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Art Rotterdam : The Galleries 3 : Ramakers, No Man’s Land, Ron Mandos, Roof-A, Spazio Nuovo, Zahorian Van Espen


Galerie Ramakers Den Haag – Julie Cockburn & Ossip

Galerie Ramakers announces it will show a brand new series of Julie Cockburn in Art Rotterdam. And a fascinating series of assemblages with photography of Dutch artist Ossip will be displayed as well.

Julie Cockburn 1966 (images 1)

“Working with old photographs is similar to engaging in a dialogue. I am not working on a blank canvas. Rather, I am entering into a pre-existing conversation that took place between the photographer and sitter, and where I experiment with a personal visual language.”

Julie Cockburn (UK) is renowned for re-imagining and re-configuring found objects and vintage photographs into meticulously constructed and unique contemporary artworks. Having trained as a sculptor at London’s Central Saint Martins, Cockburn approaches each work as if working with a three-dimensional form. Her photographic process involves exploring and reacting to nuances such as colour, pose, composition or texture in found archetypal images and transforming them through embroidery, collage and painterly techniques. Rendering the original almost unrecognizable she opens up the work to new possibilities of narrative and interpretation. She has exhibited extensively in the UK, Europe and the United States and her work resides in a number of public collections, including the Yale Center for British Art (USA) and the Wellcome Collection (London, UK).

Ossip (1952) (images 2)

Another artist presented at Rotterdam is self-taught artist Ossip.

Anyone entering the studio of Hague artist Ossip (born in The Hague) imagines himself in the world of an explorer, where exotic, ethnographic finds and strange collections can be found. It is also reminiscent of a study of Sigmund Freud, the founder of psychoanalysis. Hundreds of images, from very large to very small, stand on tables, hang on walls and fill the hallway and surrounding rooms. The works are all composed of photographic portraits from the time of our grandparents and great-grandparents. Ossip takes them from old, forgotten magazines and books, among other things. The persons in these photographs can no longer be identified, they are forgotten, timeless and indefinite.

Often a portrait or an image from a painting is the starting point of his three-dimensional work. He blows them up and isolates them. He then manipulates the pictures ingeniously. Wires stick out, they gain depth with different levels or he combines them with everyday objects, such as a perfume bottle, teacup or lamp. Many artworks have a moving element. The titles he gives the works raise questions. The colours are sober: beige, lots of black, an occasional yellow. Crisscrossed on his work table are a hammer, lamp, drill, brushes and piles of books.

Ossip lives and works in The Hague and France.

Galerie Ramakers
2513 CL Den Haag
+31(0)70 363 43 08


No Man’s Art Gallery Amsterdam – Jamal Nxedlana 1985 (Images 3)

Jamal Nxedlana is an artist and cultural worker. His practice explores how the Black figure is materially and symbolically embodied and embraced; and themes related to subcultures, consumerism, and racialized and gendered identity expressions in postcolonial contexts.

Specifically, he is concerned with fashion as a domain of intellectual and cultural inquiry, explored through individual and collective cultural identities in the Johannesburg metropolis as they intersect with geopolitical practices, technologies and infrastructural logistics. He has exhibited internationally in galleries, institutions, and independent spaces. Recent exhibitions include SPECTRUM (2023), his second solo exhibition at No Man’s Art Gallery in Amsterdam; Orlando (2022) curated by Tilda Swinton at the Fotomuseum Winterthur, Switzerland; and The New Black Vanguard (2019) curated by Antwaun Sargent at Aperture Gallery in New York. As a cultural worker, Nxedlana has founded numerous influential independent organisations in Johannesburg where he was based for the last 14 years. Key among these is Bubblegum Club, a digital platform and culture agency showcasing innovative new work and creating opportunities for emerging cultural workers. He is also a founding member of CUSS Group, a Johannesburg-based collective that has been exploring the hybrid culture of post-colonial South Africa since 2011. CUSS has shown in major institutions including Kunsthall Trondheim Norway (2023), Moderna Museet Stockholm (2019); de Young Museum (2017) and Berlin Biennale (2016).

No Man’s Art Gallery
1055 EC Amsterdam
+31 (0)6 3755 0132


Ron Mandos Amsterdam – Kwadwo Amfo, Vincent Zanni, Anton Shebetko & Thom Van Rijckevorsel

Kwadwo Amfo 1990 (images 4)

Kwadwo Amfo, born in Ghana and currently based in Amsterdam, discovered his passion for art early in life. He explored diverse mediums such as textiles, graphic design, and photography. Enrolled in the Visual Arts department during secondary school, Amfo’s elective courses in Textiles, Graphic Design, General Knowledge in Art, and English Literature paved the way for his artistic journey.

At the Royal Academy of Art in The Hague, Amfo delved into the world of photography. This medium became a profound medium through which he expressed his artistic vision. Throughout his creative evolution, social commentary has remained at the heart of Amfo’s work. He addresses nuanced topics such as societal beauty standards, identity politics, social inclusion, conformity, and the intricacies of the self and the other, all through the lens of his camera.

