'State of Extremes', Design Museum, Holon (IL)
11 December 2019 – 9 May 2020
We live in a state of extremes. Extreme weather, as a result of climate change, is both scorching and inundating the planet with record temperatures, unprecedented wildfires and ever more frequent and severe droughts, storms and floods. Meanwhile, extreme ideologies and political positions are being amplified by the media’s news cycles and the echo chamber of the Internet, further polarizing societies already inflamed by extreme, and growing, inequality and resentments. Extremes breed more extremes, creating self-reinforcing cycles of pushback and backlash, and fueling spiraling feedback loops of increasing intensity.
More info via this link
A Confrontation of Ideals, Anren Biennale, Anren (CN)
12 October 2019 – 12 February 2020
State of Extremes, Design Museum Holon, Holon, (IL)
11 December 2019 – 9 May 2020
House of Transition, Fokus Favoriten, Vienna, (AT)
20 September 2019 – September 2020
Blast Furnace, Art OMI, Ghent NY, (USA)
25 May 2019 – May 2021
Art Rotterdam, AVL Mundo, Rotterdam (NL)
7 February 2020 – 9 February 2020
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A Confrontation of Ideals’, Anren Biennale, Anren (CN)
12 October 2019 – 12 February 2020
Atelier Van Lieshout exhibits The Mechanical Turks (2015) at the Anren Biennale, China. The Biennial entitled, A Confrontation of Ideals is the second to take place in the historic city of Chengdu in Sichuan province, examining questions concerning humane, civilized community while sharing artists’ thoughts and efforts to deal with the complex realities of the world. The two automaton heads in The Mechanical Turks argue with one another in an accompanying audio work about whether to become Modernists or Primitivists.
Anren Szechuan, Chengdu, China
‘Home is a home is a home is a home’, Jousse Entreprise, Paris (FR)
30 November 2019 – 11 January 2020
Home… So many other words spring from this one. At once abode, refuge, shelter, a home exists in our own home, and elsewhere: in a café, a town or city, or a bookshop. But what is this place, really? By dint of making a home from what is not one, what actually hallmarks it vanishes. This is what is proposed by the show’s title, inspired by the famous line of Gertrude Stein taken from her poem Sacred Emily*, written in 1913.
* Rose is a rose is a rose is a rose.
Atelier Van Lieshout artworks on display: Table wih Mexican Crockery + 8 Shaker Chairs (Sweet), 2006 (on image), Fauteuil Le Corbafrique, 2009, Table (polyester), 1996.
More info via this link
‘A Decade of Wearable Art’, Elisabetta Cipriani Gallery, London (UK)
21 November 2019 until 13 December 2019
Various jewellery designs of Atelier Van Lieshout are part of ‘A Decade of Wearable Art’. This exhibition is featuring an eclectic and broad range of wearable art collaborations from the past ten years at the Elisabetta Cipriani Gallery.
The jewellery pieces in collaboration with Cipriani are typical for Atelier Van Lieshout’s deliberate contradictions between form and function. Five Pointed Golden Knuckle, (2010) is on display and can be worn as a ring, but also can be used, if the situation demands, as a weapon. Other AVL jewellery, Ear Hangers (2009), Oval Family (2010) and Happy Cufflinks (2009), are part of the exhibition as well.
Elisabetta Cipriani Gallery, London (UK)
Monday to Friday (10am-6pm)⠀⠀
‘Love in a Mist’, Harvard Graduate School of Design, Cambridge (USA)
28 October 2019 until 20 December 2019
Womb (2005), is now settled in the USA as it will be shown in a group exhibition at Harvard Graduate School of Design. This group exhibition, “Love in a Mist: The Politics of Fertility”, is exploring several narratives on the spaces and politics of fertility. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
Womb is a stylized representation of the interior of the female body, almost a perfect anatomical rendition of one of the organs that keeps us going.⠀⠀⠀
Harvard Graduate School of Design
‘In the Age of Post-Drought’, Transnatural, DDW (NL)
19 October 2019 – 27 October 2019
Atelier Van Lieshout exhibits Excrementus Megalomanus (2019) at the Dutch Design Week, Eindhoven. The In The Age of Post-Drought exhibition is dedicated to the global water-related challenges. Due to climate change and the rapid world population growth, water scarcity is grown to be on of the biggest threats facing life on earth in the 21st century. Therefore, the composttoilet is a very low-tech yet very efficient way of recycling human waste.
