sunday, from 12:00h.

Read more at kasteelwijlre.nl

In the fall of 2023, There’s No Place Called Home (Maastricht) by artist James Webb will also be on view at Kasteel Wijlre as a parallel intervention.

Read more about James Webb

Arturo Kameya “Opaque Spirits”

“Why do we pretend to have a state?” 
José Ignacio Cabrujas, 1987

The Venezuelan playwright Cabrujas once compared the nation to a hotel, a temporary place that doesn’t belong to its inhabitants and thus doesn’t require upkeep. In this hotel, the state plays the manager role but fails to cover even the most basic needs of its guests.

Peruvian artist Arturo Kameya has transformed Marres into a hotel where the ghosts of the failed Peruvian state have taken up residence. The building’s facade will feature massive paintings showing contemporary Messianic imagery. Inside, visitors can find various scenes, such as a tiled bathhouse that functions as a restaurant, a multi-armed beer fountain, and a large upstairs room with mechanical fish. The hotel’s interior is an allegory of the Peruvian state, reflecting a world of appearances in which truth is less important than what is evoked out of sheer necessity.

The exhibition is made in collaboration with the artist Claudia Martínez Garay. 

Opaque Spirits tickets Download the Opaque Spirits cahier

Opening

9 March 2024

The festive opening of the exhibition Opaque Spirits by ARTURO KAMEYA in collaboration with Claudia Martínez Garay took place on this bright Saturday afternoon.

All openings at Marres are free, no reservation or ticket necessary. Hope to see you next time!

Images of the opening
Photo: Rob van Hoorn

Museum Night Maastricht: Let’s open up!

19 April 2024

During each Museum Night, Marres is one of the 14 different venues across the city that opens their doors until late at night. 

Visitors could discover the intriguing exhibition Opaque Spirits by Peruvian artist Arturo Kameya.

Overview Museum Night 2024
Photo: Rob van Hoorn

Exhibition overview

Show more
Photo: Gert Jan van Rooij
Photo: Rob van Hoorn
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Show more
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Rob van Hoorn
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Rob van Hoorn
Photo: Gert Jan van Rooij
Photo: Rob van Hoorn
Photo: Rob van Hoorn

Arturo Kameya

Bringing together a range of visual cultural languages, the multidisciplinary works of Arturo Kameya (Peru, 1984) connect diverse stories, popular myths, historical events of his native land. He currently lives and works in Amsterdam (NL).

Kameya attended the Pontifical Catholic University of Peru in Lima (PE) and was a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam (NL) from 2019 through 2021. His work was presented at Memory is an Editing Station, the 22nd Biennial Sesc_Videobrasil in São Paulo (BR) in 2023; We, on the Rising Wave, the Busan Biennale (SK) in 2022; and Soft Water Hard Stone, the fifth New Museum Triennial, New York (US) in 2021.

His solo exhibitons include, Los Ovnis, GRIMM, New York, NY (US); En esa pulga se mezcla nuestra sangre / In that flea, our blood mixes, GRIMM, New York, NY (US); Drylands, Dordrechts Museum, Dordrecht (NL); Grandma’s Cooking Recipes, GRIMM, Amsterdam (NL); Depósito de Sombras, Alliance Française, Lima (PE); Allá en el Caserío, Acá en el Matorral (with Claudia Martínez Garay) Ginsberg Galeria, Lima (PE); Ghosts Don’t Care if You Believe in Them, Hotel Maria Kapel, Hoorn (NL); Ghost Stories, Alliance Française, Lima (PE); Ciencia Ficción, Wu Gallery, Lima (PE); and Land at the End of the Sea (with Claudia Martínez Garay), Galería del Centro Cultural Británico de San Juan de Lurigancho, Lima (PE).

His work is part of many collections including the Beth Rudin DeWoody Collection (US), the ING Collection (NL), and the collections of the Institute of Contemporary Art, Miami (US), Museo de Arte de Lima, MALI (PE), and the Saastamoinen Foundation (FI).

Arturo Kameya is represented by GRIMM, Amsterdam | London | New York.

Arturo Kameya, Untitled, 2024, Mixed media. Courtesy of the artist and GRIMM, Amsterdam | London | New York. © Arturo Kameya

Claudia Martínez Garay

Claudia Martínez Garay’s (Peru, 1983) practice encompasses painting, video, and installation. Her work references Peruvian history and socio-political memory, understanding the diverse Andean cultures through their material and immaterial remains, such as documents, artifacts, music, and testimonies. She studied printmaking at the PUCP (PE) and was a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam (NL) from 2016 to 2017. She works and lives in Amsterdam (NL).

Recent solo exhibitions by Martínez Garay include Ghost Kingdom, GRIMM, New York, NY (US, 2022) and Ten Thousand Things, Sifang Art Museum, Nanjing (CN, 2020). Her previous group exhibitions include Echoes of Our Stories, Quinta do Quetzal, Vidigueira (PT); Who Tells a Tale Adds a Tail: Latin America and Contemporary Art, Denver Art Museum, CO (US); No Linear Fucking Time, B.A.K., basis voor actuele kunst, Utrecht (NL); Plural Domains, Harn Museum of Art, Gainesville, FL (US); 1 Million Roses for Angela Davis, Kunsthalle im Lipsiusbau, Dresden (DE); and The Faculty of Sensing: Anton Wilhelm Amo, Kunstverein, Braunschweig and SAVVY Contemporary (DE). Her work was shown at the 21st Contemporary Art Biennial Sesc_Videobrasil, São Paulo (BR); the 16th Istanbul Biennal, Istanbul (TR); the 5th Ural Industrial Biennial of Contemporary Art, Ekaterinburg (RU); the Aichi Triennial, Aichi (JP); the 12th Shanghai Biennial; and the New Museum Triennial, New York, NY (US).

Martínez Garay’s work can be found in the collections of the Denver Art Museum, CO (US); Museum Arnhem (NL); Sifang Art Museum, Nanjing (CN); KADIST Collection, Paris (FR) and San Francisco, CA (US); Museo de Arte de Lima, MALI (PE); AkzoNobel Art Foundation, Amsterdam (NL); AMC Art Collection, Amsterdam (NL); Fundación Studie e Richerche Benetton, Treviso (IT); Central Reserve Bank of Peru, Lima (PE); Cisneros Fontanals Art Foundation, Miami, FL (US); THE EKARD COLLECTION; KPMG Art Collection, Amsterdam (NL); LAM museum, Lisse (NL); LOOP Collection, MACBA Museu d’Art Contemporani, Barcelona (ES); Micromuseo al fondo hay sitio, Lima (PE); and Museu Olho Latino, Atibaia (BR) amongst others.

Claudia Martínez Garay is represented by GRIMM, Amsterdam | London | New York.

Arturo Kameya with Claudia Martínez Garay
Photo: Rob van Hoorn

Podcast ‘Sensing Art, Training the Body’

In the run-up to a new exhibition at Marres, House for Contemporary Culture in Maastricht, director Valentijn Byvanck interviews participating artists, performers and curators.

For the exhibition ‘Opaque Spirits’ he sits down with Peruvian artists Arturo Kameya and Claudia Martínez Garay.

Kameya transformed Maastricht, House for Contemporary Culture, into a place where countless spirits haunt. Behind a curtain, a metal cabinet dances in red light; on a low coffee table, a tuna can pulled open circles around. ‘They come to collect the debts the Peruvian government has outstanding with its people,’ the artist says.

– De Volkskrant, door Marsha Bruinen

Press about Opaque Spirits

Arturo Kameya Absorbs Us into Memories of His Past at GRIMM New York
– Ocula Magazine
Easy to Describe, but Not So Easy to Explain
– Kennich Magazine
Claudia Martínez Garay and Arturo Kameya Explore Peruvian History
– Elephant
De geëngageerde kunst van Peruaan Arturo Kameya
– Volkskrant (NL)
De vissen weten niet wat er gaat gebeuren (maar wij wel)
– Mister Motley (NL)
Arturo Kameya toont de surveillancestaat als een spookhuis
– NRC (NL)
Interview: Arturo Kameya
– Gonzo Circus (NL)
Must-see shows in and around Maastricht during Tefaf
– The Art Newspaper
A Guide to Maastricht During TEFAF
– Tefaf
Espíritus Opacos | Arturo Kameya en colaboración con Claudia Martinez Garay
– Vocablo (PE)

For the press

For press requests, visual materials and interviews, please contact communicatie@marres.org.

Press release Opaque Spirits Press images Opaque Spirits About Marres (.pdf) Subscribe to press list

Partners / thanks to

Marres receives structural support from the Ministry of Education, Culture and Science, the Province of Limburg and the Municipality of Maastricht.

Thanks to GRIMM, Amsterdam | London | New York

Rooms Performance Festival 2024

Aftermovie Rooms 2024
Music / Composer: Vanessa Lann, 9×13 Orange Drummer Beat!, performed by: NeoFanfare 9×13
cover photo: © Sanne Peper

Marres, VIA ZUID, de Brakke Grond, Dansateliers and FASHIONCLASH proudly present performance festival Rooms.

Young makers and established talents offered performance, theater, visual arts, dance, fashion and music. A weekend during which fragile dresses brought colorful stained glass to life, where conductor’s bodies turned into living scores, manuscripts got dictated and a shoe merchant brought you along into absurdist power relations.

Line up:
buren
Merette van Hijfte & Pleuni Veen
Kinga Jaczewska
Mauricio Limon
David Maroto
Genevieve Murphy
Ika Schwander in collaboration with Fran Hayes

27 & 28 January 2024
01 – 06 PM
Location: Marres, Maastricht

Regular: € 40,00
Student: € 20,00
Day passes are not available anymore.

A ticket provides full access to all performances on either of the two days. The program of Rooms remains the same on both Saturday and Sunday, with the exception of David Maroto’s performance, which will take place on Saturday. With a valid day pass, you get to see the entire line up. For a break, you can visit the Marres Kitchen restaurant or relax in our public city garden.

The next edition of Rooms is scheduled for January 25-26, 2025, we hope to see you again!

Line up

buren presents the prelude of their work shoe/farm, which will premiere in February of 2024. Departing from their respective backgrounds, a farm in Zeeuws-Vlaanderen and a shoe store along the Belgian coast, Melissa Mabesoone and Oshin Albrecht merge the worlds ‘farm’ and ‘shoe’. They step into their ancestors’ shoes and play with the habits, customs, sayings and vocabulary connected to farm life and shoe sales. In doing so, they link their experiences to broader social issues surrounding production processes, working conditions and consumerism.