Amfo’s artistic narrative extends to powerful representations of misrepresentations, stereotypes, and the struggles faced by people of color. Notably, his deliberate focus on depicting black characters and individuals of African heritage underscores his commitment to challenging inadequate and troubling portrayals in contemporary media and history. Photography, for Amfo, becomes more than a medium; it is a tool for truth-seeking and a microcosm reflecting how societal constructs shape universal value systems. In the captivating frames captured by Kwadwo Amfo, the art of photography not only documents his personal journey but also serves as a compelling commentary on the broader canvas of societal issues.

Vincent Zanni 1995 images 5)

Vincent Zanni, a visual artist from Geneva, Switzerland. In his work he delves deeply into the transformative power of photography, employing a meticulous and analog methodology. His artistic journey unfolds through a fusion of labor-intensive processes and traditional and contemporary techniques, such as cyanotypes and wetplate, showcasing an unwavering commitment to the intrinsic value of the photographic process.

In his recent projects, ‘La Maison’ and ‘Sights of Unary,’ Zanni places a spotlight on the paramount significance of family archives and memories within the contemporary context. Through a nuanced exploration of the interplay between imagery and societal impact, he immerses himself in his own family archives, challenging conventional notions of permanence in photography and embracing its fluid, evolving nature.

Zanni’s work prompts contemplation on the topic of memory, loss, and familial heritage, pushing the boundaries of conventional photographic practices. His experimental forays in the darkroom and his profound exploration of family archives contribute to an ongoing dialogue on the transformative potential of photography in our modern society. By accentuating the materiality and transience of the photograph, Zanni aspires to unravel the intricate relationship between images, memories, and the ever-evolving fabric of our lives, inviting viewers to delve into the captivating world of his photographic exploration.

Anton Shebetko 1990 (images 6)

Anton Shebetko, a Ukrainian artist, photographer, curator, and writer currently based in Amsterdam, utilizes the powerful medium of photography to navigate a diverse array of subjects. Holding a Bachelor of Arts degree from Gerrit Rietveld Academie, Shebetko’s lens is focused on addressing critical issues within the LGBTQ+ community in Ukraine. His artistic exploration extends to themes of memory, loss of identity, the multiplicity of history, and the pivotal role that photography and archival materials play in unraveling these complex narratives.

Shebetko’s mastery of the photographic medium extends beyond exhibitions; he has shared his insights through talks and lectures at esteemed institutions such as Maastricht University, Gerrit Rietveld Academie, and Between Bridges Gallery. His impactful use of photography not only captures the essence of LGBTQ+ experiences but also elevates him as a thought leader in the realm of art and photography. Recognized for his exceptional contributions, Shebetko has received accolades, including the RM Residency Award and the Where Love Is Illegal Fellowship, solidifying his position as a visionary artist shaping the narrative through the lens of his camera.

Notably, Shebetko’s commitment to unveiling the forgotten queer history of Ukraine is prominently featured in his recent book, “A Very Brief and Subjective Queer History of Ukraine.” His photographic journey has left an indelible mark on prestigious venues globally, including exhibitions at the FOAM Museum and Stedelijk Museum in Amsterdam, Netherlands; Frei_raum Q21 Exhibition Space in Vienna, Austria; Photo Elysée in Lausanne, Switzerland; CENTQUATRE-PARIS in Paris, France; BWA Studio in Wroclaw, Poland; Württembergischer Kunstverein in Stuttgart, Germany; and Mystetskyi Arsenal in Kyiv, Ukraine.

Thom van Rijckevorsel 1977 (image 7)

Thom van Rijckevorsel, a Dutch artist currently residing in Amsterdam, engages in the creation of images under construction; a dynamic process on the journey to becoming a fully realized form. His multidisciplinary approach encompasses video, sculpture, drawing, and installations, with a keen focus on scrutinizing the relationship between the image and material reality.

Van Rijckevorsel video pieces capture recognizable actions, such as kneading clay, bending rubber, or smearing paint over hands, offering demonstrations of manipulation that are easy to grasp yet leave room for interpretation. Intriguingly, he navigates the space where the physical and easily manipulable digital realms intersect.

Having earned his BFA from the Gerrit Rietveld Academie in 2019, Van Rijckevorsel’s work has found a place in prominent exhibitions at Museum JAN, Cobra Museum, Art Rotterdam, Nieuw Dakota, Voorlinden, and Ron Mandos, among others. His contributions extend to various collections, including the AkzoNobel Art Foundation, Collectie Voorlinden, Gemeente Collectie Amstelveen, NN Group Art Collection, and more. Thom van Rijckevorsel’s artistic journey unfolds as a dynamic exploration of the evolving relationship between form, materiality, and the digital realm, making a distinctive mark within the contemporary art landscape.

Ron Mandos
1016 HJ Amsterdam
+31 20 3207036


Roof-A Rotterdam – Marjan Teeuwen 1953   Destroyed House Brutus/ Verwoest Huis Brutus. (Images 8)

ROOF-A presents the solo exhibition ‘Destroyed House’ featuring the sculptures of discarded buildings by Marjan Teeuwen. Photographs of ten large-scale and imposing installations made all over the world show raw yet meticulously designed architectural compositions. Teeuwen has worked in Rotterdam-Zuid and Amsterdam-Noord, but also in politically sensitive areas over the border, from Siberia to Gaza.

