Categories: Exhibition
Artist Talk Alejandro Galván
Vultures & Fireflies
This November, the artist Alejandro Galván will commence a chronicle of Mexico, painted from the perspective of one of the largest working class suburbs in Mexico State. The work, titled Vultures & Fireflies, will fill the entire house Marres and will see its grand opening on March 15, 2025. In the months prior, there will be a series of sneak previews and events surrounding the work.
Artist talk
To start, we are giving you the special opportunity to meet the artist and learn about his artistic process during an artist talk on Friday, December 13. Alejandro will be presenting himself and there will be an opportunity to personally ask him questions about his work. This is also a special moment to witness the construction of the exhibition from the very beginning, so you can come back to see how it progresses at one of the later sneak previews. These will happen every Saturday starting February 1st.
RSVP here for the artist talk and keep an eye on our website and socials for the full program surrounding Vultures & Fireflies! You can attend the artist talk completely free of charge, but registration through RSVP is greatly appreciated.
Date:
Friday, 13 December, 2024
Time:
7:00 – 8:30PM
Location:
Marres, Maastricht
Language:
Spanish – English
In April 2025, a second artist talk will take place, offered in Spanish and Dutch.
The exhibition runs from March 13 to August 31, 2025, but for a sneak preview into the artistic process, Marres will open every Saturday starting in February!
Read more about Alejandro Galváns Vultures & FirefliesThe Invisible Collection
Katja Heitmann – Motus Mori RELIQUIEM
From October 5 to 10, Marres, Bureau Europa and de Nederlandse Dansdagen present the performance Motus Mori RELIQUIEM by German choreographer Katja Heitmann. Motus Mori RELIQUIEM is dedicated to human movement and will take place in the main hall of Bureau Europa in Maastricht.
What moves humankind? In Motus Mori RELIQUIEM, you experience other people’s motions in the most direct and touching way possible: through your body. You put yourself in the shoes of the archive’s many donors and incorporate their personal “movement relics” into your motion repertoire. Heitmann calls this “kinetic empathy”.
In the multi-year art project Motus Mori, Katja Heitmann collects and preserves human movement. Up to now more than 1900 people have already donated their personal movement to this embodied archive, an ever-growing foundation from which the choreographer creates new artworks. People from Maastricht and surrounding areas also donated their movement to Motus Mori in 2019. This year, the choreographer returns to the city with RELIQUIEM.
Katja Heitmann is fascinated by the human attempt to escape their own mortality. This paradox is the muse of the movement archive Motus Mori. As movement goes and vanishes, we are at the same time epi-central master of our own life and just a spark in eternity.
With RELIQUIEM, Katja Heitmann takes her archive research to the next level; creating a collective shared movement heritage to secure it for the future. The archive will be transferred to ‘everyone’. After all: doesn’t every human being want to keep moving, for eternity?
Dates and times
October 5 and 6, 2024:
10:30AM, 12:00PM, 2:30PM, and 4:00PM
October 7, 8, 9 and 10, 2024:
1:00PM and 7:00PM
Location
Bureau Europa
Boschstraat 9
6211 AS Maastricht
bureau-europa.nl
‘My mother died 12 years ago, my father last year. There is nothing left of them, no material belongings, no house, no will or farewell letter. Sometimes I manage to make a hand gesture that I recognize from my mother. Or my father’s shoulder-head-pupil-chin combination, a gesture that indicated he was struggling. Sometimes I see an older man walking down the street and suddenly I think it’s him. His tired body going on and on, back arched, shoulders hunched forward, while his head tried to look up. Often I wish I had observed them more closely, so I could keep their movement heritage alive.’
– Katja Heitmann
Background
For several years, Katja Heitmann has been working to create an archive for human movement. This is a question that is often raised in dance, since the discipline has no standardized notation. The body of a dancer, it is often said, is the archive of dance. But the same question also applies to the world outside dance. Our archives and museums collect portraits, objects, and writings but not the gestures and movements of important people. In our homes, we also save letters, objects, and photographs of our loved ones, but we lose the poses, movements, and reflexes that make them instantly recognizable. Katja Heitmann and her team make that loss tangible by collecting and preserving human movements.