Mabesoone (Knokke, 1988) and Albrecht’s (Bruges, 1986) two-woman collective buren bring critical, absurdist sketches about community, domesticity, gender, (art) history and neoliberalism. Their work has been shown on many international stages, amongst which at Centrale Fies (Italy), Teatro Nacional D. Maria II (Portugal), Szene (Salzburg) and within the discursive program Feminist School. The collective published a graphic novel titled STW, your favorite station! and became resident artist at Kaaitheater in 2023.

concept by buren (Oshin Albrecht & Melissa Mabesoone)
created with: Oshin Albrecht, Melissa Mabesoone, Benjamin Cools, Benne Dousselaere, Vera Martins, Famke Dhont, Margaux Janssens
produced by: au bureau
co-productie: Kaaitheater, Kunstencentrum BUDA, workspacebrussels, C-takt, KAAP, de Brakke Grond, Theaterfestival Boulevard, Playground festival (STUK, Museum M), apap-FEMINIST FUTURES, a project co-funded by the Creative Europe Programme of the European Union, Marres 


© buren

Pleuni Veen and Merette van Hijfte present the visual poem PAL, which gives shape to the moment when we exchange freedom for safety. In doing so, they respond to the various meanings of the adverb, which refers to the original, Dutch expression “pal staan,” and its figurative meaning “to be immobile” or “to stand firm.” 

As a mathematics student, Veen (1994, NL) is intrigued by the balance between the certain yet indeterminate nature of the world, and between the understandable and the intangible. Contact, friction and wonder are central to her work. 

Van Hijfte (1994, NL) is a playful performer and energetic maker, who is not afraid to act from her intuition and impulses, making her work explosive and gritty. Following her graduation at the Mime School, she has been active as an actress, a filmmaker and member of the Collective BAMBAMBAM. 

Credits camera: Samuel van Keeken
Muziek: Rint Mennes
Rooms Merette Pleuni
Foto: Samuel van Keeken

Kinga Jaczewska (Poland, 1991) is a dancer and choreographer whose work focusses on what is often rendered invisible or commonly escapes our attention. Accordingly, her Rooms performance Raw and Tender, which she has made in collaboration with Agnese Forlani and composer Raphael Malfliet, looks at the functionality and corporality of motherhood – at the contradictions which it consists of. It comes as a response to Jaczewska’s earlier poem mothers

Jaczewska’s previous works encompassed performance, video, installation, text and photography, and have been presented in theater spaces including Kunstcentrum Nona (Mechelen) and Magdalenazaal (Brugge), as well as at the Kunsthal Antwerp. In 2021, she was awarded de PrixFintroPrijs in the category of theater and dance. 

Agnese Forlani (1997) is an Italian dancer and textile maker who is currently completing her Master’s degree in dance. In her artistic practice, she experiments with costume, scenography and materiality in dialogue with the dancing body. 

‘Time it takes’
Photo: Diego Franssens

In 2022, Mauricio Limón de León launched Les petits pois sont verts… Les petits poissons rouges; a collection of stained-glass haute couture dresses in collaboration with Adriana Gonzalez Hulshof. In Rooms, the collection is presented in the performance Flowing Sands Slogans. Here, the dresses are shown in a collaboration with Mahoalli Nassourou, Justine Olguín, Laia Vancells Pi and Manu Sol Mateo, performing a choreography of fluid geometries to music composed by Alejandro Contreras Pascual and Limón de León. Inspired by Samuel Beckett’s short television play Quad (1981), Flowing Sand Slogans takes Beckett’s sequence of movements as its primary structure. A meeting between four characters culminates in a disjointed catwalk performance of mechanized movements.

Previous shows by Limón de León (Mexico City, 1979) presented include A gigantic broom to uncover compelling narratives (Rotterdam, 2020), El primero que ria (Paris, 2023) and his current exhibition Memoria ciega at Museo Cabañas (Guadalajara), curated by Victor Palacios. He is represented by Ellen de Bruijne Projects (Amsterdam), Pequod.CO (Mexico) and Wild- Palms (Düsseldorf). 

Adriana Gonzalez Hulshof is Director of Museum Kranenburgh, a museum of modern and contemporary art in Bergen. She was founder and director of Amsterdam Art|Weekend, worked for the Dutch National Opera & Ballet, and has developed art programs for the International Documentary Film Festival Amsterdam, the Prince Claus Fund, ArtHub Asia and others. 

Vancells Pi (Blanes, 1993) completed her formal dance training at Codarts Rotterdam, before joining the Tanz Luzerner Theater company, Habemus Corpus and the companies of Roberto G. Alonso and Mari Rovira Crea. She currently works freelance, performing with the Dutch National Opera & Ballet and at festivals across Europe. 

Transdisciplinary artist Sol Mateo Rivas Álvarez (Mexico City, 1989) takes his own sexuality as a starting point for his artistic explorations of gender stereotypes, beauty and morality. His works have been shown internationally, most recently at Temporada Alta International Theater Festival (Peru) and at the Centre National du Costume et de la Scène (France). 

Nassourou (Mexico City, 1983) works at the intersection of performance, theater, film and still photography. She directed and presented the monologue Medea Redux in 2013 and is a part of the international collective Entre Minas. As a performer, she has collaborated with Barbara Foulkes (Arg- Mex), Pablo Helguera (Mex-USA), and Maj Britsen (Germany) among others. 

Lepke Olguin Oaxaca (Mexico City, 1999) attended Paul Valery University in Montpellier, studying Anthropology from 2019 to 2021. Interested in dance, performance, music and spectacle, she currently works freelance, performing in collaboration with cabaret collective Las Suculentas, Manu Sol Mateo, and Limón de León for his show Les petits pois sont verts… Les petits poissons rouges.

Photo: Mauricio Limon

David Maroto’s performance is titled after his most recent novella Not All of Me Will Die. This novella exists as an original manuscript in which the author reflects on memory, writing and the desire for posterity. In the performance, Maroto publishes the novella by dictating its contents to a group of participants who each write their own copy by hand. In this way, Maroto distributes his ‘oral novella’ in handwritten unique copies.

Maroto (Spain, 1976) is a visual artist who obtained a PhD from the Edinburgh College of Art for his research The Artist’s Novel: The Novel as a Medium in the Visual Arts. This is the first in-depth study into the artist’s novel as a phenomenon and follows from Maroto and Joanna Zielińska’s project The Book Lovers; a collection and bibliography of artists’ novels that they started in 2011. Maroto’s autonomous work has been shown at Kanal Centre Pompidou (Brussels), EFA Project Space (New York), and Vigil Gonzales Gallery (Buenos Aires) amongst others.

This performance will only take place on Saturday January 27, 2024.

An initiative of Technology Driven Art, a research group within the art schools Zuyd in collaboration with Out of Sight VZW and Marres.
technologydrivenart.org
out-of-sight.be

Genevieve Murphy’s Rooms performance Somewhere Someone Is Conducting Right Now views the body as a score. Four conductors, each in a room of their own, depend on fading music and memory as they orchestrate a self-chosen piece in partial silence. This not only draws attention to the individuality of each conductor, but also to music genre and environment. The spaces in between the rooms where different works merge become sonic spaces of their own. When all conduct together and all is heard in synchronicity, the house of Marres will sing.

Murphy (Scotland, 1988) graduated from the Royal Conservatoire of Glasgow, the Birmingham Conservatoire for music and The Royal Conservatoire of The Hague. In her work, she combines performance and visual art with contemporary classical music, to deal with subjects of psychology and disability. Her compositions have been performed in concert halls and art galleries, amongst which het Concertgebouw, het Muziekgebouw, W139, Stedelijk Museum (Amsterdam), La Fenice (Venice), Old Fruitmarket (Glasgow) and Theatre Spektakel (Zurich). Murphy was awarded an Honorary Membership of The Royal Birmingham Conservatoire in 2019.

Ed Liebrecht graduated with distinction from the Royal Academy of Music, where he was awarded the Fred Southall Prize for his final performance. He is committed to bringing ideological variety in his work that merges diverse influences. His upcoming projects include a jazz orchestra collaboration with Oxford University Orchestra, a return to the Haydn Chamber Orchestra for the Walton Violin Concerto.

Composer and conductor Ezequiel Menalled (Buoneos Aires, 1980) received his Bachelor and Master degrees in conducting from the Royal Conservatoire of The Hague. He works with various genres, with or without the use of electronics and other technological media, and ranging from solos to large ensembles. In 2003 he founded the Dutch Ensemble Modelo62, and has since served as its artistic director. 

Libia Hernandez’ (Cuba, 1965) rejects the idea that classical music is predominantly for a small elite, and looks to cultivate new listeners and an ever-widening group of people to experience classical music as current, necessary and irreplaceable – an enduring force that bridges cultures and continents. In 2024 Hernandez will conduct a new opera written by Monique Krüs, Piratenkoningin at the Nederlandse Reisopera. 

Basque conductor and violinist Mirari Etxeberria Guerrero (Andoain, 1998) is the founder, artistic director and principal conductor of Pamplona’s Youth Orchestra. She holds a Bachelor’s degree in Violin and a Master’s degree in Musical Investigation, and is currently finishing her formal training at the Amsterdam Conservatory. As assistant conductor, she has previously worked with Juanjo Mena, Martin Sieghart and Ryan Bancroft.

Composer: Vanessa Lann
Piece: 9×13 Orange Drummer Beat!
Performed by: NeoFanfare 9×13
Composer: Tan Dun
Piece: Circle with Four Trios, Conductor and Audience (1992)
Performed by: Nieuwe Ensemble
Composer: Beethoven
Piece: Symphony No. 9 in D minor, Op. 125 – “Choral”: 2. Molto vivace
Performed by: Royal Concertgebouw Orkest
Composer: Luciano Berio
Piece: Sinfonia for 8 Voices and Orchestra: III. in Ruhig Fließender Bewegung
Performed by: Electric Phoenix and Royal Concertgebouw Orkest    
Photo: Bas de Brouwer

Ika Schwander and Fran Hayes present Someone, I tell you, in another time will remember us. With references to the nymph Daphne and the poet Sappho, the work explores the transformation from human to tree and from life to death. It creates an environment where sensory stimuli are rare and the audience has room to breathe. In this space, questions surface that are normally lost. What might drive someone to trade human existence for something else?

Schwander (Luxembourg, 1999) graduated from the Toneelacademie Maastricht in 2023 with her work è vero, è vero, è vero; a co-production with VIA ZUID and Festival Cement. She makes visual performances and prefers to work in border areas where different mediums meet. Her work explores themes including trauma, care, religion, ecology and death.

Hayes (Dorchester, 1999) is a multimedia artist based in London whose practice explores the relationships that form in the spaces between the digital and the physical, Hayes’ practice mixes science-fiction influences with references to current issues such as ecological breakdown and the consequences of capitalism and to everyday occurrences. The works range from 3D modelling and animating to ceramics and writing.

