Atelier Van Lieshout

The gesamtkunstwerk The End of Everything is the artist’s reflection on art, the current market climate and a comment on human consumption patterns. With this work, Joep van Lieshout would like to ‘blaze a trail through this imbalance, to destroy and renew, start again with what is good – to recycle’.

The installation consists of a group of raw, industrial artworks – Der Fliegende Holländer, The Press, The Hammer and The Shredder. These may be interpreted as machines for either construction or destruction, as a negative or positive force, as a break from tradition and a change for the future. The primary goal is to recycle, be it scrap, consumer goods, artworks, even Joep van Lieshout’s own creations.

The Philosopher shows an almost owl-like, cubist figure, supposedly representing wisdom. The figure is cast in aluminium and has kept its rough surfaces, keeping it an unpolished creature. The Philosopher is accompanied by Death and The Leader.

This trinity is part of Atelier Van Lieshout’s larger project Cryptofuturism. Through this body of work, Van Lieshout translates Futurism, the art movement of the early 20th century, into 21st century contemporaneity in a disruptive manner. Technology, big data, acceleration, conflict, aggression, robotics and recycling are mixed with poetry and romanticism. Not only do they show a new direction in the oeuvre of Van Lieshout, but they also offer us a glimpse of a possible future under construction, based, on the one hand, on destruction and deconstruction. Yet, on the other hand, the work depicts the optimism of (re-)construction and new energy. Past and future, modernism and primitivism, the rational and the irrational, utopia and dystopia, art, energy and science are brought together and investigated. In this way, Van Lieshout creates new systems and worldviews on the ruins of the past.

The gesamtkunstwerk The End of Everything is the artist’s reflection on art, the current market climate and a comment on human consumption patterns. With this work, Joep van Lieshout would like to ‘blaze a trail through this imbalance, to destroy and renew, start again with what is good – to recycle’.

The installation consists of a group of raw, industrial artworks – The Roller, The Press, The Hammer and The Shredder. These may be interpreted as machines for either construction or destruction, as a negative or positive force, as a break from tradition and a change for the future. The primary goal is to recycle, be it scrap, consumer goods, artworks, even Joep van Lieshout’s own creations.

The Hammer is made up of a ships’ engine, a huge concrete counterweight, and a sixthousand kilogram heavy steel hammerblock. This weight can be hoisted to the towers’ highest point and released in an alldestructive free fall. Notwithstanding its shattering force, The Hammer appears elegant and carefully engineered – with a slightly raw, frayed edge.

The gesamtkunstwerk The End of Everything is the artist’s reflection on art, the current market climate and a comment on human consumption patterns. With this work, Joep van Lieshout would like to ‘blaze a trail through this imbalance, to destroy and renew, start again with what is good – to recycle’.

The installation consists of a group of raw, industrial artworks – Der Fliegende Holländer, The Press, The Hammer and The Shredder. These may be interpreted as machines for either construction or destruction, as a negative or positive force, as a break from tradition and a change for the future. The primary goal is to recycle, be it scrap, consumer goods, artworks, even Joep van Lieshout’s own creations.

The gesamtkunstwerk The End of Everything is the artist’s reflection on art, the current market climate and a comment on human consumption patterns. With this work, Joep van Lieshout would like to ‘blaze a trail through this imbalance, to destroy and renew, start again with what is good – to recycle’.

The installation consists of a group of raw, industrial artworks – Der Fliegende Holländer, The Press, The Hammer and The Shredder. These may be interpreted as machines for either construction or destruction, as a negative or positive force, as a break from tradition and a change for the future. The primary goal is to recycle, be it scrap, consumer goods, artworks, even Joep van Lieshout’s own creations.

Joep van Lieshout’s new body of work, Crypto-Futurism, in which Van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

The gesamtkunstwerk The End of Everything is the artist’s reflection on art, the current market climate and a comment on human consumption patterns. With this work, Joep van Lieshout would like to ‘blaze a trail through this imbalance, to destroy and renew, start again with what is good – to recycle’.

