IMAG-E-NATION the political & philosophical arts initiative blog


(re)imagining the political and philosophical in the 21st century


The Political & Philosophical Arts Initiative is interested in the ways in which people interact with and compose political and philosophical ideas and actions through the various, diverse media of technology and the arts. Participants in PAI seek to explore the ways in which poetry, literature, music, photography, performance and other creative arts interleave with the political and philosophical life, either as vehicles for criticism, elaboration, theorization, intervention or activism.
The Imag-e-nation blog is a forum for interested parties to share stories, images or other contributions. Contributors range from students and faculty to artists and musicians to professional and casual commentators. Pieces can be short opinions, re-postings of appropriate materials, or original compositions. In addition, the PAI at LUC will make a selection of relevant or provocative news items each week for (re)publication here.

Inquiries:
imagenation[at]politicalarts.org




This is all I know

Dit is alles wat ik weet, Annabel Kanaar's first solo exhibition since she graduated with an MA in Artistic Research from the Royal Academy of Art in The Hague last summer, opened on 8 January 2015 in De Nieuwe Regentes.  DNR's tearoom is perhaps an atypical space for an art show, but its cosy atmosphere reflects the artist's familiarity with the building (she grew up around this corner of The Hague, with fond memories of dancing on the DNR stage as a child) as much as it resonates with the familiar yet distant, heavy yet elusive theme of the exhibition: death.


Embracing the tearoom's vast panel of blackboard as her canvas, the artist shares her meditations on death, life, and the body--as corpus, as corpse, as still life, as dead weight--in chalk and pencil, either in neat, cursive strings of Dutch moving horizontally or as sensitive and delicate drawings protected and fixed by frames suspended vertically.  This subtle arrangement of written words and figurative sketches creates a serene landscape where figure and ground are ambiguous, thus allowing the viewer's personal narratives and ideas to take shape and shift form in the silent seams between the verbal and the pictorial.  


The artist's first series of drawings continues to circle around the brick walls of the tearoom, in quiet feats of balance and rest, breathing in solitude.  In stillness, there is life yet.

For contrast, the theme of death becomes animated through a set of three videos screened consecutively in the atrium.  The culturally specific and individually idiosyncratic ways in which we relate to death--ranging from rites to respect to responsibility to remembrance--teeter between solemnity and humour in these short films, calling into question the various values we attach to life, be they mobility, loyalty, or intimacy.  Beyond the atrium and the tearoom, one more video awaits in Het Diepe, once the deep end of a swimming pool before the building was converted into a theatre.  Shot in the location where it is screened, Floortje in Jezusbewening simply overflows with wit and allusions, including overtones of gender politics echoing off the original tiled pool floor, all composed with the artist's signature touch of tenderness. 


Learn more about the artistic explorations of Annabel Kanaar and don't miss her current visual contemplation on the limits to knowing and the meaning of being, on view during the opening hours of De Nieuwe Regentes until 1 March 2015.

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