Hallen (north entrance)
Dutch Design Week, Eindhoven (NL)
‘Dark Fantasy’, Carpenters Workshop Gallery, Los Angeles (USA)
11 October 2019 – 16 November 2019
Dark Fantasy guides the viewer through a whimsical world of the fantastic and the obscure, questioning the constraints of reality and what it means to dream. The group exhibition explores over a decade of functional art from 24 artists from Carpenters Workshop Gallery’s program, creating a dialogue between space, time and contemporary archeology.
Atelier Van Lieshout artworks on display: Reclining Figure (2019), Deer Lamp (2017), Model The Burghers (2016), Bambino Lamp (2014), Embrace (2015)
UTA Artist Space, 403 Foothill Rd.
Beverly Hills, CA 90210
‘House of Transition’, Fokus Favoriten, Vienna (AT)
20 September 2019 – September 2020
Atelier Van Lieshout will mount the massive installation House of Transition for the public art exhibiting FOKUS FAVORITEN in Vienna. The installation consists of the two works Drop Hammer House and Phoenix – together harnessing the power of industrial processes in homage to the former working class neighborhood. Drop Hammer House quite literally smashes metal objects (including cars) into fodder for new products while Phoenix is a series of kilns used to cast iron, smoke fish, bake bread and incinerate waste, transforming detritus into new energy.
Sonnwendplatz, Favoritenstrasse 76, 1100 Vienna
Commissioned by KÖR – Kunst im öffentlichen Raum Wien
‘Secret Society’, AVL Mundo, Rotterdam (NL)
7 September 2019 – 22 September 2019
Be welcome to visit the group exhibition Secret Society, on display from the 8th until the 22nd of September. The opening is on Saturday September 7th from 16:00hrs until 21:00 hrs in a yet undisclosed location within the AVL Mundo premises.
Participating artists: Joost Benthem – Vincent Ceraudo – Gaëlle Choisne – Paul Geelen – Carlijn Kingma – Chaim van Luit – David Maroto – Anthony Nestel – Jennifer Rubell – Joop Schafthuizen – Rustan Söderling and others
September 8th – September 22nd, 2019.
On Fridays, Saturdays and Sundays from 12:30 – 17:30
AVL Mundo, Keileweg 18, Rotterdam
Entrance = free
‘Dysfunctional’, Carpenters Workshop Gallery, Venice (IT)
7 May 2019 – 24 November 2019
Group exhibition at Galleria Giorgio Franchetti alla Ca’d’Oro on the Grand Canal during Biennale Arte 2019
Atelier Van Lieshout artworks on display: Old Map Lamp (2019), The Clever Lamp (2019), Mammal Lamp (2019), Arianne (2019), Girl Lamp (2019), Ballerina Lamp (2019), Sausage with Funnel Lamp (2019), Small Sausage with Funnel Lamp (2019).
‘Vrijplaats bij MIJ’, Museum IJsselstein, IJsselstein (NL)
From the 8th of June until mid-October, Atelier Van Lieshout is part of the exhibition Vrijplaats bij MIJ at Museum IJsselstein (NL). The museum hosts a group show with a different societal focus every year. This year’s exhibition is about the concept of freedom, the longing for freedom and places where rules are practically non-existent.
The works by Atelier Van Lieshout come from multiple series and eras: from the utopian and dystopian communities ‘AVL- Ville’ and ‘Slave City’, to the most recent project ‘CryptoFuturism’. The selection of works represent the different ways how Atelier Van Lieshout views free states and how we can reach better futures.
The artwork Cage (2017) is part of the exhibition and represents a deconstructed, distorted cage; a disfigured prison that symbolizes the human longing for freedom. Other artworks on display are: Arschmänner (2004), Walking Stick Hourglass (2018), AVL M80 Mortar (1999)
Participating artists at Vrijplaats bij MIJ: Atelier Van Lieshout, Frank Koolen & Kasper Jacobs, Johan Grimonprez, Hito Steyerl, Rob Voerman, Leonard van Munster, David Bernstein, Manon van Hoeckel, Ursula Jernberg, Merapi Obermayer, Su Tomesen, Rogeria Burgers, Henk Wijnen, sven signe den hartogh, Jonas Wijtenburg en Fedor van Rossem.
