–

Solo 4

VOEBE DE GRUYTER

On Sunday 3 May, the fourth solo exhibition will open at Club Solo. In this exhibition, Voebe de Gruyter (1960, The Hague) will show earlier work, such Chewing Gum and Its Stubborn Persistance(1994), along with more recent work. At 3.30 PM during the opening on 3 May and on 17 May, Voebe will take visitors on a tour through exhibition, giving live explanations of aspects of the exhibited works on her path.

De Gruyter’s work can be described as narrative conceptual art. She uses drawing as a central technique, around which almost any material is used to make up the image. She has a fairly direct way of expressing her thoughts, ideas and observations on paper. For instance, in Kauwgomtekeningen (1994) she investigated her suspicion that information can penetrate small particles – that the sentences spoken by people who are chewing gum are transferred to that gum.

De Gruyter’s works are constantly moving; they are omnipresent and in an endless state of being.

Her new work exhibited at Club Solo is exemplary. The first draft was created three years ago, during the violin event of the Queen Elizabeth competition of 2012, when she noticed the position of the water bottles of the jury members. The jury members were seated on a dais in the back of the hall. In front of each jury member, there was an occasional table, and on each table there was a bottle of water. The bottles formed a total image of a single line, with the line of eleven jury members behind it; in front of the bottles, over the heads of the people in the audience, the solo musicians played. In De Gruyter’s observation, the music that was played coursed straight through the water to the heads of the jury members, and the water influenced the verdict of the competitio

VAN ABBEMUSEUM

Gulsun

Karamustafa

In response to Voebe de Gruyter’s work, Van Abbemuseum will display the video work Stairway(2001) by Turkish artist Gülsün Karamustafa (1946, Ankara). The work shows Romani children making music at the bottom of a striking stairway in Istanbul. The playful visual echoes of the shapes in the film, such as those between the stairs and the children’s instruments, shows a similar artistic sensitivity that characterises Voebe de Gruyter’s work.

PublicatiON

format A4 - 32 pages - full FC
photography Jan Adriaans
text Maria Barnas
text contribution about Gulsun Karamustafa by Steven ten Thije (curator Van Abbemuseum, Eindhoven)
translation Lenne Priem
design Berry van Gerwen

€ 10,-

For sale at Club Solo or to order online. Mail us for more information or to order a publication: shop@clubsolo.nl. 

 

VOEBE DE GRUYTER

 Downloaden

Multiple

The studio Visit, text, prepared cardboard, electrically conductive carbon-based paint, magnetic grounding plate, grounding wire, grounding plug, rubber base plate, 2015

Trailer

On Sunday 3 May, the fourth solo exhibition will open at Club Solo. In this exhibition, Voebe de Gruyter (1960, The Hague) will show earlier work, such Chewing Gum and Its Stubborn Persistance(1994), along with more recent work. At 3.30 PM during the opening on 3 May and on 17 May, Voebe will take visitors on a tour through exhibition, giving live explanations of aspects of the exhibited works on her path.

De Gruyter’s work can be described as narrative conceptual art. She uses drawing as a central technique, around which almost any material is used to make up the image. She has a fairly direct way of expressing her thoughts, ideas and observations on paper. For instance, in Kauwgomtekeningen (1994) she investigated her suspicion that information can penetrate small particles – that the sentences spoken by people who are chewing gum are transferred to that gum.

De Gruyter’s works are constantly moving; they are omnipresent and in an endless state of being.

Her new work exhibited at Club Solo is exemplary. The first draft was created three years ago, during the violin event of the Queen Elizabeth competition of 2012, when she noticed the position of the water bottles of the jury members. The jury members were seated on a dais in the back of the hall. In front of each jury member, there was an occasional table, and on each table there was a bottle of water. The bottles formed a total image of a single line, with the line of eleven jury members behind it; in front of the bottles, over the heads of the people in the audience, the solo musicians played. In De Gruyter’s observation, the music that was played coursed straight through the water to the heads of the jury members, and the water influenced the verdict of the competitio
Embed HTML not available.