In 2019, de Heitmann presented her project Museum Motus Mori at Marres. In this project, she created a museum of dying physical movement with ten dancers. For six weeks, five hours a day, the dancers and the choreographer took on the remarkable challenge of sensitizing visitors to the deep humanity hidden within the body. They developed a choreography for belly fat, a dance of the belly button and rib cage, the anatomy of a sigh…
Motion interviews
As a source, the choreographer used movement interviews. Every day people were invited to these interviews in which they told how they stood, sat or slept, whether they shared traits with family members, whether they had ever had an injury or accident that changed their physicality or movements. The dancers analyzed these traits and learned to embody them. Heitmann focused primarily on capturing involuntary human behaviors. She became fascinated by unconscious, sometimes transmitted movements, which are very awkward or make life difficult or arduous, but at the same time give a deep insight into human identity. The audience who witnessed this living archive saw a prolonged performance of human movements, including their own and those of their loved ones.
Biography Katja Heitmann
Katja Heitmann (1987, Germany) operates on the interface between dance and visual arts, performance and installation. In her visual-choreographic work, she investigates what moves people in the present era. In doing so, she always questions what it means to have a body, often in relation to rapidly advancing technology. In Homo Avatar (2016), she was inspired by the countless digital alter egos roaming the Internet. In Siri Loves Me (2017), a work she made with 50 young dancers, she wondered if technological advances and the surveillance that comes with them were going to hinder free movement. In Pandora’s DropBox (2018), she presented a disturbing image of the perfect man in a perfect world. Starting in 2019, Heitmann worked on various forms of her extensive Motus Mori project, an ode to the forgotten and even extinct movement. In 2016 Katja won the Prijs van de Nederlandse Dansdagen (Dutch Dance Days Award), in 2020 she was awarded the Gieskes-Strijbis Podiumprijs, the largest performing arts award in the Netherlands.
Press about Katja Heitmann
NRC
“In Museum Motus Mori, Heitmann collects, describes, archives and exhibits the minute movements we all make every day that immediately disappear again – the beauty and fragility of dance in one thoughtful concept.”
De Theaterkrant
‘Heitmann has a mission! Undeniably. In Motus Mori, she gives the body back to a society that is in danger of losing sight of its value. Art could not be more urgent. But beyond urgency, Reliquiem is also very moving. After all, the body is transient and confronts us with finiteness.”
De Standaard:
“It’s kinetic empathy at its best.”
De Volkskrant (Anette Embrechts)
“I recognized my ‘translated’ tics and gestures, whispers mixed with those of Pavel, Monika, Tosca and Herr Stamm. Highly original.”
The New York Times:
“Turning the gestures of everyday life into art.”
Museumtijdschrift (Edo Dijksterhuis):
“Museum Motus Mori is a kinetic portrait of all of us. And the way it takes shape, through the body rather than the mind, is more direct, effective and poignant than any video, photograph or text can ever be.”
For the press
For press requests, visual materials and interviews, please contact communicatie@marres.org.
Partners / thanks to
Motus Mori RELIQUIEM in Maastricht is a collaboration of Marres, Bureau Europa and de Nederlandse Dansdagen.
Marres receives structural support from the Ministry of Education, Culture and Science, the Province of Limburg and the Municipality of Maastricht.
Rooms Performance Festival 2025
During the weekend of 25 & 26 January 2025, the yearly Rooms Performance Festival took place, showcasing new work of young talents and established names.
Rooms 2025 was packed with vibrant theater, edgy dance, a culinary performance, kinetic textiles, intimate activism, and much more. Your day pass granted access to a full day with six performances.
Line-up:
Sofie Kramer
Ahmed El Gendy
Amparo González Sola
Tabor Idema
Samah Hijawi
Jasmine Karimova & Johannes Offerhaus
Partners:
Marres, Via Zuid, de Brakke Grond, Dansateliers, FASHIONCLASH and MU
As a Rooms visitor, you’ll also got an exclusive first preview of the exhibition Vultures & Fireflies, opening this spring. At the end of 2024, Mexican artist Alejandro Galván will begin a painted chronicle of Mexico throughout the house Marres, portraying the perspective of Nezahualcóyotl: one of the largest working class suburbs in the Valley of Mexico.
Date: 25 & 26 January 2025
Time: 12:30-17:30, doors open at 12:00
Location: Marres, Maastricht
The Rooms program is the same on both Saturday and Sunday. A day pass gives you access to a full day with five performances. Marres Kitchen will be open until 6PM, serving drinks and delicious food.
Admission for ages 12 and up
Our festival is specially designed for an older audience, and the performances are not suitable for children under 12. Young people aged 12 to 18 are very welcome and enjoy free admission.