Image in collaboration with Fran Hayes
Rooms schedule for 27 & 28 Jan 2024
Download program booklet (.pdf)

Festival overview

Show more
buren shoe/farm
Photo: © Sanne Peper
Ika Schwander & Fran Hayes Someone, I tell you, in another time will remember us
Photo: © Sanne Peper
Mauricio Limon Flowing Sands Slogans
Photo: © Sanne Peper
Photo: © Sanne Peper
Show more
Genevieve Murphy Somewhere Someone Is Conducting Right Now
Photo: © Sanne Peper
Photo: © Sanne Peper
Merette van Hijfte & Pleuni Veen PAL
Photo: © Sanne Peper
Kinga Jaczewska, with Agnese Forlani & Raphael Malfliet Raw and Tender
Photo: © Sanne Peper
Ika Schwander & Fran Hayes Someone, I tell you, in another time will remember us
Photo: © Sanne Peper
Mauricio Limon Flowing Sands Slogans
Photo: © Sanne Peper
David Maroto Not All of Me Will Die
Photo: © Sanne Peper
Merette van Hijfte & Pleuni Veen PAL
Photo: © Sanne Peper
David Maroto Not All of Me Will Die
Photo: © Sanne Peper
Kinga Jaczewska, with Agnese Forlani & Raphael Malfliet Raw and Tender
Photo: © Sanne Peper
buren shoe/farm
Photo: © Sanne Peper
Genevieve Murphy Somewhere Someone Is Conducting Right Now
Photo: © Sanne Peper

Press

For press requests, visual materials and interviews, please contact Julie Cordewener: julie.cordewener@marres.org.

Subscribe to press list

Partners/thanks to

Partners Rooms:
Marres, House for Contemporary Culture
Dansateliers
De Brakke Grond
FASHIONCLASH
VIA ZUID

Courtesy of Gieskes-Strijbis Fonds

Marres receives structural support from the Ministry of Education, Culture and Science, the Province of Limburg and the Municipality of Maastricht.

Rooms Performance festival

In the weekend of September 4 and 5 of 2021, Marres launched performance festival Rooms. Rooms presents new work by young makers and established talents. In the homely chambers of Marres, exiting theatre, dreamy films, intimate dance pieces and extraordinary visual arts alternate. Behind the doors of the rooms, ten makers take you on a two-day expedition to unexplored worlds.

Photo: Ies Kaczmarek

Overview

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Boris de Klerk, Kiem Photo: © Sanne Peper
ROOMS Performance Festival
Megan de Kruijf, Treat thy neighbour as thyself
Photo: © Sanne Peper
ROOMS Performance Festival
Myra Schouten, Ik ben gestolen
Photo: © Sanne Peper
ROOMS Performance Festival
Marthe Koning, GOT 2 4 GET
Photo: © Sanne Peper
Bekijk meer
ROOMS Performance Festival
Toon Teeken, The Day After
Photo: © Sanne Peper
ROOMS Performance Festival
Keren Levi, There she is
Photo: © Sanne Peper
ROOMS Performance Festival
Marika Meoli & Joost Vrouenraets, In presence of an embracement
Foto: © Sanne Peper
ROOMS Performance Festival
Jaap Scheeren & Rik van den Bos, Flipping The Bird
Photo: © Sanne Peper

Program

Sa: 12.00 & 3 pm / Sun:3 pm (balzaal)

Kiem is a stream of thoughts, trying to catch up with itself in fits and starts.  A failed reflection on scale, context, language and people.

Sa: 1.30 pm / Sun:1.30 & 4.30 pm (balzaal)

In GOT 2 4 GET, Koning tries to not divide herself and the world into one ‘I’ and millions ‘others’. She surrenders. In a ritual incantation with the audience on her side, she defies gravity and sings away thoughts with one goal: to be allowed to dissolve into a greater whole.

Sa: 12.45 & 3.45 pm / Sun:2.15 (schouwkamer)

Treat thy neighbour as thyself is a stream of consciousness exploring the discomfort of speaking your mind. A woman sits on a chair that for some reason has been put onto a platform. She has something to say and she will need to figure out how to do this. She might be addressing someone specifically. Sometimes the stage tries to highlight her words, other times it seems to contradict or even interrupt her.

Sa: 4.15 pm / Sun:12.00 pm (balzaal)

In this personal solo, in which Levi navigates in between dance and storytelling, memory and farewell are the central themes. She brings to life a multi-faceted and almost, but not quite, gossipy portrait of intimacy and distance within a family. She invites you to reflect on your own family history and the farewell of previous generations. The performance challenges you to open up to notions such as impermanence, memory and past.

Sun:12.00 & 3.00 pm (tuinkamer)

Two bodies in a perpetual embracement; skin to skin, bones entangle and muscles interweave each other in one persisting movement. Since the global pandemic outbreak in 2020, our approach to physical contact has changed radically. Embracing each other has become a scarce physical act, solely allowed in private. In presence of an embracement highlights the importance of the simple but vital act of an embracement.

Sa: every 15 minutes between 12.30 – 1.30 & 2.00 – 3.00 & 3.30 – 4.15 / Sun: every 15 minutes between 12.45 – 1.30 & 2.00 – 3.00 & 3.30 – 4.30 (filmkamer)

The photographic story Flipping The Bird takes you to the dunes; the starting point of a quest to make contact with flora and fauna. The film ends in an explosion; a plea to break free from your solid ground and to choose a new direction. Flipping The Bird is a beautiful and compact work of art, in which language and image constantly reinforce each other.

Sa: 2.15 / Sun:12.45 & 3.45 (schouwkamer)

In Ik ben gestolen, Schouten tries to share something about the subject she initially tried to avoid: the unconditional love of a child for his parent. This monologue is a letter to her father. She demands of him, longs for him, loves him and looks back on him. In a sober setting, her words and her presence on the floor, which she uses as an instrument, are central. By telling her personal story she hopes to touch the universal.

Sa: 1.30 & 4.30 pm / Sun: 12 pm (tuinkamer)

Ten of Swords is a slow pace exploration on the transitional moment from life to death. A space, scarcely decorated with sound, tools and creatures, invites you to inhabit and examine a last breath.

Sa + Sun: continuously 12 – 5 pm (voorkamer)

From his son in Lomé in Togo, Teeken (1944) received a photo depicting his son’s wife, mother-in-law, their two children and his family-in-law. The composition of the photo inspired him to create the motif for a painting: the tousled rhythm of their heads and limbs around the cluttered coffee table within the closed shape of the heavy sofa.

Sa: 12.00 & 1.30 & 3.00 & 4.15 pm / Sun: 12.00 & 1.30 & 3.00 & 4.30 pm (tussenkamer)

In these 24 gouaches, Teeken (1944) investigates the chaos and order of his kitchen table. Every day he sees this round table, often things piled on top of it. The visual poetry of circular objects, such as cups, plates and glasses. against other, almost shapeless, items like a transparent plastic bag: the complexity, disorder and at the same time a certain arrangement fascinate him.

Sa: continuously 12.30 – 13.30, 2 – 3 & 3.30 – 4.15 pm / Sun: continuously 12.30 – 1.30, 2 – 3 & 3.30 – 4.30 pm (room 7a)

Wilsons’s film is an inverted dream in which we disappear. She has been spinning around her own axis for too long and the earth, less and less solid, opens up. What happens at the ends of the circle? Wilsons’s work creates an open space for imagination and magic.

Sa + Sun: continuous 1.00 – 16.00 pm (garden)

Listen to stories about art works from all over the world with The Invisible Collection in the beautiful garden of Marres. Afterwards, together with your family and friends, you’ll learn how to imagine these beautiful stories in a workshop.

ROOMS Performance Festival
ROOMS Performance Festival

Katja Mater: What We See & What We Know

Katja Mater: What We See & What We Know
Katja Mater, 2013 (Photo: Gert Jan van Rooij)

Art often begins with the desire to make something visible that otherwise would remain wholly or partly invisible — wondrous details, complex structures and aspects of reality that are beyond the reach of our natural perception.

Curator: Valentijn Byvanck

The latter is also an important starting point for Katja Mater. While she tries to capture the poetry of the moment, she unveils the beauty of basic laws of physics.

What We See And What We Know is the first retrospective of work by visual artist Katja Mater. She examines ways to capture possible realities. She blends and splits colours, explores the laws of perspective and space, and shows how one medium passes into the other. Mater layers, compresses, stretches and rotates images in time. This way she plays with our expectation that photography captures reality in one single moment. Maters images exist parallel tot this reality and invite us to redefine the relationship between what we see and what we know. In addition to four new works that Mater produced for the exhibition, a broad selection from her oeuvre was presented.

What We See And What We Know marks the beginning of the new exhibition programme of Marres under Valentijn Byvanck, who was appointed as the new director of Marres in March 2013.

Cahier Exhibition Overview Publication

Artist

Katja Mater (1979) graduated from the Gerrit Rietveld Academie, Amsterdam in 2003 en completed her studies at De Ateliers in the same city. She was artist in residence at the Skowhegan School of Painting & Sculpture and The Mac Dowell Colony, both in the United States, and Künstlerhaus Bethanien in Berlin. Her work was shown in, among others, Galerie Martin van Zomeren (2013), Fotogalleriet, Oslo (2012), De Vleeshal, Middelburg (2012), Tanya Bonakdar Gallery, New York (2012) and, Centre d’Art Contemporain, Genève (2011).

Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij

Exhibition Overview

Show more
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Bekijk meer
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij
Katja Mater: What We See & What We Know
PhFoto: Gert Jan van Rooij
Katja Mater: What We See & What We Know
Photo: Gert Jan van Rooij

PublicationMultiple Densities

The publication Multiple Densities is the result of a long collaboration between the artist and graphic designer Veronica Ditting. The book presents beautiful, mostly new, image material and an introduction by curator and critic Maxine Kopsa.

On November 13 2013 the launch of this unique artist book was celebrated during an intimate evening at Marres. On this occasion, Katja Mater gave an introduction to the book and a guided tour of the exhibition What We See And What We Know. Afterwards, visitors were invited to join the artist for a diner at Marres Kitchen.

Buy the book
Katja Mater: What We See & What We Know

Press about Katja Mater

AVRO 4 ART (video) Metropolis M October Gallery

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Press release Press kit Subscribe press list

Winter Anti Depression Show

One in sixteen Dutch suffer from the winter. Some people don’t get out of bed or perform poorly at work.

Curators: Chris Kabel and Valentijn Byvanck

Others neglect family and friends. Many go looking for sunny destinations, subtropical islands or the solarium. Opinions on the causes of winter depression differ. What is certain is that our metabolism adjusts to when it’s cold outside and the days are shorter. We have a slower pace and our senses miss stimuli. It’s a state that harks back to hibernation. Science and industry view the lack of sunlight as the culprit and stress the importance of light therapy. Dutch hospitals have special rooms for this therapy. With the help of ingenious wake-up lamps, Philips ensures people can alleviate their winter blues at home as well.

The emphasis on light can make us forget that our other senses also fall short of stimulation in the winter. We miss the scent of flowers and plants, the feeling of bare feet in the sand, the sound of crickets in the summer.
For the Winter Anti Depression Show, Marres invited a team of designers and artists to create a house that immerses visitors in a variety of sensory experiences. They turned Marres temporarily into an Art Resort.

Participating artists

Chris Kabel, Katja Gruijters, Ludmila Rodrigues, Kaffe Matthews, FourceLabs, Alessandro Gualtieri, Thierry Mandon, Lisa Pacini and Christine Istad.