The installation consists of a group of raw, industrial artworks – Der Fliegende Holländer, The Press, The Hammer and The Shredder. These may be interpreted as machines for either construction or destruction, as a negative or positive force, as a break from tradition and a change for the future. The primary goal is to recycle, be it scrap, consumer goods, artworks, even Joep van Lieshout’s own creations.

Pulse is an interactive installation which aims to engage the inhabitants of Graz and to be at the heart of the community, expressing the pulse, the life of the city. The artwork is as a beacon, sending out lightsignals. These lightsignals will ‘beat’ to the same ‘rhytym’ as the pulse of a human heart. Every time a child is born in the Graz – which is approximately 11 times a day – the pulse and the intensity of the light will become stronger.

With this artwork, Atelier Van Lieshout wants to create a poetic collective moment for the citizens of Graz. Every time Pulse’s light intensifies, the artwork will celebrate the beginning of a human life, a new member of the community added. The artwork will enhance the existing sense of community, both by creating a collective experience and by serving as a physical landmark.

In his new body of work CryptoFuturism Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

Fog Horn is a work in process and forms an eternal automatic orchestra.

Bronco is a hydraulic press that, using great forxe, can destroy everyday object and transform them into new artworks (such as Daalderop). The work is part of The End of Everything, a large installation using large machines, shredders, rollers and conveyor belts; with which Joep van Lieshout seeks to destroy the old in older to create something new.

The gesamtkunstwerk The End of Everything is the artist’s reflection on art, the current market climate and a comment on human consumption patterns. With this work, Joep van Lieshout would like to ‘blaze a trail through this imbalance, to destroy and renew, start again with what is good – to recycle’.

The installation consists of a group of raw, industrial artworks – Der Fliegende Holländer, The Press, The Hammer and The Shredder. These may be interpreted as machines for either construction or destruction, as a negative or positive force, as a break from tradition and a change for the future. The primary goal is to recycle, be it scrap, consumer goods, artworks, even Joep van Lieshout’s own creations.

As a result from Bronco, a hydraulic press that can destroy everyday object and transform them intro new artworks, Daalderop was created.

The gesamtkunstwerk The End of Everything is the artist’s reflection on art, the current market climate and a comment on human consumption patterns. With this work, Joep van Lieshout would like to ‘blaze a trail through this imbalance, to destroy and renew, start again with what is good – to recycle’.

The installation consists of a group of raw, industrial artworks – The Roller (Der Fliegende Holländer), The Press, The Hammer and The Shredder. These may be interpreted as machines for either construction or destruction, as a negative or positive force, as a break from tradition and a change for the future. The primary goal is to recycle, be it scrap, consumer goods, artworks, even Joep van Lieshout’s own creations.

The Roller, the first work of the series, is a large roller, ready to flatten and compact the land.

The gesamtkunstwerk The End of Everything is the artist’s reflection on art, the current market climate and a comment on human consumption patterns. With this work, Joep van Lieshout would like to ‘blaze a trail through this imbalance, to destroy and renew, start again with what is good – to recycle’.

The installation consists of a group of raw, industrial artworks – Der Fliegende Holländer, The Press, The Hammer and The Shredder. These may be interpreted as machines for either construction or destruction, as a negative or positive force, as a break from tradition and a change for the future. The primary goal is to recycle, be it scrap, consumer goods, artworks, even Joep van Lieshout’s own creations.

The gesamtkunstwerk The End of Everything is the artist’s reflection on art, the current market climate and a comment on human consumption patterns. With this work, Joep van Lieshout would like to ‘blaze a trail through this imbalance, to destroy and renew, start again with what is good – to recycle’.

The installation consists of a group of raw, industrial artworks – Der Fliegende Holländer, The Press, The Hammer and The Shredder. These may be interpreted as machines for either construction or destruction, as a negative or positive force, as a break from tradition and a change for the future. The primary goal is to recycle, be it scrap, consumer goods, artworks, even Joep van Lieshout’s own creations.