Rooms 2025 overview
Sofie Kramer
Monolith
In this ecstatic pole dance performance, the pole becomes a sacred object, a gateway to another world where ancient wisdom lies hidden. The static steel object is brought to life and imbued with ritualistic qualities, playing with the clichés of pole dancing and the audience’s expectations. A futu-feminist journey that raises questions about our connection to technology and explores the relationship between control and intuition.
Sofie Kramer (1990, the Netherlands) is a theater maker, performer, writer, and pole dancer. She interned at Orkater, attended dance workshops with Nicole Beutler and Peeping Tom, and collaborated with choreographers such as Guilherme Miotto and Jens van Daele. Starting this year, she is supported by ViaZuid and Podium Bloos.
Concept, direction, choreography and performance: Sofie Kramer
Concept, composition, instrument design: Mári Mákó
Costume: Batuhan Demir
Audio operator and technical consultancy: Francesco DiMaggio
Dramaturgy: Joske Koning
Supported by: Via Zuid, Cultuurfonds, Amarte, United Cowboys
Ahmed El Gendy
i feel you like the moon feels the earth
Over the course of the project Zero Encounters, Ahmed spent a full 24 hours in silence with six different strangers. Allowing each stranger to lead the day as Ahmed quietly accompanied them, their relationship evolved through proximity and time rather than verbal exchange. i feel you like the moon feels the earth captures this intimate journey from memory – of simply being together, holding space as one.
Ahmed El Gendy (1987, Cairo) (they/he) is an Egyptian-Dutch artist who explores themes of agency, togetherness, and entanglement. Their work, which spans video, text, and performance, has previously been presented at Mediterranea Biennale (Italy) and at Festifreak International Festival for Independent Cinema (Argentina).
Performance: Ahmed El Gendy, Clotilde Cappelletti, Estéfano Romani
Advisor: Miguel A. Melgares
Amparo González Sola
Distances
Delving into the complexities of empathy and shared experience, Distances questions how we can resonate with the others’ experience—even when separated by great literal and figurative distances. Through choreography, the performance shapes the space between the performers and spectators, revealing the hidden burdens each carries. By focusing on gestures, the work invites us to reconsider the dynamics of gaze, distance, and closeness as we reflect on what it means to bear witness.
Amparo González Sola’s (1984, Argentina) (she/her) work spans dance, choreography, and participative projects, and is distinctly influenced by feminist activism and her experience of migration. Her earlier works include The conspiracy of forms(2023) and If every rock is a hole (2022), presented at the SPRING Performing Arts Festival, and the participative projectExploring Reciprocity (2019-2023). Starting 2025, she will be associate artist with Dansateliers.
Distances is part of the work While taking shape, which will premiere in May 2025 at SPRING Performing Arts Festival.
Concept: Amparo González Sola
Performers and choreography: Rita Bifulco, Alina Ruiz Folini, Amparo González Sola
Sound design: Nahuel Cano
Production: Dansateliers
Coproduction: SPRING Performing Arts Festival, Dansateliers, Frascati Producties
Supported by: BAU AIR, Greenhouse, Rooms Performance Festival, workspacebrussels (BE), Tanzhaus Zürich (CH), CAMPUS Paulo Cunha e Silva (PT)
Tabor Idema
Backspace
in collaboration with Diane Mahin
Tabor has lived with a 42-degree curvature of the spine since they were fourteen, which resulted from a period of intense tension accumulating in their body. In Backspace, they explore the ways one can endure trauma, as well as digging into the past hoping to heal the present. What happens when space is given to past tensions? What hidden pain surfaces? The body listens and remains open to everything it has carried for so long.
Tabor Idema (1999, Netherlands) (they/them) creates personal, provocative performances in an honest search for openness. Their simple yet sharp visual language adapts to the architecture of the spaces in which they perform. Locations become collaborators with whom they create poetic slapstick.
Sound design: Diane Mahin
Samah Hijawi
The Moon in Your Mouth
As we witness the violent erasure of some of the world’s oldest cultures, Samah asks: beyond human loss, what communities of plants and other beings are also disappearing? What traditions of kinship are being erased, and what stories from the past might still be retold for the future?
Samah Hijawi is a multimedia artist who is currently exploring ancient and contemporary food cosmologies. Drawing on her research in ancient cosmologies and farming practices, she explores what we can learn from the past to shape a future rich with interconnected relationships. Samah invites us to eat olives and embody Saturn in a single bite, following the shifting faces of the Gods above and below.