Alessandro Gualtieri: Smell (Photo: Gert Jan van Rooij)

Exhibition Overview

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Photo: Gert Jan van Rooij
Chris Kabel: Touch (Photo: Gert Jan van Rooij)
Ludmila Rodrigues: Move (Photo: Gert Jan van Rooij)
Katja Gruijters: Taste (Photo: Gert Jan van Rooij)
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Alessandro Gualtieri: Smell (Photo: Gert Jan van Rooij)
Kaffe Matthews: Feel (Photo: Gert Jan van Rooij)
FourceLabs: Hear (Photo: Gert Jan van Rooij)
Chris Kabel: See (Photo: Gert Jan van Rooij)
Lisa Pacini & Christine Istad: Sun (Photo: Gert Jan van Rooij)

Public program

Marres organised an extensive public program on Wednesday evenings. On these evenings, dinner included, there were speed tours through the exhibition, followed by a lecture, film, concert, theatre or dance performance.

Kaffe Matthews: Feel (Photo: Gert Jan van Rooij)

Press about Winter Anti Depression Show

NRC Handelsblad Metropolis M L1 CultuurBewustTV De Limburger Corriere della sera (IT) A-N Undo.net

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Thanks to

Stichting DOEN

THINKING (out of) THE BOX

THINKING (out of) THE BOX
Krijn de Koning, No title, 1998 (Photo: Gert Jan van Rooij)

In the Spring of 2014 Marres presented a selection of Vedute, a collection of three dimensional objects, each measuring 44 x 32 x 7 cm in closed form.

Curator: Daan Bakker

Unlike books, 3D-manuscripts reveal their content as visual statements. Some are directly accessible, others must be unfolded, and yet others need to be performed; the variety is endless. Marres exhibited a large selection of Vedute, including works by Peter Struycken, Marina Abramovic, JCJ VanderHeyden, Paul Panhuysen, 75B, Adriaan Geuze, Marlies Dekkers and Krijn de Koning.

The exhibition also featured a new series of Vedute objects that have been made in 2013 and 2014 at academies of fine arts, design and architecture throughout the Netherlands.

For this exhibition Marres opened its whole house, including the basement, attic, office and icehouse for this special, multi-coloured collection, with film, text, and touchable. The exhibition led to the secret corners of the Marres house.

The Vedute Foundation was established in 1991. In its 22 years, the collection has grown to more than 200 spatial manuscripts. The New Institute manages the collection. Visit www.vedute.nl for detailed information about the entire Vedute collection.
The opening of he exhibition took place on 17 April 2014. Find images of the opening here.

THINKING (out of) THE BOX

Exhibition Overview

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THINKING (out of) THE BOX
Photo: Gert Jan van Rooij
THINKING (out of) THE BOX
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THINKING (out of) THE BOX
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THINKING (out of) THE BOX
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THINKING (out of) THE BOX
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THINKING (out of) THE BOX
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THINKING (out of) THE BOX
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THINKING (out of) THE BOX
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THINKING (out of) THE BOX
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THINKING (out of) THE BOX
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THINKING (out of) THE BOX
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THINKING (out of) THE BOX
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THINKING (out of) THE BOX
Photo: Gert Jan van Rooij
THINKING (out of) THE BOX
Photo: Gert Jan van Rooij
THINKING (out of) THE BOX
Photo: Gert Jan van Rooij
THINKING (out of) THE BOX
Photo: Gert Jan van Rooij

Marres Talks

During the exhibition Marres organised the series MARRES TALKS.  Participating artists were invited for a series of conversations on the role of practising within the maker’s artistic activities. The conversations followed after a speed tour through the exhibition by Valentijn Byvanck.

14 May: Peter Struycken, Krijn de Koning, Roy Villevoye en Pieter Vos (75B)

25 May: Paul Panhuysen, Marc & Nicole Maurer en Ben Zegers

11 June: Students Design Academy Eindhoven

Video opening
THINKING (out of) THE BOX
Photo: Gert Jan van Rooij

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Undertones

Undertones
Haroon Mirza, Adam Eve Others and a UFO, 2013 (Photo: Gert Jan van Rooij)

Secret sounds in Maastricht’s Undergrounds

Curators: Juha van ‘t Zelfde and Valentijn Byvanck

What do we actually hear of the landscape in which we live? The drone of cars, revving scooters, and rumbling trams. Shop doorbells, church bells, ringtones, and singing birds. Heels tapping on the pavement, children’s voices in the school, and cows in the countryside… We hear them, but rarely listen. With 11th-century liturgy and experimental music, ordinary sounds and electronic noise, soundtracks of sharks, web DJs, speech karaoke, radio, and voices, Marres opened a world of sound that had Maastricht buzzing during the summer.

In Marres, works were presented by Haroon Mirza, Ryan Gander, Sarah van Sonsbeeck, Lyndsey Housden, Chaim van Luit, Joseph Beuys, Anri Sala, Nishiko, and Paul Devens.

In addition to the group exhibition in Marres, Undertones took place at various locations in Maastricht: the marl caves in Sint Pieter, the Sint Servatius Basilica, the Kazematten, Intro in Situ and the Minderbroedersberg. On these locations, visitors could listen to sound installations and live performances by: Kaffe Matthews, Espen Sommer Eide, Grandelavoix, Rutger Zuydervelt and Mark Blain, Thomas Rutgers and Jitske Blom, and David Helbich.

Cahier Map Undertones Maastricht Exhibition Overview Sound works
Undertones
Undertones
Photo: Sacha Ruland

Outside Marres, Kaffe Matthews composed an audio-visual installation inspired by sharks for the marl caves of Sint Pietersberg. In the cells of the Minderbroedersberg, Espen Sommer Eide surrounded visitors with scattered sounds of political unrest.

In the crypt of the Basilica of St. Servatius, the ensemble Graindelavoix developed from July 16 onwards a sound installation based on the holy Servaas liturgy. Rutger Zuydervelt and Mark Bain made work for the Marres ice cellar and the 18th century fortifications. At Intro in situ, works by Thomas Rutgers, Jitske Blom, and David Helbich were heard.

Interview Kaffe Matthews

Exhibition Overview

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Undertones
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Undertones
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Photo: Sacha Ruland
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Photo: Gert Jan van Rooij

Performances in Marres

Grandelavoix singer and choreographer/dancer David Hernandez, bass player Margarida Garcia and guitarist Manuel Mota met several nights in a row at Marres. They were brief but unique interventions, trying to grasp something of the resonance of a crypt, a space that is the marking and appropriation of a wandering body. These performances were open to the public.

Listen to the interview with curators Juha van ‘t Zelfde and Valentijn Byvanck in Nooit Meer Slapen. This interview was broadcasted on VPRO, Radio 1, on 28 June 2014.

Undertones
Photo: Gert Jan van Rooij

Press about Undertones

Verkeersbureau L1 – AvondGasten Ali Haselhoef (1) Ali Haselhoef (2) Ali Haselhoef (3) Ali Haselhoef (4) Planet Hugill Metropolis M Radio 1 – Nooit Meer Slapen

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Thanks to

Fund 21, Stichting Elisabeth Strouven and Prins Bernhard Cultuurfonds

The Unwritten

The Unwritten
Günter K., Collection of Margret 1969-1970 (Photo: Gert Jan van Rooij)

Concealed murder, suppressed love, tarnished innocence, and frustrated ideals inform the material for a series of profound, amusing, sad, and compelling histories by Adela Babanova, Zachary Formwalt, Annie Kevans, Gert Jan Kocken, Carlos Motta, Óscar Muñoz, Song Ta, Koki Tanaka and Günter K.‘s ‘Margret’ collection.

Curator: Valentijn Byvanck

Sometimes we wish that we had written history differently. Or had left it unwritten because the perspective was one-sided, unjust or brutal. We wish to undo that history because it provides a perspective that we no longer accept or that we even loathe. At other times, our new sensitivities uncover histories that have never been told because they were considered unimportant, forgotten, unfinished or overtaken by other perspectives.

The Unwritten was dedicated to these forgotten stories. Histories that strongly appeal to our imagination and empathy. We feel nostalgia for a lost world, anger at injustices, euphoria with the correction of those injustices, dismay at a wrong turn and relief at a right one. They are all emotional and sometimes even sensory experiences caused by the unexpected turn that history sometimes takes and the way it has erased other stories.

The Unwritten

Exhibition Overview

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The Unwritten
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The Unwritten
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The Unwritten
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The Unwritten
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The Unwritten
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The Unwritten
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The Unwritten
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The Unwritten
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The Unwritten
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The Unwritten
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The Unwritten
Photo: Gert Jan van Rooij
The Unwritten
Photo: Gert Jan van Rooij
The Unwritten
Photo: Gert Jan van Rooij

Public program

During The Unwritten Marres organised extra activities. In October, during the History Month, visitors of the exhibition could take part in guided tours, given by Valentijn Byvanck, director of Marres and curator of the exhibition. These so-called weekend tours took place on 25 and 26 October. On 29 October and 12 November, Marres opened its doors in the evenings and hosted Marres Wednesdays. On this evenings, participating artists Gert Jan Kocken and Annie Kevans disclosed the sources from which their work originated.

The Unwritten

Photo: Gert Jan van Rooij

Press about The Unwritten

Mister Motley Kunstbeeld Lost Painters De Volkskrant

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Adam, Eve & the Devil

Adam, Eve & the Devil
Photo: Gert Jan van Rooij

The exhibition Adam, Eve & the Devil offered a resplendent commentary on the timeless quality of art.

Curator: Ardi Poels

Two late medieval Books of Hours formed the basis, showing the virtuous hand of the often unknown masters. Notwithstanding their strict schemata, these artists knew how to open the door to a new era, with a flourish of style, a coded letter, a small change to a pattern or the sensitive use of materials. Works by contemporary artists enter into a dialogue with these Books of Hours. Medieval aureoles echo in the performance of William Hunt. Droplets of sweat slowly falling to the floor in Oscar Santillan’s A Hymn recall Mary’s suffering. Artists looked for a forgotten soul, a safe refuge, a new relation to the body and the senses. In doing so, they showed surprising spiritual correspondences between early modern art and the art of today.

Cahier Exhibition Overview Publication
Adam, Eve & the Devil

Participating Artists

Charbel-joseph H. Boutros, stanley brouwn, David Claerbout, István Csákány, Dario D’Aronco, Thomas Grünfeld, Jos de Gruyter & Harald Thys, Dominique Gonzalez-Foerster, Jean Haincelin (Dunois Meester), Rodrigo Hernández, Sofia Hultén, William Hunt, Alicja Kwade, Wolfgang Laib, Astrid Mingels, Carlo Mollino, Christopher Orr, Thomas Ruff, Stéphanie Saadé, Anri Sala, Oscar Santillan, Gregor Schneider, and Conrad van Toul (Master of the Munich Golden Legend).

Adam, Eve & the Devil
Photo: Gert Jan van Rooij

Exhibition Overview

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Adam, Eve & the Devil
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Adam, Eve & the Devil
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Adam, Eve & the Devil
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Adam, Eve & the Devil
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Adam, Eve & the Devil
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Adam, Eve & the Devil
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Adam, Eve & the Devil
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Adam, Eve & the Devil
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Adam, Eve & the Devil
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Adam, Eve & the Devil
Photo: Gert Jan van Rooij
Adam, Eve & the Devil
Photo: Gert Jan van Rooij

Public program

During the exhibition several Meet the Curator/Sunday Guided Tours were offered. During the weekend of May 23, 24 and 25 during Kunsttour Marres offered ongoing guided tours. The weekend ended with the performance ‘The National Anthem of the World’ by Sanne Vaassen. She let the garden snails reinterpret the musical arrangements of national anthems by eating the paper notation of the music and adding new notes by their excreta, their poo.