The gesamtkunstwerk The End of Everything is the artist’s reflection on art, the current market climate and a comment on human consumption patterns. With this work, Joep van Lieshout would like to ‘blaze a trail through this imbalance, to destroy and renew, start again with what is good – to recycle’.

The installation consists of a group of raw, industrial artworks – Der Fliegende Holländer, The Press, The Hammer and The Shredder. These may be interpreted as machines for either construction or destruction, as a negative or positive force, as a break from tradition and a change for the future. The primary goal is to recycle, be it scrap, consumer goods, artworks, even Joep van Lieshout’s own creations.

The gesamtkunstwerk The End of Everything is the artist’s reflection on art, the current market climate and a comment on human consumption patterns. With this work, Joep van Lieshout would like to ‘blaze a trail through this imbalance, to destroy and renew, start again with what is good – to recycle’.

The installation consists of a group of raw, industrial artworks – Der Fliegende Holländer, The Press, The Hammer and The Shredder. These may be interpreted as machines for either construction or destruction, as a negative or positive force, as a break from tradition and a change for the future. The primary goal is to recycle, be it scrap, consumer goods, artworks, even Joep van Lieshout’s own creations.

In his new body of work CryptoFuturism Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

In his new body of work CryptoFuturism Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

In his new body of work CryptoFuturism Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

Joep van Lieshout has started to work on a new series of artworks entitled ‘CryptoFuturism’. With these works he wants to focus on the contrast, the longing for both the primitive and the progressive. The title refers to Futurism, the early 20th century cultural movement which wanted to change to world by applying technology and progress, and which glorified violence and war. The result of this conflict, however, was not the rise but the demise of the cultural significance of Futurism, and led the group to merge with the Fascist movement. Now as well as during the advent of Futurism, our world is undergoing significant technological and societal changes – globalization, terrorism, big data and smart technology – and populist, even fascist movements seem on the rise.

As part of this series, Van Lieshout has created two related staff-shaped “walking sticks”, sculptures that seem like scepters of wisdom. These refer to visionaries, forerunners who redeem the masses and lead the way into the future. One of the staffs shows an image of devotion, rationality and loss, whilst the other staff refers to primitivism and fertility. The staffs question the position of visionaries and prophets, and the steps one needs to take before reaching the way into the future.

Joep van Lieshout has started to work on a new series of artworks entitled ‘CryptoFuturism’. With these works he wants to focus on the contrast, the longing for both the primitive and the progressive. The title refers to Futurism, the early 20th century cultural movement which wanted to change to world by applying technology and progress, and which glorified violence and war. The result of this conflict, however, was not the rise but the demise of the cultural significance of Futurism, and led the group to merge with the Fascist movement. Now as well as during the advent of Futurism, our world is undergoing significant technological and societal changes – globalization, terrorism, big data and smart technology – and populist, even fascist movements seem on the rise.

As part of this series, Van Lieshout has created two related staff-shaped “walking sticks”, sculptures that seem like scepters of wisdom. These refer to visionaries, forerunners who redeem the masses and lead the way into the future. One of the staffs shows an image of devotion, rationality and loss, whilst the other staff refers to primitivism and fertility. The staffs question the position of visionaries and prophets, and the steps one needs to take before reaching the way into the future.

In his new body of work CryptoFuturism Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

The Janus head: one side looks to the past, the other side to the future, representing history on a breaking point.

In his new body of work CryptoFuturism Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

Leemwerker is a monument to the strong, menial labourer, who toils the soil. He is submitted to nature, but at the same time submits nature to his will. The sculpture is both a referal to the art of the Russian constructivists, as well as that of the Flemish Primitives.

Atlas and Face express Joep van Lieshout’s affinity with both primitive African sculpture and modern constructivist art. The artworks consists of abstract volumes, arranged in spatial constellations which suggest a certain figurativeness

The sculptures have been created by using recycled mooring posts that are made of hardwood, resistant to lasting contact with water. It evokes associations with ships and harbours, with transport and the economy, but also with travel and escapism.