Production: Kunstenwerkplaats
Partners: Kunstenfestivaldesarts, C-Takt, KAAP, Kaaitheater, Monty and VierNulVier
Supported by De Vlaamse Gemeenschap
Jasmine Karimova &
Johannes Offerhaus
AIR 1 – 135 m3 of sound
AIR 1 is a performative installation piece by Jasmine Karimova and Johannes Offerhaus. In this duo’s debut collaboration, their respective mediums are fused into one. The work investigates the literal finitude of air. Air that is shared and exchanged between the audience, performers, space and the organ. A performance where the audience’s desire to listen, experience, and engage will ultimately lead them to make a conscious, impactful decision…
Jasmine Karimova (1998) is a Tajik-Australian composer and performer based in the Netherlands, pursuing a master’s in composition at the Conservatorium van Amsterdam. As an organist, her work explores the duality of power and fragility, blending voice and instrument. She has opened the International Organ Symposium in Amsterdam for three consecutive years. Karimova performed at venues like Muziekgebouw and Moscow’s Olympic Stadium, and collaborated with ensembles such as the Nederlands Kamerorkest. Recent interdisciplinary projects include the short film FIFU, children’s piece Mia en de Leeuw, and multimedia creation The Whale.
ZELT is a design studio founded by Johannes Offerhaus (1993, Nederland). The studio conceptualizes, designs and builds constructs kinetic textile spaces and structures that unfold into pavilions, tents and architectural form. Their creations encompass intimate spaces within everyday life as well as scenography for performances and film. ZELT has also collaborated extensively in the performing arts, designing sets and costumes for productions such as Papillon (Philharmonie Luxembourg) and dance film La Nostra Terra. Offerhaus began his career in fashion, focusing on kinetic couture pieces before transitioning into larger kinetic installations. His autonomous work earned him the Frans Molenaar Couture Award and a Dutch Design Award.
Press
For press requests, imagery and interview requests, please contact communicatie@marres.org
Partners
Partners Rooms 2025:
Marres, Huis voor Hedendaagse Cultuur
Dansateliers
De Brakke Grond
Via Zuid
FASHIONCLASH
MU
Thanks to:
Ruben Kieftenbelt
Ralf Nevels
Sanne Peper
Nicole Pul
Bas de Weerd
Hout Video
De teams van Marres, Via Zuid, de Brakke Grond, Dansateliers, FASHIONCLASH & MU for all help and cooperation.
Nationaal Muziekinstrumenten Fonds
Gieskes-Strijbis Fonds
Marres receives structural support from the Ministry of Education, Culture and Science, the Province of Limburg and the Municipality of Maastricht.
Alejandro Galván – Vultures & Fireflies
Chronicle of Mexico
At the end of November 2024, the artist Alejandro Galván (Mexico, 1990) will commence a painted chronicle of Mexico from the perspective of one of the largest working class suburbs. 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, and depicting the corruption of the Mexican state and police. His influences are drawn from comic books, television and heavy metal, sources that set him apart from the prevailing, more minimalist and conceptual style in Mexican contemporary art.
Vivid 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 vivid 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
Vultures & Fireflies will be on show from Mar 13 to Aug 31, 2025. To create his monumental exhibition, the artist will already start working in Marres from November onwards. Leading up to the grand opening on March 15, several events will take place where visitors can get a glimpse into the making process. The work will see its completion in June 2025, which will be celebrated with a second opening.
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
Special opening hours and days
The exhibition runs from March 13 to August 31, 2025, but for a sneak preview into the artistic process, Marres will open every Saturday starting in February.
Saturday Sneak Peeks
Witness this unique monumental work in progress by Alejandro Galvan. The first floor of Marres will look different every week. You can donate based on the pay what you can principle.
Dates: 1 Feb – 8 Feb – 15 Feb – 22 Feb – 1 Mar – 8 Mar 2025
Time: 12-5PM
Location: Marres, Maastricht
Friday Night Opening: Valentine’s Special
How to Mend a Broken Heart
On Valentine’s eve, Marres is open for lovers, friends, and (solo) daters! Enjoy a special program where art and science come together and get an extra sneak peek of the exhibition Vultures & Fireflies. In collaboration with HeAart Ma’at, MUMC+, CARIM, and Pulseday.