For more information: www.museumijsselstein.nl (website in Dutch)
‘Blast Furnace’, Art OMI, Ghent (USA)
25 May 2019 – May 2021
Blast Furnace is a 40-foot-tall maze-like structure comprised of pipes, conveyor elevators, staircases, and mezzanines. Although industrial in form and purpose, the sculpture also contains domestic elements as a kitchen, sleeping quarters, and toilets, all fabricated by Atelier Van Lieshout. In the fictional world of the piece, a “New Tribe” of metal workers, driven by their desire to return to industry, simple products, social cohesion, and the origins of our wealth, design and culture, have created a settlement inside Blast Furnace. Setting the stage for the synthesis of man and machine, this tribe feeds off the heat, waste, and noise of their industrial utopia.
Blast Furnace stems from AVL’s project New Tribal Labyrinth, which reflects on society’s dependence on a complex, globalized economy. The project focuses on the pillars of an alternative society inhabited by imaginary tribes: farming, industry and ritual objects.
1405 County Route 22
Ghent, NY 12075
‘RENEGADE’, Gió Marconi, Milan (IT)
22 March 2019 – 18 April 2019
With RENEGADE Van Lieshout defines art on his own terms. He challenges the market while giving it what it wants: Van Lieshout, the artist sometimes referred to as designer, will make or take an artwork and turn it into design by just adding a lampshade. Like one of the lamps in the exhibition reads: fuck you very much. With incredible speed Atelier Van Lieshout sculpts a multitude of lamps at a time, thereby quickly accumulating an amount that can spread through the art world like a virus. By adding a lampshade, Van Lieshout presents this new group of works to the public as if it were quickly assembled DIY furniture: large quantities, functional and very accessible.
RENEGADE consists of an arrangement of differently sized lamps which are created, assembled, put together and produced from found objects and simple materials. Some of the lamps even refer back to Van Lieshout’s own historic work exhibited in museums: balaclava masks dangle from metal lampshades; a bust with a gas mask strapped to its head embellishes the lamp pole of a floor lamp; a single, red forlorn lightbulb dimly illuminates the roughly cut out wooden words “GIRLS-GIRLS-GIRLS”; tall, sausage-like organic-looking objects taper into a single burning lightbulb, whereas two beer crates -one of Van Lieshout’s defining iconic sculptures in combination with concrete slabs- build the solid base for a sturdy lamp with a steel shade.
Gió Marconi Gallery
via Tadino 20
I-20124 Milano Italy
‘ArtZuid 2019’, Amsterdam (NL)
17 May 2019 – 15 September 2019
The sixth edition of ARTZUID took place from May 17th till September 15th 2019. The Amsterdam Sculpture Biennial presented an exhibition to experience featuring over 80 figurative sculptures and spatial art installations. The heart of the exhibition lies in Berlage’s monumental Plan Zuid area with its leafy avenues Apollolaan and Minervalaan. This green space served as a backdrop for the theatrical grouping of modern and contemporary figurative sculptures which were interspersed with interactive spatial installations. ARTZUID 2019 included an extensive peripheral programme of activities including artist talks, an educational programme and art walks. Every edition the free exhibition is open 24/7.
‘Mutant Nature’, Carpenters Workshop Gallery, Paris (FR)
19 June 2019 – 24 August 2019
Carpenters Workshop Gallery, Paris, France
‘The CryptoFuturist and The New Tribal Labyrinth’, Pioneer Works, New York (USA)
For Atelier Van Lieshout’s largest-scale exhibition of work in the United States, The CryptoFuturist and The New Tribal Labyrinth, AVL brings together two ongoing bodies of work, among others, that give the exhibition its name. They transform Pioneer Works into an immersive installation of sculptures and industrial machines. Central to the artist’s New Tribal Labyrinth series is Blast Furnace (2013), an imposing, labyrinthine structure referencing the furnaces traditionally used to produce steel. The sculpture also contains domestic elements such as a kitchen, sleeping quarters, and toilets, an environment inhabited by an imaginary tribe of metalworkers, a “New Tribe” with a visceral desire to return to the beginning of industry, the origins of our culture, wealth, materials, and products. Setting the stage for the synthesis of man and machine, this tribe feeds off the heat, waste, and noise of their industrial utopia. Other works in this series literalize the union of the human and industrial through sculptural representations of sperm and reproductive organs doubling as lamps and furniture. They posit the human body as itself a kind of machine, endlessly procreating. The CryptoFuturist and The New Tribal Labyrinth is curated by Gabriel Florenz and Natalie Kovacs and is to be visited from March 1st until April 14th 2019 at Pioneer Works, New York (USA).
