
Wim Bosch, Corridor-Point, 2005,
124 x 94 cm,Ciglee print on aluminium, ed.of 5
Serge Game,
Le Chateau, 2005, 160 x 130 cm, mixed media on canvas

Anastasia Khoroshilova, C-print 80 x 96 cm
Beat Streuli, Los Angeles 03, 68_45,
150 x 200cm, edition of 3

Hanneke van Velzen, Car & Country, 2005, lambdaprint,90 x 180 cm, edition of 7
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At the 11th ART FORUM BERLIN
MKgalerie.nl
presents:
Human-Places-Organic
participating artists:
Wim Bosch (NL)
Gerge Game (NL)
Anastasia Khoroshilova (R)
Beat Streuli (CH)
Hanneke van Velzen (NL)
Wim Bosch
The painter Wim Bosch has been using the computer to compose his works since 2000. In his recent prints, interiors are mixed with fragments of the exterior reflected on the surface of the window.
It is striking that, with the introduction of modern media in his personal work, the artist has become increasingly exuberant in his visual idiom. Whereas his early paintings seemed like a highly studied ‘undressing’ of the spaces – no less enigmatic, all the same – in his current work Bosch flamboyantly ‘dresses up’ the spaces. Layer by layer he builds up his glimpses into interiors and his vistas through and across them using found material as well as photographs he has shot himself: he develops a decorative pattern into a wallpaper, he magnifies and transforms a fragment of net curtain into a curtain bordering on heavy and opaque, and cupboards, doors, lamps, plants and light switches find a position within this setting.
Serge Game
The exploitation of the specific properties of the materials used, play an important role in the work of Serge Game. By not imposing the paint into a certain shape from the beginning, abstract paintings come into existence. During this process he uses the disparity between oil and acrylic, lacquer and resin. By means of (steered) coincidence, the forms get their final shape. Figuration and abstraction alternate. The many layers, shadows and the relationship between fore- and background play an important role. During the whole process, the artist does not loose the sight for the tactile of the used materials.
Anastasia Khoroshilova (b. 1978, Moscow)
Anastasia Khoroshilova belongs to the new generation of artists from ‘post-diaspora’ Russia. Educated and living abroad, they see themselves as part of the international scene but not as emigrants. They use their work to construct their own Russian identity.
Anastasia Khoroshilova went at boarding school in Germany in 1993. After spending some time in London and in Moscow, she returned back to Germany to attend the art academy in Essen. Her first series of photographs were about living at the boarding school, subjects she experienced from the times she moved around from one place to another.
Her recent series were shot in Russia, photographing daily life in isolated surroundings: a village, a military town, an orphanage, a dance academy and a school for sports. They are al enclosed areas or spaces, not accessible for the accidental visitor.
Art for Anastasia is a form of self-analysis, taking stock of her own personal experience of society.
Beat Streuli
‘Los Angeles’
It was here that Beat Streuli, being a 'cultural tourist', found three interesting locations to work at:
Venice Beach, Sunset Boulevard and Downtown LA. Spots with a concentration of people and energy.
In Venice Beach he followed people with a video camera, filming them and composing these different portraits of individuals and small groups of people into two video projections. One of these video works will be shown at the gallery.
On Sunset Boulevard, with natural but very cinematic light, he photographed locals and tourists, waiting for buses or just going from one place to another. These urban scenes blend real life with Hollywood.
In Downtown LA, Streuli photographed - with a medium format camera - a broadly mixed ethnic group of people, mostly Latino, emerging from a dark background into the light.
Hanneke van Velzen
‘Entropy’
Many different worlds and patterns exist next to each other, diverse and independent, relating and communicating, in discord and in harmony, but often chaos prevails; in any case constantly evolving. Together they make up a community and in a larger context a system or a society. In her work Hanneke van Velzen juxtaposes these patterns and worlds conceptually and intuitively in photographic series, whereby one image stands on its own, yet when placed in a series, a pattern or a system emerges. Through this juxtaposition of series links are created, which aren’t commonly noticed.
By showing these under-recognized relationships between people and their worlds, the artist makes a visual and sometimes a social statement.
The photos were all taken in the South East of the USA, in the area known as Appalachia, which reaches from Georigia to Virginia. It is not very far from Washington, but the worlds could not differ more. It shows the USA as a land of extremes illustrating abovementioned correlation. This gives people ideas which one could call both creative and destructive.
It generates excessive wealth, whereby poverty and ignorance are kept alive, which creates social deprivation and environmental damage. In the final analysis, this influences world politics by the voting behavior of the people, due to the powerful influence of the USA on the rest of the world.
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