Date: Friday, 14 February, 2025
Time: 6-9PM
Location: Marres, Maastricht
Entrance is completely free
Festive opening
Please join us for the opening of Vultures & Fireflies.
Date: Saturday 15 March
Time: 5PM
Location: Marres, Maastricht
Entrance is completely free
Storytelling Night
With the storytelling of Alejandro Galván in mind, we invite you to gather around a campfire in Marres’ intimate city garden and share their your story—stories that should not be lost. Fact or fiction, it doesn’t matter, as long as they help connect people through oral history. They may even be told in different languages, celebrating the richness of diverse voices and perspectives.
Date: Tuesday 25 March
Time: 7-21PM
Location: Marres, Maastricht
Entrance is completely free
Starting 13 March, 2025, Marres will be open again during its regular opening hours: Tuesday—Sunday, 12:00—5:00 PM.
Artist talk
On December 13, 2024, an artist talk with Alejandro Galván took place at Marres.
In April 2025, a second artist talk will take place, offered in Spanish and Dutch.
Artist statement
Artist Alejandro Galván talks about his work, Nezahualcóyotl, political neglect and corruption of the Mexican state, and telling unheard stories.
This film contains images of disaster and war situations that may be disturbing to (young) viewers.
Press
Partners / thanks to
Thanks to No Man’s Art Gallery, Amsterdam
Marres receives structural support from the Ministry of Education, Culture and Science, the Province of Limburg and the Municipality of Maastricht.
Currents 11: The Turn of Many Suns
Currents 11: The Turn of Many Suns, the eleventh edition of this group exhibition and the first coproduced by Jester and Marres, presents the work of thirteen artists who have lived and studied for the past years in the Southern Netherlands, Belgium and North Rhine-Westphalia. The works in The Turn of Many Suns choreograph a shifting beyond the school walls and into a collective, albeit unknown, future.
Where do we learn a language when its words, images, and forms do not only carry our stories of survival but also move us to survive? This language is not necessarily found in the rhetoric of education systems but rather in a role model or another student, in family members – both biological and chosen. In a favorite band, in the darkness of nightlife, in a lover’s arms, or in a painting. It emerges from bodies and spaces where expressions of being do not stop at mere gestures but become ways of living. Our languages move us forward.
The artists of this year’s edition of Currents – The Turn of Many Suns bring with them cultural, social, and political relations that question, expand, and at times undo the fabric that defines a region and regional education. The image of many suns places their works in a collective story with many protagonists, marking the moment learning exits the institution and continues as a way of shaping the world.
Featured artists
Nura Afnan-Samandari, Awa Gaye, Cynthia Carballo, Jiyoon Chung, Stefan Kruse, Dorothy in Hell, Kadia Doumbouya, Newt Contrino, Lize Crauwels, Dakota Magdalena Mokhammad, Kiko Reitsma, Javkhlan Ariunbold, and Shoaib Zaheer.
Graphic design: Liv Lismonde
Curators
H M Baker, Nadim Choufi, Michał Grzegorzek, and Lucas Odahara.
Initiated in 2013, Currents is a recurring group exhibition that showcases work by recent graduates from different art academies, brought together by a team of emerging curators. The exhibition is embedded in a broader coaching program for the participants that centers on training, networking, and professionalization.
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: The Turn of Many Suns.
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.
Photo: Ugo Woatzi
Opening of Currents 11
Jester and Marres would like to thank everybody for visiting the festive opening of the 11th edition of Currents.
Date
Saturday, 21 September 2024
Time
5PM
Location
Marres
Capucijnenstraat 98, Maastricht
The entrance for every opening at Marres is free and everybody is welcome. There is no need to buy a ticket or make a reservation.
Time
5PM to 7:30PM
Currents 11 Overview
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Rob van Hoorn
Photo: Gert Jan van Rooij
Artist Presentations
On Friday, 20 September, all participants of Currents 11 gave an artist talk, hosted at the Jan van Eyck Academie.
Location
Jan van Eyck Academie
Academieplein 1
6211 KM Maastricht
Time
5PM to 7:30PM
Artist Presentations photos
For the press
For press requests, imagery and interview requests, please contact communicatie@marres.org
Currents 11 in the press
Partners
Marres receives structural support from the Ministry of Education, Culture and Science, the Province of Limburg, and the Municipality of Maastricht. Jester receives structural support from the Government of Flanders and the Municipality of Genk.