More important than the volumes themselves are the rods that connect them. Although the placing of the rods may have a random appearance, together they make up the essential values of Sculpture: mass, volumes, proportions and connections.

In his new body of work CryptoFuturism Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

As part of the CryptoFuturism project, these helmets refer to new technologies and the way humans will interact with these currently unpredictable developments.

In his new body of work CryptoFuturism Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

As part of the CryptoFuturism project, these helmets refer to new technologies and the way humans will interact with these currently unpredictable developments.

In his new body of work CryptoFuturism, Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

The Crypto Helmets refer to new rituals by groups of individuals that want to go back to the origin of the industrial revolution and food production. Their final goals is to become one with the machine.

In his new body of work CryptoFuturism, Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

The Crypto Helmets refer to new rituals by groups of individuals that want to go back to the origin of the industrial revolution and food production. Their final goals is to become one with the machine.

In his new body of work CryptoFuturism, Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

Over the past three years, Atelier Van Lieshout has been working on a series of kinetic sculpture machines. Works include Si Gale Gale, a Man turned Machine, and The Maniac, a dynamic Monument for Machines.

With these mechanical works, Van Lieshout draws a parallel with the historic Kinetic Art movement, but also gives us a glimpse of possible world to come, a future where robots will be omnipresent. Demographic decline could create a necessity for robotica, for machines to take over the workload. When the population recovers, people can live like Homo Ludens, who only need to preoccupy themselves with the essence of life. This could lead to a utopian society where people can live life to the fullest but may also lead to violence and extremism.

Atlas and Face express Joep van Lieshout’s affinity with both primitive African sculpture and modern constructivist art. The artworks consists of abstract volumes, arranged in spatial constellations which suggest a certain figurativeness

The sculptures have been created by using recycled mooring posts that are made of hardwood, resistant to lasting contact with water. It evokes associations with ships and harbours, with transport and the economy, but also with travel and escapism.

More important than the volumes themselves are the rods that connect them. Although the placing of the rods may have a random appearance, together they make up the essential values of Sculpture: mass, volumes, proportions and connections.

In his new body of work CryptoFuturism, Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

Crucifix, Fasciae and Hammer and Sickle are insignia of the big utopian movements from the past, and ask us whether the future challenges and technological developments bring back totalitarianism.

In his new body of work CryptoFuturism, Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

In his new body of work CryptoFuturism, Joep van Lieshout revisits the Italian Futurists a century later to look at resonances between emerging Fascist tendencies today, using his art to reveal the interplay between Utopia and destruction. Van Lieshout embraces emerging technologies from genetic manipulation to robotics and big data to draw parallels between the societal threats faced in the early 20th century and the perhaps graver circumstances we face today. Starting his research by building huge machines in order to destroy or recycle all possible materials, Joep van Lieshout deconstructs notions of sustainability with techno modernist speed, playing a dangerous game with nostalgia for bygone political theorems.

The foyer at the heart of the Gemeentemusem Den Haag features a new artwork by Atelier van Lieshout. The eight-metre-high sculpture is designed to serve as a visitor information desk and is a humorous nod to the ‘rivalry’ between H.P. Berlage, architect of the Gemeentemuseum, and his Belgian contemporary and confrere Henry Van de Velde. Van de Velde was a founder of art nouveau, trailblazer for the later Bauhaus, and famous in the Netherlands primarily as the architect of the Kröller-Müller Museum.

In terms of artistic ideas, Berlage and Van de Velde had much in common: both sought to eliminate the distinction between art and design and to approach architecture as a Gesamtkunstwerk (total art work). At the same time, they were rivals who competed for major contracts – especially for museum buildings. Berlage also produced a design for the Kröller-Müller Museum (which was rejected), and with Henry, the Statistocrat Van de Velde has now placed his stamp on the Gemeentemuseum.

Gemeentemuseum Den Haag