‘Killing Time’, Willem Twee, Den Bosch (NL)
22 December 2018 – 17 February 2019
Atelier Van Lieshout artworks on display: Pipebomb (2002), Fog Horn (2017), Pipe Bomb Clock Small, Medium, Large (2018), Walking Stick #5 (2018), Back To The Future Clock (2018), Hourglass Large (2018), Willem de Zwijger (2018), Naar de Kloten Klok (2018), Gallow Clock (2018), Pendulum (2018).
Willem Twee, Den Bosch, The Netherlands
‘BIG AND PLENTY’, AVL Mundo, Rotterdam (NL)
AVL Mundo opens its doors during ART Rotterdam 2019 for BIG AND PLENTY, a group exhibition with plenty of big artworks from various artists. The Atelier Van Lieshout workshop will be open for visitors where artists Neo Matloga and Wouter Paijmans will show the works that they made during their residency at AVL Mundo. Sculptures of Atelier Van Lieshout will be on display at the studio and at Joep van Lieshout’s private exhibition space. Other participating artists are Fraser Stewart, Susan Collis, Ade Darmawan, Vincent Ceraudo, Herman Nitsch, Ricardo Van Eyk and Faysal Mroueh.
Last but not least, the work The right to right/wrong from Libia Castro and Ólafur Ólafsson will be permanently installed on the silo of the AVL Mundo premises, to be seen from the sculpture garden.
Thursday 7 Feb – Sunday 10 Feb: 12hrs – 18hrs
Keileweg 18 & 26, free of charge
‘Naked’, Museum Kranenburgh, Bergen (NL)
What is naked in contemporary times? With the exhibition NAKED – The Vulnerable Body, Museum Kranenburgh considers the changing meaning of the naked in the visual culture of the
past decades: from shock to familiarity, from taboo to openness – and sometimes back again. Despite revealing our soul and bliss on Facebook and Instagram, naked nipples remain strictly taboo. Perfectly photographed bodies on television, in magazines, and online make us insecure, uncomfortable even, about our own bodies. Atelier Van Lieshout presents the sculptures Penis XL and Womb M.
The artworks are on display untill the 3rd of February 2019.
‘What’s wrong with this picture?’, AVL Mundo, Rotterdam (NL)
Atelier Van Lieshout, Mike Bouchet, Libia Castro & Ólafur Ólafsson and Riley Harmon contribute to the exhibition What’s wrong with this picture?. This exhibition and its complementary programme, organised by AVL Mundo, will be open from Friday to Sunday from the 7th until the 23rd of September.
What’s wrong with this picture? confronts the public with works that contain dark humour, ask urgent questions and present a bleak view on reality. Atelier Van Lieshout shows works from the SlaveCity project about perceived and mouldable social normalcy, as they reconsider the concept of time, the prospects for society and the role of mankind therein. Visitors are forced to think about what we take for granted and to ask themselves, “What’s wrong with this picture?”
‘Ferrotopia’, NDSM, Amsterdam (NL)
25 April 2018 – 2 December 2018
Ferrotopia, the latest art installation by Atelier Van Lieshout, opening at the NDSM-werf on Wednesday 25th April at 19:00h, is an ode to steel and bygone industries that explores new forms of manufacturing in a “circular economy”.
Ferrotopia is a Gesamkunstwerk – a large-scale public project made up of four buildings: Domestikator, Drop Hammer House, Happy Industry and Refectory. Its totem is the iconic Domestikator, a monumental structure that depicts humankind’s domination of nature. Domestikator drew international attention as a hub for the Ruhr Triennial, but its fame exploded with the controversy it caused when the work was invited to be exhibited outside the Louvre, was censored and then adopted by the Centre Pompidou. The work was retrofitted as a pavilion for freedom of expression, hosting a series of screenings, discussions and international debate. In Amsterdam, Domestikator will be joined by the atmospheric Refectory, the Happy Industry Foundry – a functioning metal workshop, and the purpose-built Drop Hammer House, created specifically for the NDSM to represent destruction, recycling and production in a circular economy.