Limburg Biënnale 2024
It is with immense pride that Marres and Odapark present the third edition of the Limburg Biënnale, an exhibition that offers a cross-section of the visual arts in Limburg and its surroundings with 500 works by over 350 artists. The biennale is a true celebration of the arts in Limburg.
Open Call
Following the enormous success of the previous two editions, Marres and Odapark placed an open call for the third Limburg Biënnale in February of this year. 1,400 makers responded; together they submitted more than 3,000 works.
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 of the Limburg Biënnale 2024: Karina Beumer, Eugenie Boon, Katrein Breukers, Anne Büscher, Bonno van Doorn, Pablo Hannon, Jan Hoek, Birthe Leemeijer, Paul Kooiker, Maartje Korstanje, Marijn van Kreij, Anouk Kruithof, Fleur Pierets, Jan Rothuizen, Sanne Vaassen, Wessel Verrijt, Marenne Welten and Han van Wetering
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.
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.
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.
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) makes drawings, collages and mobiles which he brings together in carefully composed exhibitions. In his work he combines art-historical references with illustrations from children’s books, food packaging or found lines of 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 2024, his solo exhibition How to Look at a Spiral, will be on view at De Pont, Tilburg. Marijn van Kreij teaches at the Gerrit Rietveld Academy and collaborates with other artists in the field of art, theatre and music 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 at various museums 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.
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 October 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.
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.
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 art forms.
Photo: © Fotomeulenhof
Marenne Welten is missing from the photograph
Participants Limburg Biënnale 2024
Corine Aalvanger, Ad van Aart, Agil Abdullayev, Eliot Allsop, Mario Sergio Alvarez Gonzalez, Dani Andres Ordoñez Muñoz & Lieve van den Bijgaart, Eric Arnal, Sarah Atzori De Bruin, Rob van Avesaath, Rachel Bacon, Stanislav Bagdia, Daria Baiocchi, Enny Beerden, Elise Berenstein, Mariëlle van den Bergh, Liesje van den Berk, Maya Berkhof, Ireen Bessems, Karina Beumer, Alex Bex, Adam Bialek, Rachel de Bie, Paula Biesmans & Klaas Kloosterhuis, Else Bijnens, Sjors Bindels, Florentijn de Boer, Annemie Bogaerts, Adriana Bogdanova, Noor Boiten, Eugenie Boon, Jaimary Boon, Boosten, Sabine Borgerhoff, Katia Borghesi, Melanie Bosboom, Geertje Brandenburg, Brénine Brénine, Katrein Breukers, Petra ten Brinke, Monique Broekman, Freija Broeren, Renée Bus, Anne Büscher, Jacqueline Caris, Omar Castillo Alfaro, Senna Castro, Bertrand Cavalier, Chantal CHALEM, Pao Chutijirawong, Rien Claessen, Jop Claessens, Livia Claesson, Ines Claus, COLETTE CLEEREN, Deniece Sami Juliana Clermonts, Adrienne Coenegracht, Monique Coppieters, Lennart Creutzburg, Amber Croonen, Yuxuan Cui, Nousjka Daniëls, Boris Deben, Tine Deboelpaep, Benjamin Deffner, Bram Dehouck, Nele Demeulemeester, Timo Demollin, Anne Devue, Caroline Diemel, Caroline Diepstraten, Mike Dings, Ridho Maulana Dirgantara, Nico Djavanshir, Erin C. Doherty, Bonno van Doorn, Dovski, Sindy Driessen, Jeroen Duijf, Femmie Duiven, duo Wonder, Veerle van Esser, Larissa Esvelt, Jeroen Evertz, Jordan Faber, Maxime Fauconnier, Diana Fedoriaka, Jean-Luc Feixa, Paul Fenner, Sterre Fermin, Maartje Folkeringa, Pui Yan Fong, Jan Franssen, Janina Frye, Arianne van der Gaag, Raquel Gandra, Yannick Ganseman, Barbara Gasparini di Gaetano, Truus Gelissen, Joost van Gennip, Loet Gescher, Johannes Gierlinger, Elena Giolo, Goldiie, Sebastián González de Gortari, Safae Gounane, Timo van Grinsven, Sarah Rose Guitian Nederlof, Carlos Guzman, Annemiek de Haan, Harrie Habets, Henk Haest, Sophie Hana, Pablo Hannon, Jacqueline Hanssen, Lotte Hauben, Atelier Haven, Katarina Head, Charmaine de Heij, Esther van der Heijden, Trees Heil, Johan Helder, Frank Helsloot, Marly Hendricks, Justine Hendrikx, Michel van Henten, Gaspard