During TEFAF (13 – 22 March), Marres was open seven days a week from 12 to 7 pm with an exhibition programme full of lectures, films, a workshop and 60 Minute Dinners.

With Mihnea Mircan, curator and writer, Francesco Stocchi, curator of modern and contemporary art at Museum Boijmans Van Beuningen in Rotterdam, Lukas Stofferis, director of the Academy for Arts and Crafts in Utrecht, Heribert Tenschert of Antiquariat Bibermühle, Ige Verslype, restorer at Rijksmuseum Amsterdam, Timotheus Vermeulen is assistant professor at Radboud University in Nijmegen, Pádraic E. Moore is a writer, art historian and curator.

Adam, Eve & the Devil
Photo: Gert Jan van Rooij

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For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Thanks to

Intimacy / Chambres d’Amis

Intimacy / Chambres d’Amis
Sanne Vaassen, My continental drift, 2014 (Photo: Gert Jan van Rooij)

Friendly attention from a stranger in a bar. The stroke of the cashier’s hand when giving change.

Curator: Valentijn Byvanck

The silent understanding with a loved one. Intimacy is a much sought after yet hard to find value. It is taken for granted and yet we cherish it as a rarity. We feel intimacy in the body’s safety, in spiritual anchoring, in the love, sex, and attention of those close to us. We experience it in a negative sense when accidentally interrupting a situation or conversation not meant for us, or the failed reproductions of intimacy on Facebook, in dating programs or the genre of reality TV.

Intimacy / Chambres d’Amis

Chambres d’Amis Weekends

Alongside the exhibition, Marres organised a Chambres d’Amis as a tribute to Jan Hoet, who made fame in 1986 by showing artworks in private homes in Ghent. Six artists created works for homes in the centre of Maastricht. The houses were open in the first month of the exhibition. The works of Chambres d’Amis moved into the exhibition at Marres.

Intimacy / Chambres d’Amis
Photo: Gert Jan van Rooij

Participating artists

Amie Dicke, Emily Jacir, Birthe Leemeijer, Keetje Mans, Nishiko, Petra Stavast, Sanne Vaassen and Roy Villevoye.

Meet the artists

In addition to the Chambres d’Amis weekends, Marres organised evenings alongside the exhibition. During these evenings the public could have a conversation with the artists. Valentijn Byvanck, director Marres and curator of the exhibitions, also gave an introduction and guided tour of the exhibition.

Meet the artists #1: With Sanne Vaassen, Nishiko, Keetje Mans and Petra Stavast.
Meet the artists #2: With Amie Dicke and Birthe Leemeijer. Interview by journalist Merel Bem.

Exhibition Overview

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Intimacy / Chambres d’Amis
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Intimacy / Chambres d’Amis
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Intimacy / Chambres d’Amis
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Intimacy / Chambres d’Amis
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Intimacy / Chambres d’Amis
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Intimacy / Chambres d’Amis
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Intimacy / Chambres d’Amis
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Intimacy / Chambres d’Amis
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Intimacy / Chambres d’Amis
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Intimacy / Chambres d’Amis
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Intimacy / Chambres d’Amis
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Intimacy / Chambres d’Amis
Photo: Gert Jan van Rooij
Intimacy / Chambres d’Amis
Photo: Gert Jan van Rooij

Work Nishiko in Gouvernement Maastricht

Japanese visual artist Nishiko donated a work to the Gouvernement Maastricht. Member of parliament Daan Prevoo, was presented with a repaired porcelain bowl by Nishiko. For the ‘Repairing Earth Quake Project’ in the Miyagi area affected by the earthquake and tsunami, Nishiko searched for pieces of porcelain, plastic parts, broken, everyday objects. She repaired them with the help of residents in order to give them a new home. Seven of these objects were exhibited at Marres during the exhibition Intimacy / Chambres d’Amis, among other places. Prevoo gets the bowl on loan and has to look after it until the real owner comes forward.

Press about Intimacy / Chambres d’Amis

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Thanks to

Prins Bernhard Cultuurfonds Limburg and the Cultuurparticipatiefonds Limburg.

Levi van Veluw: The Relativity of Matter

For an entire year, the artist Levi van Veluw has worked on The Relativity of Matter, an all-encompassing 350m2 installation for Marres.

Curators: Levi van Veluw and Valentijn Byvanck

After entering the space, the visitors found themselves in a maze of corridors, atmospheres and perspectives that challenged their senses. With The Relativity of Matter, Van Veluw presented an all-encompassing scenographic experience that immersed visitors in a world of disparate forms of expression.
Levi van Veluw’s installation at Marres Capucijnenstraat 98 Maastricht allows a limited number of visitors.

The Dutch television programme Kunstuur interviewed Levi van Veluw about The Relativity of Matter.

Levi van Veluw: The Relativity of Matter

Levi van Veluw

Levi van Veluw was born in 1985 in Hoevelaken and studied at the ArtEZ Institute for the Arts in Arnhem. Since graduating in 2007, Levi van Veluw has created a variety of multidisciplinary works, including scenographic installations, photographs, films, sculptures, paintings and drawings.

Levi van Veluw’s work has already been exhibited in Europe and the United States and has been
nominated for the Volkskrant Beeldende Kunstprijs 2015, where it was elected as a public favourite.

Levi van Veluw: The Relativity of Matter
Photo: Levi van Veluw

Exhibition Overview

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Levi van Veluw: The Relativity of Matter
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Levi van Veluw: The Relativity of Matter
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Levi van Veluw: The Relativity of Matter
Photo: Levi van Veluw

Crowdfunding campaign

Together with Voordekunst and Levi van Veluw, Marres organised a successful crowdfunding campaign for The Relativity of Matter to financial support and gain additional publicity. Over 25’000 euro was raised thanks to the generous support of over 141 people from all over Europe who contributed. We were told by our donors that they think The Relativity of Matter is a special project with an exciting theme. They praise the courage of Levi and Marres to make such a huge installation and are proud that the prestigious project is coming to Maastricht.

The Relativity of Matter in France

The immersive work The Relativity of Matter by the Dutch artist Levi van Veluw was on view at Domaine de Kerguehennec in France from 1 July until 4 November 2018.

Levi van Veluw: The Relativity of Matter
Photo: Levi van Veluw

Marres Dialogues: Levi van Veluw and the thinking body

Marres organised Dialogues event during the exhibition. The Relativity of Matter has a special sensory effect on visitors; it calls for a response of the body and can be better be experienced than contemplated. Dancers are trained to listen to their body. Through this training they often use a bodily approach of perception, which distinguishes itself from more cognitive ways we use to create meaning.

Valentijn Byvanck moderated a discussion between the artist Levi van Veluw and several well-known dancers affiliated with the Nederlandse Dansdagen: Christina Giannelia, Marc Maris, and Loïc Perela.

Press about Levi van Veluw

AVROTROS – Kunstuur De Volkskrant Mister Motley De Limburger Metropolis M De Groene Amsterdammer Eigen Huis Focus Magazine Palet Magazine De Volkskrant Column Rutger Pontzen Museumtijdschrift NRC Handelsblad (1) NRC Handelsblad (2) De Volkskrant

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Thanks to

Fonds 21, Mondriaan Fund and Creative Industries Fund NL. Film Company BIRD made a special atmospheric film about the installation The Relativity of Matter.

Ferran Adrià: Notes on Creativity

Olive oil caviar, asparagus beer, Parmesan foam, the soup fragrance spoon: these are only a handful of examples of the revolutionary creations by the world-renowned and widely celebrated Ferran Adrià of the legendary restaurant El Bulli.

Curators: Brett Littman and Valentijn Byvanck

The exhibition Ferran Adrià: Notes on Creativity is a homage to Adrià’s exploration of creativity and how this quest led to his revolutionary cuisine. It is filled with hundreds of colourful drawings and includes a film of the nearly two thousand dishes prepared by Adrià and his team in their more than twenty years at El Bulli. The epicentre of the exhibition was a specially designed hall of mirrors, with an infinite landscape of over one hundred floating, delectable objects: glass tumblers in every possible shape, metal ‘amuse’ dishes, spoons for smelling, plates of paper, slate and glass, Plasticine models indicating the size of a dish and cuttings showing how food should be cut.

Ferran Adrià: Notes on Creativity gave you a behind-the-scenes-view of Adrià’s search for ingredients and new ways to prepare and serve food. It was also a testament to how much thought he has always put into the history of cooking and taste. His method could be compared to the creative process of a scientist, designer or artist: exploratory, tireless, innovative and always surprising.

Accompanying the exhibition is the English publication Ferran Adrià: Notes on Creativity. Emphasizing the role of drawing in Adrià’s quest to understand creativity, the book features an interview between Ferran Adrià and Brett Littman, and also includes a reprint of the artist Richard Hamilton’s essay about the relationship of food to contemporary art. The publication is available in our online shop.

Ferran Adria cahier cover

Ferran Adrià

Ferran Adrià (born 1962) was the world-famous head chef of the restaurant El Bulli in Roses, Spain which closed in 2011. In the late 1990s and the first decade of the 21st century, El Bulli was legendary. It was awarded three Michelin stars and was given the accolade ‘best restaurant in the world’ by Restaurant Magazine five times in a row. Adrià was a pioneer of molecular gastronomy and developed nearly 2,000 new dishes with his staff, along with a huge amount of new table and kitchen ware and cutting, mixing, freezing and mixing methods. El Bulli can rightly be regarded as the founder of modern experimental cuisine.

The taste of the food he served could not be predicted by the eye. The restaurant was only open six months a year. Adrià spent the rest of the year secluded in a lab in Barcelona devising new dishes. Guests were served up to thirty dishes a night and often enjoyed the culinary performance until well past midnight.

Ferran Adrià: Notes on Creativity

“Ferran Adrià’s quest for creativity is remarkable. His method connects haute cuisine, visual culture and scientific method: shaping taste is just as important as drawing diagrams and searching for the key to creativity”


– Director Valentijn Byvanck
Ferran Adrià: Notes on Creativity

Since the closure of El Bulli, the Catalan chef has been engaged in research on creativity. With the assistance of a team of researchers, designers and professionals from numerous other disciplines, he is trying to map out the creative process. For this research, he continually draws on his rich past at El Bulli. Adrià’s artistic attitude in the world of gastronomy brought him into contact with the art world from the beginning of his career. In 2007 he was invited by artistic director Roger Buergel to the prestigious art exhibition Dokumenta 12 in Kassel.