After months of construction the semi-permanent architectural installation ‘Destroyed House Brutus’ will be open during Art Rotterdam Week at Brutus, Keileweg 10-18, Rotterdam. Marjan Teeuwen has overcome all obstacles in realizing her 11th architectural installation in an ‘untouched,’ once bricked-up space, almost entirely cut off from the outside world and devoid of natural light. A brutalist installation that reveals both our destructive and constructive side; the two human opposites that cannot be overcome.

“The series Destroyed House. Teeuwen’s life’s work is a diabolical balancing act with an open ending. as the cycle of demolition and construction itself knows no end. Still, the photos that Teeuwen creates of it escape the tipping point.” Quote Wilma Sütö.

In parallel with the exhibition Teeuwen’s 11th architectural installation Verwoest Huis Brutus is now on view at Brutus.

3016 BM Rotterdam
The Netherlands
+31 (0)10 – 200 45 80


Spazio Nuovo – Rome – Italy – Giuseppe Lo Schiavo 1986 (Images 9)

In recent times we are witnessing a hybridization between reality and virtuality. Art transforms reality, subverts it and offers it to us as an instrument of critical reinvention of modern times.
The development of new technologies and the digital ecosystem has expanded our ability to explore reality by replicating it or generating completely new realities.

There is now a hybridization between reality and virtuality; This does not diminish the value of the physical world but rather opens it up to new perspectives.

Art has the ability to transform and subvert reality, presenting it as a critical reinvention tool of modern times. For Giuseppe Lo Schiavo, reality is not a fixed concept but rather a fluid and fragile phenomenon which is experienced subjectively, influenced by both cultural and biological components.

The works in this collection are presented as photographs of the virtual space, exploring the possibilities of creating the illusion of a window (both metaphorical and literal) onto a new reality. Specifically, these photorealistic 3D works are created with cutting-edge software designed to simulate reality and created with an anamorphic perspective that enhances their immersive nature. In some cases the artist uses neurological devices to monitor his brain waves and using the data to direct some creative choices.

Spazio Nuovo
00186, Roma – Italia
Via d’Ascanio, 20
[email protected]
+39 06 89572855


Zahorian & Van Espen Bratislava – Prague – Lucia Stráňaiová 1987 (Images 10)

Lucia Stráňaiová’s photographs demand attention. A long and concentrated gazing, where an eventual image surfaces from individual recognisable fragments. That remains always, as it were, intuited, without clear contours. Identification demands time and patience. Also inclining us to slow down is Lucia’s interest in contemplation, i.e. marking a space for observation.

With a concentrated gaze, ultimately we discern a landscape and its attributes. A snowfield on a rock wall, the shadow of a stony cliff, a spyhole into a cave. The theme, despite its deliberate obscuration (or more precisely hyper-clarification, excessive illumination of the image), is important. The author waits for the appropriate light, lets herself be dazzled, and the camera lens captures a clear shining. The photograph, presented in monochromatic colour, records a place; it is the bringing to presence of a moment that one had to wait for. It is an image for which one had to go wandering, and a proof of a luminous situation that will never again recur. Precisely this interest in what is fleeting, while recording apparently changeless landscape sections (mountain walls, forest, cave etc.) is a defamiliarisation of our mode of gazing. It is a prolongation of concentration to the extent where we begin to become aware of our own presence before the image. The object of observation returns us to the subjective experiencing of our own corporality.

When considering the landscape, the dimension of the picture also has its importance. The format of the photograph evokes an open window, through which we are looking at a landscape, and in viewing we become aware of its material aspect also. Sight slides over the surface, till at last the eye finds an identifying sign that can extract a definable form or phenomenon from the abstract structure.

Precisely composed landscapes appear in the photographic images. They confront us with time, testing our patience for recognition of what we see. The landscape emerges on a plane of permanence, durability, as opposed to human transience. Its formation is a matter of inconceivable time, and its contemporary form is the result of diverse transformations. As the Slovak poet Ivan Laučík wrote: “Important in caves is the water that has flowed through them”. In Lucia’s photographs there are slices of landscape which essentially are what formed them. This result of a long-term “creation” is disturbed by an irruption of light, the photographic medium par excellence. The light does not reveal, but on the contrary, it dazzles, and thus the primary theme of the works becomes the one who is identifying: the subject. Human beings, that is to say, are equally the result of their formative processes and events. They are shaped by the thoughts and actions that have flowed through them.

* Ivan Laučík: Memories of Michal Kern’s Caves. In: Trblet v oku (Glittering Eye). Bratislava: Fragment 2015, p. 96

Text written by: Ján Kráľovič, SK

Zahorian & Van Espen
Bratislava Prague
+ 421 907 951 669


John Devos
Correspondent L’Œil de la Photographie/The Eye of Photography


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