Emma Hers, Paul Heusinkveld, Diewke van den Heuvel, Kaan Hicyilmaz, Jan Hoek, Paulina Hoffmann, Lotte Holterman, Arielle Holtz, Mara Hop, Iris Houkes, Clara van den Hout, Niekie Houwen, Shanna Huijbregts, Audrey Huis, Teresa Hunyadi, Tycho Hupperets, Silvana Hurtado Dianderas, Angelo Iaia, Otto Iriks, Toon Jans, Petra C.T. de Jong, Conny Jongmans, Tamara Jungnickel, Hyungee Kang, Nikolay Karabinovych, Thalia Karpouzi, Corina Karstenberg, Wianda Keizer, Jaane Kentrop, Koen Kievits, Roona YJ Kim, Judith Maria Kleintjes, Maria Kley, Jenetta de Konink, Jelmer Konjo, Ina Kooper, Maartje Korstanje, Paula M Kowalski, Marijn van Kreij, Mirjam Kruisselbrink, Anouk Kruithof, Jelle van Kuilenburg, Polly Kunst, Zwaantje Kurpershoek, Mathias Kuypers, Henriëtte van der Laan, Mirte van Laarhoven,
Marjolein Labeeû, Ilse Lambrichts, Roderick Laperdrix & Caz Egelie & Jesse Strikwerda, Henny Laumen, Camie Laure, Chantal Le Doux, Birthe Leemeijer, Flora Lemmens, Marian Lesage, Didianne Leusink, Lichtelijk Creatief Design, Sarah Linde, Louis van der Linden, Aagje Linssen, Zhiyi Liu, Don Londi, Willy Looyen, Luciana Lopez Schütz, Los DQ, Chiel Lubbers, Wietske Lycklama à Nijeholt, erik van maarschalkerwaard, Roland Maas, MABA, Sandra Mackus, Linda Maissan, Aleksejs Mališevs, Keetje Mans, Eline Martin, Nacho Martín Encinas, Jochem Mestriner, Renieke Meyfroot, Jelle Annie Michiels, Hilde van Mileghem, Eline Mollema, Mike Moonen, Pleun Moons, Wim Moorman, Valantina Moraitaki, Yvonne Mostard, Indigo Musa, Nausikaä, Ava Nebulas, Anneke Nene, Remy Neumann, Darcy Neven, Joni van Niekerken, Femke Nijs, Kyra Nijskens, Elowyn Nikolov, NOMER, Anna Nunes, Oana Clitan, Ilse Oosterkamp, jo Op de Beeck, Melanie Ouwehand, Monica Overdijk, Anna-Bella Papp, Charles Park, Jean-Philippe Paumier, Madeleine Elisabeth Peccoux, Nikki Pelaez, Fleur Pierets, Lore Pilzecker, Ger Pirson, Nele Plessers, Engel Pluck, Urša Prek, Lilian Ptacek, Paula Punkstina, Fengdan Qin, Aran ra’dparsa, Roos Rademaker, Han Rameckers, Bastiaan Reijnen, Kim Rekkers, René Reynders, Niko Riedinger, Carlette Rijcken, Anja van Rijen, Maartje van Ringen, Roos Roberts, Rein Rodemeier, Hannes van Roosmalen, Jan Rothuizen, Amber Roucourt, Timia Rugenbrink, Ruimtevaarder, Atieh Salari, Geoff Salmon, Ria Sandbrink, Inderjeet Sandhu, Junya Sato, Carmen Schabracq, Stefanie Schaut, Andreas Schlesinger, Julie van de Schoor, Teun Schouren, Henk Schut, Ies Schute, Maarten Schuurman, Ehecatl Sevilla, Milo Sharafeddine, Gina Siliquini, Ruud Simons, Agata Siwek, Ian Skirvin, Bregje Sliepenbeek, Lisanne Sloots, Krista Smulders & Michiel Ubels, Paweł Sobczak, Joran van Soest, Olena Solodiannykova, Tonni van Sommeren, Ana Sous, Francisco Speicher, Saskia Spitz, Yip Stals, Hanna Steenbergen-Cockerton, Mai Stevens, Jelle Stiphout, Lonneke Stomphorst, Karlijn Surminski, Flore Tanghe, Frans van Tartwijk, Nele Tas, Fienke Teeken, André Terlingen, Sophie Teunissen, sjoerd tim, Jan Timmers, Su Tomesen, Sam Tromp, Katya Tsareva, Rexy Tseng, Ferren Uerlings, Ellen Urselmann, Sanne Vaassen, Niels Vaes, Joris Vaessen, Celine Vahsen, Filiz Van der Velpen, van Win, Inge van der Ven, Fee Veraghtert, Ans Verdijk, Marie Verdurmen, Louisa Vergozisi, Sep Verhoeven, Elisa Verkoelen, Wessel Verrijt, Katrijn Verstegen, Bram Verstraeten, Aline Verstraten, Martijn Verzijl, Dina Vos, Iris de Vries, Karin Vyncke, Jacqueline Wagemans, Rosalie Wammes, Jeroen de Wandel, Yuqi Wang, Shirley Welten, Marenne Welten, Esra Westerburgen, Han van Wetering, Heleen Wiemer, Esmée Willemsen, Katja Windau, Ruben Wit, Niek Wittebrood, Vincent Wolff, Kamila Wolszczak, WONNE, Sigrid van Woudenberg, Pippilotta Yerna, Yinzk, Yuliya Zadorozhnyuk, Jun Zhang, Zhao Zhou, Noa Zuidervaart
25 August:
finissage and party!
During the finissage of the Limburg Biënnale on Sunday, August 25, we not only celebrated this popular group exhibition, but also the kick-off of a series of festivities marking Marres’ 25th anniversary.
With free admission, cake, bubbles and pizza by Marres Kitchen.
Open from 12PM – 5PM.
At 12:30PM we toasted together to the past and the future, followed by guided tours in which artists of the Limburg Biënnale explained their work.