Exhibition Overview

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Ferran Adrià: Notes on Creativity
Photo: Gert Jan van Rooij
Ferran Adrià: Notes on Creativity
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Ferran Adrià: Notes on Creativity
Photo: Gert Jan van Rooij
Ferran Adrià: Notes on Creativity
Photo: Gert Jan van Rooij
Ferran Adrià: Notes on Creativity

Photo: Gert Jan van Rooij

Ferran Adrià: Notes on Creativity

Photo: Gert Jan van Rooij

Ferran Adrià: Notes on Creativity

Photo: Gert Jan van Rooij

Ferran Adrià: Notes on Creativity

Publication

This publication accompanies the first major museum exhibition in the world to focus on the visualization and drawing practices of master chef Ferran Adria, in The Drawing Center in New York. The exhibition traveled to Marres and was expanded with glass tumblers in every possible shape, metal ‘amuse’ dishes, spoons for smelling, plates of paper, slate and glass, Plasticine models indicating the size of a dish and cuttings showing how food should be cut.

Adrià’s complex body of work positions the drawing medium as a philosophical tool, used to organize and convey knowledge, meaning and signification. Emphasizing the role of drawing in Adria’s quest to understand creativity, the book features an interview between Ferran Adria and Brett Littman, director of The Drawing Center, and also includes a reprint of the artist Richard Hamilton’s essay about the relationship of food to contemporary art.

Buy the book
Ferran Adrià: Notes on Creativity

Dining with Ferran Adrià: Five Chefs, 9 Michelin Stars

Hans van Wolde (Beluga Loves You, Maastricht), Jonnie Boer (Librije, Zwolle), Margo Reuten (Da Vinci, Maasbracht), rising pastry star Marieke Harkema and Sergio Herman (The Jane, Antwerp). These five top chefs together account for 5 stars and 9 Michelin stars. They joined forces for a unique fundraising dinner, organized on the occasion of Ferran Adrià’s arrival in Maastricht.

The dinner took place on April 19, 2016 at Rebelle, in the Augustijnenkerk in the centre of Maastricht. Proceeds from the dinner benefited Marres’ education program Training the Senses: Drawing Flavors for primary and secondary schools in Maastricht.

Dineren met Ferran Adrià
Photo: Sacha Ruland

Photos of the diner

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Dineren met Ferran Adrià
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Dineren met Ferran Adrià
Photo: Sacha Ruland
Dineren met Ferran Adrià
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Dineren met Ferran Adrià
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Dineren met Ferran Adrià
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Dineren met Ferran Adrià
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Dineren met Ferran Adrià
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Dineren met Ferran Adrià
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Dineren met Ferran Adrià
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Dineren met Ferran Adrià
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Dineren met Ferran Adrià
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Dineren met Ferran Adrià
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Dineren met Ferran Adrià
Photo: Sacha Ruland
Dineren met Ferran Adrià
Photo: Sacha Ruland
Dineren met Ferran Adrià

Public program

Ferran Adrià: Notes on Creativity
Photo: Sacha Ruland

As part of the current exhibition, Marres hosted an extensive series of public events and educational programmes aimed at raising awareness about taste, cooking and creativity through taste labs, cookouts and workshops.

Fundraising dinner in honour of Ferran Adrià
Five top chefs – who hold 9 Michelin stars between them – prepared an exclusive dinner for Ferran Adrià and all the guests in attendance. The event took place in the Augustijnenkerk in Maastricht.

Cook out with 90 children
The children that took part in the event came from all parts of Maastricht. The aim of the event was to emphasize the importance of healthy food. Led by the chefs of Kids Kokkerelli the children prepared a special three- course menu. The master chef gave some lastminute tips and tasted the food.

In dialogue with Ferran Adrià
In Centre Céramique the Catalonian master chef gave a talk about his current practice and answered questions from the audience, which largely consisted of students and talented young chefs.

Documentary ‘El Bulli: Cooking in progress’ screened in Lumière
The style of top chef Ferran Adrià is avant-garde and experimental. This 2010 documentary follows the intense preparations for a new season in his restaurant El Bulli. Filmhuis Lumiere screened the movie on June 21.

Meet & Greet with chefs from Limburg

The taste of El Bulli in Maastricht
Ten chefs from Limburg showed visitors of the city of Maastricht their interpretation of a dish from the Catalan chef Ferran Adrià. During a meet & greet with Adrià they presented the publication The taste of El Bulli in Maastricht. This special publication is made by Maastricht Culinair, a partnership of renowned restaurants, local producers and suppliers.

Signing session in Bookstore Dominicanen
The living cult legend Ferran Adrià was a guest at Bookstore Dominicanen for a signing session.

Ferran Adrià: Notes on Creativity was originally curated by Brett Littman for The Drawing Center (New York). It has been specially adapted and expanded for the presentation at Marres, House for Contemporary Culture.

Dom Pérignon is the presenting partner of Ferran Adrià: Notes on Creativity. Additional support was provided by the Institut Ramon Llull, Acción Cultural Española (AC/E) and Lavazza.

Press about Ferran Adrià

NTR – Landinwaarts Het Financieele Dagblad L1 – AvondGasten VPRO – Nooit Meer Slapen 1Limburg NU.nl De RestaurantKrant L1 Cultuurcafé RTV Maastricht De Limburger Knack Weekend Knack Weekend De Tijd Le Vif (Frans) La Libre Belgique (Frans) NRC Special De Standaard Klenkes (Duits) De Morgen (1) De Morgen (2) De Volkskrant

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Thanks to

Dom Pérignon is the presenting partner of Ferran Adrià: Notes on Creativity. Additional support was provided by the Institut Ramon Llull, Acción Cultural Española (AC/E) and Lavazza.

Marres was supported by Connect Limburg, the VSBfonds, the BankGiro Lottery Fund and the Prins Bernhard Cultuurfonds.

The Measure of our Traveling Feet

Roza El-Hassan, Time of Big Change — #Breeze in Maastricht, 2016 and Zsófia Szemző, The Bubble of What You Leave Behind, 2016 (Photo: Gert Jan van Rooij)

The exhibition The Measure of our Traveling Feet focused on the social and cultural significance of migration.

Curators: Claire van Els and Laura Mudde

The exhibition The Measure of our Traveling Feet was curated by Laura Mudde and Claire van Els and focused on the social and cultural significance of migration. What does the world beyond the border have to offer? In which ways does travel change the past and alter identities? Paulien Oltheten documented her journey on current and historical routes from eastern and central Europe to the west. Shilpa Gupta immersed visitors in the confusion that is typical of arrival in an unfamiliar environment, while Mounira Al Solh intimately captured migrants’ stories.

Large numbers of migrants are risking their lives in order to enter Europe. We see images of small boats afloat at sea, men in helmets and a deluge of drowned refugees. We hear about illegal settlements, desperate families and ruthless smugglers. The journeys of these refugees stand in stark contrast to the free movement of inhabitants of the European Union. While the world seems within arm’s reach to Europeans because of the euro, the open borders and the cheap airline tickets, the continent is becoming a closed fortress from the outside. Discussions revolve around migration, social inequality and the moving of feet that has always been part and parcel of these issues.

The exhibition title was derived from a poem by the Irish poet W.B. Yeats (1865-1939) about the changing rhythm of life in modern England during the Industrial Revolution. How does the flow of refugees accelerate today’s pace, and how does it relate to the routes we ourselves traverse?

Measure-of-our-Traveling-Feet cahier cover

Participating artists

Francis Alÿs, Anca Benera & Arnold Estefan, Tudor Bratu, Mircea Cantor, Juliana Cerqueira Leite, Shilpa Gupta, Roza El-Hassan, Paulien Oltheten, Wouter Osterholt & Ingrid Hapke, Société Réaliste, Mounira Al Solh, Zsófia Szemző and World Service Authority®.

Book Mounira Al Solh Interview The World Service Authority

Curators

Laura Mudde (1985, NL) studied art history and philosophy at the University of Amsterdam. As an independent curator and project coordinator she is active at the intersection of art and society. She works for Stichting Het Instituut, an organisation that guides artists and designers in thinking about spatial and social issues, ABN AMRO’s art collection and ArtEZ Hogeschool van de Kunsten. Previously she worked as an assistant curator on the art manifestations ‘Ja natuurlijk, hoe kunst de wereld redt’ (Gemeentemuseum, The Hague, 2013) and ‘Niet Normaal’ (Beurs van Berlage, Amsterdam, 2009/10).

Claire van Els (1986, NL) is an art historian and currently works as junior curator at the Stedelijk Museum Amsterdam. In recent years, Van Els has been active as an independent curator, working as an assistant curator on an exhibition by Melvin Moti as part of the ABN AMRO Art Prize 2015 in the Hermitage Amsterdam. In 2013, together with Hendrik Folkerts, she won the VBCN OPEN for young curators of the Dutch Association of Corporate Collections. Previously, she worked as assistant curator on the retrospective exhibition Mike Kelley (2012-2013) and the exhibition Jo Baer: In the Land of the Giants (2013) at the Stedelijk Museum Amsterdam.

Educational program

In collaboration with Stichting de Vrolijkheid, the Tapijntuin and het Kunstfront, Marres presented an extensive educational program for young people between the ages of 14 and 20 as part of the exhibition The Measure of our Traveling Feet. In this program young people were challenged to actively think about the theme of the exhibition. On several occasions the group met. During these meetings they were supported by the educational team and artists.

Photo: Gert Jan van Rooij
The Measure of our Traveling Feet

Bruis festival

During Bruis Festival,  Marres and the Toneelacademie Maastricht presented a workshop on body language and sign language for Maastricht residents, Limburgers, Dutch, foreigners, refugees and anyone who wants to know how to make someone happy, angry, caring, anxious, in love and young with a single gesture in different cultures.

The workshop was given on Saturday 3 and Sunday 4 September 2016 following the theme of  The Measure of our Traveling Feet.

Exhibition Overview

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Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
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Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij

Press about The Measure of our Travelling Feet

De Limburger Metropolis M

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Thanks to

The Art of Impact and Prins Bernhard Cultuurfonds.

The work of Mounira Al Sohl is supported by the Mondriaan Fund. The work of Tudor Bratu is made possible thanks to Mondriaan Fund and mister A.A. van der Helm. And the work of Anca Benera & Arnold Estefan and Tudor Bratu is supported by the Romanian Cultural Institute in Brussels.

The work of Wouter Osterholt and Ingrid Hapke is made possible by Stichting Jezuïetenberg, FlexForm, Paleopixels, BeamSystems and Sjors Bindels.

Special thanks to ACAX, Agency for Contemporay Art Exchange in Budapest, Hungary.

Marres Tourist Office

Marres Tourist Office
Claudia Sola, Anywhere but Here, 2016 (Photo: Gert Jan van Rooij)

Crowds of people take a yearly vacation to relax, go on an adventure, party, and get a breath of fresh air.

Curator: Yvonne Grootenboer

Way past a sunny day at the beach, the modern leisure industry offers space tours, Tinder trips, mindfulness cruises and ecology flights. Some vacationers take a short break from a stressful job. Incidentally, they reorganize their lives forever. Most return with fresh resolve to continue their daily life. Vacation has thus become an intricate part of our working routine and is characterized by the same desire for stability, physical comfort, and a lack of surprises.