‘Lust for Life’, Carpenters Workshop Gallery, London (UK)
On the 1st February, the Carpenters Workshop Gallery in London will launch a solo-exhibition with functional sculptures by Atelier Van Lieshout. These works, a series of various lamps, are part of the CryptoFuturism series.
“Lust for Life Lamps is about enjoying life and embracing every part of it. Whether it is life, death, dancing, getting old, contemplating or reproducing, all of those things are essential parts of human life. And of course, it is about having lust all your life.”
– Joep van Lieshout
‘PUNK+DANS+KUNST’, SCHUNCK*, Heerlen (NL)
Atelier Van Lieshout’s first video work Cage is currently on display as part of the exhibition PUNK+DANS+KUNST (Punk, dance and art) at SCHUNCK*. The exhibition presents the subversive creativity and the physical, ironic language used in Hail reflected in the work of contemporaries of Michael Clark and Charles Atlas’s day, as well as among modern-day artists active in visual art and dance, music and pop culture, with their rebellious expressions. Some of the angry movements are timeless. Guest curator and choreographer Karin Post has put together a modern-day collage of movement, image and sound, which traces the influence of punk sub-culture and its ‘angry movements’ in dance and visual art.
‘Back to the future?!’, AVL Mundo, Rotterdam (NL)
‘Imprevedibile’, Fondazione Golinelli, Bologna (IT)
Atelier Van Lieshout is proud to be part of the opening exhibition of the new Centro Arte e Scienze Golinelli in Bologna, Italy. The exhibition, with the title Imprevedibili, essere pronti per il futuro senza sapere come sara (Unforeseable, being ready for the future without knowing what it will be like), shows a selection of works which all reflect on a possible future, including Atelier van Lieshout’s Cow of the Future and Food Reaktor.
For aditional information, please see the website of the Fondazione Golinelli
‘Domestikator’, Centre Pompidou, Paris (FR)
Atelier Van Lieshout, Carpenters Workshop Gallery and FIAC are proud to present Domestikator at the Centre Pompidou!
Please join us for the opening event on Thursday the 19th October:
6PM – 9PM: reception and cocktail
7 PM: artist talk by Joep van Lieshout
9PM – 11PM: Cocktail reception at Carpenters Workshop Gallery, 54 rue de la Verrerie 75004
The artwork will host an ongoing series of impromptu discussions, performances and screenings. This Salon will be inaugurated with a discussion between friends and artists Xavier Veilhan and Joep van Lieshout, on Thursday 19th October at 11 AM
After the Musée du Louvre decided the sculpture was too provocative for the Jardin de Tuilleries, the artwork will now be installed at the square next to the Fontaine Stravinsky.
Joep van Lieshout: “I’m very pleased that the Centre Pompidou was able to see beyond the sensationalized interpretations of this work, and offered to present it during FIAC. By exhibiting this work, the institution is not only allowing the public to properly experience its artistic and intrinsic values, but it also opens up a broader discussion about the current challenges and complexities in the relationships between artists, institutions, public, and press – and their subsequent impact on artistic freedom.
Domestikator was always intended to be a catalyst for thought, as it addresses the very serious issue of how humans employ technology – with ingenuity, creativity, sophistication and persistence – to change the world into a “better” place, often domesticating it in the process. In order to push the boundaries of human experience and longevity, we have developed new technologies, like artificial intelligence, genetic manipulation, robotics and industrial farming, which push our ethical borders, without any real understanding of the long term consequences.
I am pleased that visitors to the Pompidou will have the opportunity to experience this work and hope that it generates questions and dialogue around the complexity of the issue of domestication – particularly its inherent hypocrisy, and the disconcerting fact that we are still without any real policy or regulation to govern this increasingly intrepid behavior.
Now, in addition to these meanings, the installation has inadvertently become a catalyst for a conversation about the freedom of expression, which is an urgent topic today. I’d like to express my sincerest gratitude to FIAC, Centre Pompidou, Carpenter’s Workshop Gallery, the city of Paris and my studio team for making this installation possible, and to the public who took to various platforms to voice their opposition to its censorship. I’m truly grateful for everyone’s support.”
A public program will take place around the Domestikator, please check this site or facebook for regular updates!