From the finissage onwards, Marres will organize a special anniversary event on the 25thof each month until the summer of 2025. Keep an eye on our website and socials!
For Limburg Biënnale 2024 participants
Collection days
Collection days of the Limburg Biënnale will take place on August 30 and 31 between 11AM-4PM at Marres and on September 6 and 7 between 11AM-4PM at Odapark.
Submission days
Limburg Biënnale 2024
The submission days took place May 31 and June 1 at Odapark and June 7 & 8 at Marres.
Limburg Biënnale 2024
Opening Odapark
The grand opening of the Limburg Biënnale took place on June 29 at both Odapark and Marres.
Limburg Biënnale 2024
Opening Marres
Limburg Biënnale 2024
Overview Marres
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Photo: Gert Jan van Rooij
Limburg Biënnale 2024
Overview Odapark
Photo: Moniek op Den Camp
Photo: Moniek op Den Camp
Photo: Moniek op Den Camp
Photo: Moniek op Den Camp
Limburg Biënnale 2024
Finissage & Marres 25 years
Press about the
Limburg Biënnale 2024
For the press
For press requests, visual materials and interviews, please contact communicatie@marres.org.
Partners / thanks to
‘I’ Stick-sculptures of Martin Brandsma
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.
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.
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.
Exhibition overview
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.
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.
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
For the press
For press requests, visual materials and interviews, please contact communicatie@marres.org.
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
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
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
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.
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.
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
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.
Festival overview
Photo: © Sanne Peper
Photo: © Sanne Peper
Photo: © Sanne Peper
Press
For press requests, visual materials and interviews, please contact Julie Cordewener: julie.cordewener@marres.org.
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.
Overview
Photo: © Sanne Peper
Photo: © Sanne Peper
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.
Katja Mater: What We See & What We Know
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.
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).
Exhibition Overview
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.
Press about Katja Mater
Press
For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.
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.
Exhibition Overview
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.
Press about Winter Anti Depression Show
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
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.
Exhibition Overview
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
Press
For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.
Undertones
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.
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.
Exhibition Overview
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.
Press about Undertones
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
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.
Exhibition Overview
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.
Photo: Gert Jan van Rooij
Press about The Unwritten
Press
For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.
Adam, Eve & the Devil
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.
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).
Exhibition Overview
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.
Press about Adam, Eve & the Devil
Press
For press requests, imagery and interview requests, please contact Julie Cordewener: julie.cordewener@marres.org.
Thanks to
Intimacy / Chambres d’Amis
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.
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.
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
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
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.
Exhibition Overview