The exhibition Marres Tourist Office offered new stimuli to the tourist in various forms: a walk through Maastricht with an audio guide about the life of a famous artist, a picknick in the backyard of Marres and an opportunity for visitors to build their own castle with LEGO stones. During the weekends, Marres organised a full programme consisting of lectures and performances by Hans Aarsman, Wiel Kusters, Doina Kraal, a DJ-set by Mike Moonen and live radio shows by Ja Ja Ja Nee Nee Nee radio. The mix is still available via Radio Marres.

Participating artists

Hans Aarsman, Maarten Bel, Teresa Cos, Roger Cremers, Anna Frijstein and Nicola Godman, Ja Ja Ja Nee Nee Nee radio, Krijn de Koning, Frank Koolen i.c.w. Dier In Bedrijf, Doina Kraal, Wiel Kusters, Mike Moonen, Claudia Sola, Derk Thijs and Anneke Walvoort.

Exhibition Overview

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Marres Tourist Office
Photo: Gert Jan van Rooij
Marres Tourist Office
Photo: Gert Jan van Rooij
Marres Tourist Office
Photo: Gert Jan van Rooij
Marres Tourist Office
Photo: Gert Jan van Rooij
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Marres Tourist Office
Photo: Gert Jan van Rooij
Marres Tourist Office
Photo: Gert Jan van Rooij
Marres Tourist Office
Photo: Gert Jan van Rooij
Marres Tourist Office
Photo: Gert Jan van Rooij
Marres Tourist Office

Photo: Gert Jan van Rooij

Marres Tourist Office
Photo: Gert Jan van Rooij
Marres Tourist Office
Photo: Gert Jan van Rooij
Marres Tourist Office
Photo: Gert Jan van Rooij
Marres Tourist Office
Photo: Gert Jan van Rooij

Ja Ja Ja Nee Nee Nee Radio goes on holiday

During the weekends the online radio station Ja Ja Ja Nee Nee Nee broadcasted live from Marres. Together with Mike Moonen and numerous guests. Can you travel to another place in sound for a while? What is the value of boredom? How does the summer sound?

During Ja Ja Ja Nee Nee Nee goes on holiday, you hear artists, tourists and sounds – local to the other side of the world – who take you on a journey, not by looking, but by listening. The live broadcasts were attended by audiences. Listen to the shows online.

Listen to Ja Ja Ja Nee Nee Nee Radio goes on holiday
Marres Tourist Office
Photo: Gert Jan van Rooij
Wandeling Der Raufbold Tour

Der Raufbold Tour

For the exhibition Marres Tourist Office, artist Frank Koolen created in collaboration with the art collective Dier in Bedrijf Der Raufbold Tour, an audiotour about the life of the legendary Maastricht artist and bon vivant Luis C. Smeets. Luis was the inspiring reason for a city walk along important places in the life of one of the most controversial intellectuals in the region.

Walk Der Raufbold Tour

Win a vacation

In the run-up to the exhibition, Marres made an appeal to collect beautiful, strange, romantic, but above all unforgettable vacation memory. Four winners were selected, all of whom were given a weekend trip to Maastricht, with overnight stay. The competition was a collaboration with four Maastricht hotels: Kaboom Hotel, Trash Deluxe, The Dutch and the Kruisheren Hotel.

Marres Tourist Office

Family workshop

During the exhibition Marres Tourist Office offers workshops for the entire family. Join us on a journey and take on the role of both tourist and artist.

The scent of the forest in France, the sound of the Aegean Sea and how different does a pizza taste in Tuscany? During the workshop you will go back to your last holiday together with your parents. How different are your memories and what do you pay attention to during your holiday? How do you communicate if you can’t speak the language?

The family workshop starts with a guided tour through the exhibition. After this you will go on a voyage of discovery and take a closer look at the artists’ works.

Take part in the workshop together with your mum, dad, grandpa, grandma, carers, brothers and sisters.

The workshops will be given on the following days:
Wednesday: August 17th and 24th
Sunday: 21 and 28 August

Time: 3PM to 4PM

You can sign up by sending an email to: educatie@marres.org. Mention in your mail the date, how many people and the age of the participants.

Children (up to 16 years): 5 euro
Mom and dad: 10 euro (entrance ticket), MJK 5 euro

With the entrance ticket you can stay at Marres before or after the workshop to play with LEGO®, take a sensory walk or (in the weekends) watch performances. Look for the entire program on the website of Marres.

Press about Marres Tourist Office

De Limburger L1 Cultuurterras Gezien L1

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Thanks to

Touche-à-Tout (2014-2016) by Doina Kraal is made possible by Het Gieskes-Strijbis Fonds, Het Mondriaan Fonds, Het Amsterdams Fonds voor de Kunst, and forte_forte and Lejan.

Poets of Beijing

Poets of Beijing

Poets of Beijing showed the works of 14 artists working in China’s capital city. Beijing’s economic prosperity fuels a fast growing art market that is a magnet for young artists.

Curators: 策展人 LIU Chengrui — 刘成瑞 and Valentijn Byvanck — 瓦伦丁·拜凡克

This group is often viewed as a new generation of artists, the so-called post-80s generation. Instead of expressing their relationship to the west, as earlier Chinese artists have done, members of this post-80s generation search for an introspective and independent exploration of art and society. Within this framework, they produce a rich and varied body of works. Yan Bing’s wheat murals echo the yellow earth of the countryside of his home province Gansu. Chen Youtong, biologist and native of Guangzhou, transformed his studio into a factory-lab hybrid to study the life of microbes. Kun Niao is a magazine editor and a recognized poet, Lin Ke one of China’s most prolific internet artists.

Poets of Beijing was held in the Wiebengahal in Maastricht.

Poets of Beijing

Participating artists

Liu Chengrui, Han Wuzhou, Zhao Yao, Bu Yunjun, Zhang Zhenyu, Yan Bing, Kun Niao, Wang Yuyang, Lin Ke, Chen Youtong, Wang Haiyang, Ha Nisi, Wang Liwei and Zhang Muchen.

Exhibition Overview

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Poets of Beijing
Poets of Beijing
Photo: Gert Jan van Rooij
Poets of Beijing
Photo: Gert Jan van Rooij
Poets of Beijing
Photo: Gert Jan van Rooij
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Poets of Beijing
Photo: Gert Jan van Rooij
Poets of Beijing
Photo: Gert Jan van Rooij
Poets of Beijing
Photo: Gert Jan van Rooij
Poets of Beijing
Photo: Gert Jan van Rooij
Poets of Beijing
Photo: Gert Jan van Rooij
Poets of Beijing
Photo: Gert Jan van Rooij

Press about Poets of Beijing

Heel Hedendaags IX De Limburger

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Thanks to

The Painted Bird: Dreams and Nightmares of Europe

Europe 2017.
Are we dancing on a volcano?

Curators: Gijs Frieling and Valentijn Byvanck

Are renewed nationalism, xenophobia, the distrust of politics and democracy, the arrival of refugees, and economic insecurity preparing us for a terrible meltdown? It is well possible. This should give us hope for this project, since the best art is produced on the verge of despair, when civilizations crumble and we’re about to shift into a new world order.

Marres Maastricht produced a spectacular mural about Europe by nineteen artists who have painted all rooms, corridors, the stairwell, floors and ceilings of the historic Marres House. The Painted Bird depicted a series of beautiful and frightening environments. Like a high-tech clone supermarket, the last surviving piece of primeval forest, a Berlin love and hippie fest space, a spider portrait corridor, a new life festival in the year 2050. But also paintings of Charlemagne, the shisha girls, PJ Harvey and the Romanovs, the naked sages. A soundtrack led visitors from room to room, from dream to nightmare.

Painted Bird

Participating artists

Marie Aly, Cian Yu Bai, Bonno van Doorn, Kim David Bots, Gijs Frieling, Natasja Kensmil, Klaas Kloosterboer, Mirthe Klück, Frank Koolen, Fiona Lutje House, Charlott Markus, Kalle Mattsson, Jan van de Pavert, Tanja Ritterbex, Sam Samiee, Charlotte Schleiffert, Derk Thijs, Sarah Verbeek, Helen Verhoeven, Evi Vingerling and Job Wouters.

painted bird
Photo: Charlott Markus

Exhibition Overview

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Painted Bird
Photo: Charlott Markus
Painted Bird
Photo: Charlott Markus
Painted Bird
Photo: Charlott Markus
Painted Bird
Photo: Charlott Markus
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Painted Bird
Photo: Charlott Markus
Painted Bird
Photo: Charlott Markus
Painted Bird
Photo: Charlott Markus
Painted Bird
Photo: Charlott Markus
Painted Bird
Photo: Charlott Markus
Painted Bird
Photo: Charlott Markus
Painted Bird
Photo: Charlott Markus

Training the Senses

Artists Gijs Frieling and Aukje Dekker gave a Training the Senses session on the intersection between painting and the sensory experience. Painting is such an obvious visual phenomenon that we rarely experience it as a call to sensory action. We don’t smell the paint, touch or lick it. We don’t allow our bodies to follow the brushstrokes. Paintings are thus radically emancipated from bodily movement or broad sensory perception. Why is that?

Training the Senses: Painting as a Sensory Experience
Training the Senses: Painting as a Sensory Experience
Photo: Sacha Ruland
Painted Bird
Photo: Charlott Markus

Soundtrack

The artists Frank Koolen and Kim David Bots developed a comprehensive soundtrack with personal commentary voice, music and sound effects. The soundtrack was part of the exhibition and can be listened to online.

Listen to the soundtrack

Publication The Painted Bird

The Painted Bird, a book with beautiful and terrifying impressions of Europe. Based on letters between Gijs Frieling, the participating artists, and curator Valentijn Byvanck, this book provides insight into the ideas and considerations that underlie this collaborative work of art. The Painted Bird is available in the online shop.

Buy the book
Painted Bird
Marres Movements
Dario Tortorelli, D NO BODY 5 #transcending (preview)

Marres Movements

During the Summer Marres hosted the program Marres Movements, a series of performances created for, and building on, the ongoing exhibition The Painted Bird: Dreams and Nightmares of Europe. The program added moving bodies and musical performances to the landscape of wall paintings and a soundtrack, transforming them into a massive stage set for performance, dance and music. Find the full program and all the aftermovies via the link below.

Marres Movements

WitWasDag

On the last day of the exhibition, Marres invited the public to help paint the colossal painting The Painted Bird white. The 12 rooms were opened to lusty money launderers, greasers, lovers of squat white, good friends and wrong fans of Marres. With absurd painting assignments, cold beer and snacks in the garden, a singing DJ and an in memoriam: The Painted Bird is no more.

Crowdfunding campagne

For the realization of the exhibition Marres organised a successful crowdfunding campaign together with platform Voordekunst. 148 people contributed and raised a total amount of 28,691 euros.

Press about The Painted Bird

L1 Cultuurcafé Metropolis M (1) Metropolis M (2) Muze Avotros Palet Magazine Zuiderlucht (1) Zuiderlucht (2) Mister Motley De Volkskrant VICE Blog George Knight Europa Nu Metro Visualia Jegens & Tevens

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

Thanks to

Marres Movements

During the summer of 2017, Marres invited a group of performers to interact with the exhibition The Painted Bird: Dreams and Nightmares of Europe.

Curator: Valentijn Byvanck

The program consisted of a series of performances that were called Marres Movements. The program added moving bodies and musical performances to the landscape of wall paintings. The exhibition transformed into a massive stage for performance, dance, music and art.

Performers and dancers entered the exhibition during opening hours with several improvised and scripted pieces and interventions as well as a musical tour through the city.

Cahier Exhibition Overview Exhibition The Painted Bird

Exhibition Overview

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Marres Movements
Dario Tortorelli, D NO BODY 5 #transcending (preview)
Marres Movements
Dario Tortorelli, D NO BODY 5 #transcending (preview)
Marres Movements
Dario Tortorelli, D NO BODY 5 #transcending (preview)
Marres Movements
Dario Tortorelli, D NO BODY 5 #transcending (preview)
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Marres Movements
Dario Tortorelli, D NO BODY 5 #transcending (preview)
Marres Movements
Dario Tortorelli, D NO BODY 5 #transcending (preview)
Marres Movements
Annika Kappner, Future Petroleum
Marres Movements
Annika Kappner, Future Petroleum
Marres Movements
Annika Kappner, Future Petroleum
Marres Movements
Annika Kappner, Future Petroleum
Marres Movements
Annika Kappner, Future Petroleum
Marres Movements
Annika Kappner, Future Petroleum
Marres Movements
Annika Kappner, Future Petroleum
Marres Movements
Hilde Elbers, Yeah but no but Yeah
Marres Movements
Hilde Elbers, Yeah but no but Yeah
Marres Movements
Hilde Elbers, Yeah but no but Yeah
Marres Movements
Hilde Elbers, Yeah but no but Yeah
Marres Movements
Hilde Elbers, Yeah but no but Yeah
Marres Movements
Christopher Tignor, Along a vanishing plane
Marres Movements
Christopher Tignor, Along a vanishing plane
Marres Movements
Christopher Tignor, Along a vanishing plane
Marres Movements
Hrafnhildur Helgadóttir, Improvisation for painting
Marres Movements
Hrafnhildur Helgadóttir, Improvisation for painting
Marres Movements
Hrafnhildur Helgadóttir, Improvisation for painting
Marres Movements
Hrafnhildur Helgadóttir, Improvisation for painting

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

The Materiality of the Invisible

Photo: Werner Mantz Lab

The Materiality of the Invisible approached contemporary art as an activity that shares several characteristics of archaeology.

Curators: Lex ter Braak and Huib Haye van der Werf

Many artists probe the underlying layers of our social and political reality. They expose what is concealed and penetrate to other times. Like archaeologists, they make the invisible visible.

The Materiality of the Invisible showed the results together with the work of 24 other artists. The exhibition spread out over the three locations, Marres, Van Eyck and Bureau Europa. Van Eyck was a partner in the multi-year EU project NEARCH – New scenarios for a community-involved archaeology. For this project, they selected six international artists who each collaborated with two archaeological partners.

The opening of the exhibition on Tuesday 29th of August coincided with the annual meeting of the EAA (European Association of Archaeologists), which took place in Maastricht in 2017.

Participating artists

Lida Abdul, Semâ Bekirovic, Rossella Biscotti, Marinus Boezem, Lonnie van Brummelen & Siebren de Haan, Joey Bryniarska & Martin Westwood, Leyla Cárdenas, Ruben Castro, Imran Channa, Iratxe Jaio & Klaas van Gorkum, Mikhail Karikis & Uriel Orlow, Daniel Knorr, Jeroen Kooijmans, Irene Kopelman, Giuseppe Licari, Chaim van Luit, Mark Manders, Alice Miceli, RAAAF, Raewyn Martyn, Stéphanie Saadé, Fernando Sánchez Castillo, Oscar Santillan, Daniel Silver, Studio Ossidiana, Marjan Teeuwen, Leonid Tsvetkov, Maarten Vanden Eynde, Roy Villevoye & Jan Dietvorst, Matthew C. Wilson

Exhibition Overview

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Photo: Werner Mantz Lab
Photo: Werner Mantz Lab
Photo: Werner Mantz Lab
Photo: Werner Mantz Lab
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Photo: Werner Mantz Lab
Photo: Werner Mantz Lab
Photo: Werner Mantz Lab
Photo: Werner Mantz Lab
Photo: Werner Mantz Lab
Photo: Werner Mantz Lab
Photo: Werner Mantz Lab
Photo: Werner Mantz Lab
Photo: Werner Mantz Lab
Photo: Werner Mantz Lab

Public program

During The Materiality of the Invisible an extensive public program was presented, consisting of lectures, presentations, film screenings and guided tours at the three locations.

Marres hosted and organised the event The Archaeologist, the Artist and the Curator, a walking conversation in the exhibition The Materiality of the Invisible at Marres, dedicated to  all affinities between art and archaeology. With Miguel John Versluys (Professor of Classical & Mediterranean Archaeology, Leiden University), Matthew Wilson (artist, NEARCH), Martin Westwood (artist,NEARCH), Lex ter Braak and Huib Haye van der Werf (curators of the exhibition).

Michael Shanks  –  Archaeologist and Professor of Classics at Stanford University had a conversation with artists and archaeologists involved in the EU project NEARCH – New scenarios for a community-involved archaeology in the framework of the exhibition The Materiality of the Invisible, during an evening Talk.

One of the lectures was presented by Eyal Weizman – architect, professor of spatial and visual cultures and director of the Centre for Research Architecture at Goldsmiths, University of London – and Femke Snelting – artist/designer, developing projects at the intersection of design, feminism and free software. They both spoke about topics related to the framework of the exhibition.

Photo: Werner Mantz Lab
Photo: Werner Mantz Lab

Education

Participating artist Giuseppe Licari played an active role in the educational program of The Materiality of the Invisible. Students from the United World College and IBBO (I Am Conscious Education) worked for six weeks together with artist.
As part of this program, Dion Nataraja, a student at the United World College, interviewed Licari about his art work The Promised Land: a photo series of a misty landscape full of craggy rocks formations in unusual shades. The landscape pictured in the photos has something extraterrestrial, however these pictures are taken in Luxembourg in a former mine. Watch the interview here.

“How do stones feel and what different types are there?” The students made several drawings as a result of these questions. They were then printed on lino in the print lab of the Van Eyck Academie.

During Het Parcours on Sunday 10 September, Marres, Bureau Europa and Van Eyck, opened its doors. The public could visit the exhibition free of charge that day. This year’s edition was named: Een grenzeloos Parcours.

Interview Giuseppe Licari

Press about The Materiality of the Invisible

Press

For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.

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Thanks to

The European Commission and Mondriaan Fund.

Dreaming Awake

The Amazon wilderness, moist, damp, sticky, deafening, breathtaking, is the most invasive form in which a landscape forces itself upon us.

Curators: Luiza Mello en Valentijn Byvanck

Once you’re inside, there is no escape. The pressure of the environment is so powerful and hypnotic that it propels people into a dreamstate. The exhibition Dreaming Awake presented a tropical rainforest peeled back in layers. The exhibition was about the experience of touch caused by strong outside forces. Dreaming Awake aimed to bring that experience to the visitors of Marres.

The immersive project was developed by the Brazilian curator Luiza Mello and Marres director Valentijn Byvanck, in collaboration with the artists Dominique Gonzalez-Foerster, Daniel Steegmann Mangrané and Luiz Zerbini.

Dreaming Awake

Artists

Luiz Zerbini (São Paulo, 1959) employs a rich and vibrant palette for a diverse range of subjects such as landscapes, urban panoramas and domestic scenes, as well as more obscure or even abstract works. Zerbini has had a series of retrospective exhibitions at Galpão Fortes Vilaça, São Paulo, Brazil (2015); Casa Daros, Rio de Janeiro (2014); Instituto Inhotim, Minas Gerais (2013) and the Museu de Arte Moderna in Rio de Janeiro (2012). He took part in the Biennials of São Paulo (2010; 1987), Mercosul (2001), Havana (2000) and Cuenca (1996). In 2017, Stephen Friedman Gallery showed his work in London.

Through site-specific installations and environments that immerse visitors in light and sound, Dominique Gonzalez-Foerster (Strasbourg, 1965) examines how spaces prompt memories and affect our moods and perceptions. In recent years, Dominique Gonzalez-Foerster had a series of solo exhibitions in, among others, the Pompidou Center, Paris (2015-2016), the Museum of Art, Architecture and Technology in Lisbon (2015), the Museo Reina Sofía in Madrid (2014) and Turbine Hall, Tate Modern, London (2008). She also participated in Skulptur Projekte Münster (2007) and Documenta XI, Kassel (2002).The artist’s most recent films are Otello 1887 (2015), Vera and Mr Hyde (2015) and Lola Montez in Berlin (2015).

For many years, Steegmann Mangrané (Barcelona, 1977) has studied the Brazilian jungle through works that are focused on the powerful contrast between human perception and the intense reality offered by the jungle. The artist had recent solo exhibitions at the Múrias Centeno, Lisbon (2015), Esther Schipper, Berlin (2015), Proyectos Monclova, Mexico City (2014), and Mendes Wood, São Paulo, Brazil (2013). He also participated in several Biennales including that of Cuenca, Ecuador (2014) , the Mercosul Biennial, Porto Alegre (2013); and the Bienal de São Paulo, São Paulo (2012).

Exhibition Overview

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Dreaming Awake
Photo: Gert Jan van Rooij
Dreaming Awake
Photo: Gert Jan van Rooij
Dreaming Awake
Photo: Gert Jan van Rooij
Dreaming Awake
Photo: Gert Jan van Rooij
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Dreaming Awake
Photo: Gert Jan van Rooij
Dreaming Awake
Photo: Gert Jan van Rooij
Dreaming Awake
Photo: Gert Jan van Rooij
Dreaming Awake
PhotoFoto: Rob van Hoorn
Dreaming Awake
Photo: Rob van Hoorn
Dreaming Awake
Photo: Gert Jan van Rooij
Dreaming Awake
Photo: Gert Jan van Rooij
Dreaming Awake
Photo: Gert Jan van Rooij
Dreaming Awake
Photo: Gert Jan van Rooij
Dreaming Awake
Photo: Rob van Hoorn

Publication

Next to the exhibition Dreaming Awake, an eponymous publication was launched, edited by Luiza Mello, João Doria, and Valentijn Byvanck. Dreaming Awake describes the feeling of the rainforest and the effect the clammy, moist atmosphere can have on humans. It incorporates existing texts on the subject, as well as works on the jungle by artists such as Luiz Zerbini.

The publication was among the winners of the Best Dutch Book Designs 2018 and is available at the reception desk of Marres or through our online shop.

“The hypnotic power of the rainforest is evoked in dreamlike, monochrome images – lots of dark and green, against which the works of art from the Marres exhibition sometimes contrast colourfully.” – Jury Best Dutch Book Designs 2018