Artist, Artist Producing and Curator
Artist, Artist Producing and Curator
2018
Composite
Group of 3 sculptures
Artist, Artist producing and Curator (2018) are a series of works presenting the creatives as beggars; the scum of today’s society. The different sculptures form a group, which confirms and ridicules the position that these ‘slaves’ of the arts sector find themselves in.
This new group of sculptures was created as part of the Cryptofuturism project; in which 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. The question is whether these figures present the position of the artist and the curator in this new world Van Lieshout creates, or if they represent their position in society today.
Artist, Artist producing and Curator (2018) were part of the following exhibition(s):
‘Market Forces’, HERO Gallery, Amsterdam (NL), 2018
For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com
https://www.ateliervanlieshout.com/wp-content/uploads/2018/04/groep_curator_artist_artist-producing_2018_-01-scaled-e1596544970809.jpg
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Troglodyte
Troglodyte
2018
Fiberglass
The Troglodyte is a functional work of art that provides a changing room, toilet and shelter for the departure point for sailing in the municipality of Neerpelt. At the same time it is also a shelter in the most original sense of the word, an imaginary cave house that takes people back to their origins. The work fits into a long tradition of underground dwellings, which have provided human housing for centuries. But the work of art also refers to the prehuman time, to the origin: to the water that seeps through the landscape, through centuries and ice ages slowly grinding the river into the landscape, the river on which man now navigates, sails, relaxes. It is also reminiscent of boulders that nature has laid down in the landscape, the Hunebeds and Megaliths of early humans.
Commission
Location: Neerpelt (BE)
https://www.ateliervanlieshout.com/wp-content/uploads/2018/08/Neerpelt_Troglodiet_2018-e1570453142864.jpg
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Big Boiler
Big Boiler
2018
Steel, wood
Big Boiler is based on a temazcal, a type of sweat lodge which originated among pre-Columbian peoples in Mesoamerica. The lodge was used curatively after battle or a ceremonial ball game. The contemporary version has been upgraded with an ice bath and a hot tub, offering a rejuvenating cycle of hot and cold, beginning and ending.
Big Boiler (2018) was part of the following exhibition(s):
‘Let’s Get Physical’, Atelier Van Lieshout, Rotterdam (NL), 2020
‘Ferrotopia’, NDSM, Amsterdam (NL), 2018
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War
War
2017
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/avl_war_01-cropsq.jpg
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Minimal Kiss Lamp
Minimal Kiss Lamp
2017
“This kiss is our primitive needs in a cubist style. It is made from Corten steel which will rust on the surface in contrast with normal steel which will disappear over the years. You can leave this kiss outside for hundreds of years.” Joep Van Lieshout
Enquiries via Carpenters Workshop Gallery
https://www.ateliervanlieshout.com/wp-content/uploads/2020/03/avl_the-kiss_01-crop-714x1020-1-e1583310148125.jpg
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08:21:40","modified":"2020-03-04 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08:21:41","modified":"2020-03-04 08:21:49","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.ateliervanlieshout.com\/wp-includes\/images\/media\/default.png","width":714,"height":1020,"sizes":{"thumbnail":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2020\/03\/avl_the-kiss_04-crop-714x1020-1-123x175.jpg","thumbnail-width":123,"thumbnail-height":175,"medium":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2020\/03\/avl_the-kiss_04-crop-714x1020-1-455x650.jpg","medium-width":455,"medium-height":650,"medium_large":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2020\/03\/avl_the-kiss_04-crop-714x1020-1.jpg","medium_large-width":714,"medium_large-height":1020,"large":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2020\/03\/avl_the-kiss_04-crop-714x1020-1-700x1000.jpg","large-width":700,"large-height":1000,"1536x1536":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2020\/03\/avl_the-kiss_04-crop-714x1020-1.jpg","1536x1536-width":714,"1536x1536-height":1020,"2048x2048":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2020\/03\/avl_the-kiss_04-crop-714x1020-1.jpg","2048x2048-width":714,"2048x2048-height":1020}}]
Venus Lamp
Venus Lamp
2017
“Fertility. The first sculptures ever were of fertility sculptures. This one has three legs so I guess that it has a penis. From a biological point, if you bring back what is the goal of the human as a species is to keep on living, eating, and reproduce. Theoretically you can die after you reproduce.” Joep van Lieshout
Enquiries via Carpenters Workshop Gallery
https://www.ateliervanlieshout.com/wp-content/uploads/2020/03/avl_venus-lamp_01-cropsq-1020x1020-1.jpg
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Scarlett Lamp
Scarlett Lamp
2017
A portrait of an early morning with family, this is a sculpture about love.
Enquiries via Carpenters Workshop Gallery
https://www.ateliervanlieshout.com/wp-content/uploads/2020/03/avl_scarlett-lamp_01-cropsq18-scaled.jpg
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Deer Lamp
Deer Lamp
2017
Deer Lamp refers to the origin of human beings, humankind’s earliest art works found in cave paintings which celebrated hunting, surviving, eating, and atavistic worship of nature. Inspired by pictures of animals that survived the millennia, this belongs to The New Tribal Labyrinth, a body of work about returning back to the future and finding new rituals and solutions for the future while honouring our humble beginnings.
Enquiries via Carpenters Workshop Gallery
https://www.ateliervanlieshout.com/wp-content/uploads/2020/03/avl_animal-lamp_01-cropsq-1020x1020-1.jpg
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Together Lamp
Together Lamp
2017
“This is the most essential way of drawing a figure related to the first human expressions.” Joep Van Lieshout
Enquiries via Carpenters Workshop Gallery
https://www.ateliervanlieshout.com/wp-content/uploads/2020/03/avl_together-lamp_011-cropsq14-scaled.jpg
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Cage
Cage
2017
Steel
Cage consists out of three steel cages, which have been pressed together and pulled apart. This process has transformed the rational and strict geometry of the original cages to become an organic and fictile-looking sculpture that immediately questions the notion of freedom.
Atelier Van Lieshout’s work often refers to systems in which mankind functions today. This work too considers those systems and encourages the viewer to reflect on the role of mankind within the societal, political and economic systems. Humans now wish to free themselves from the exact same systems, hoping to break free from what they have brought upon themselves.
Cage (2017) was part of the following exhibition(s):
– ‘Vrijplaats bij MIJ’, Museum IJsselstein, IJsselstein (NL), 2019
– ‘Façade‘, Middelburg (NL), 2017
For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com
https://www.ateliervanlieshout.com/wp-content/uploads/2017/12/Cage-2017-Facade-Middelburg_012.jpg
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09:20:33","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.ateliervanlieshout.com\/wp-includes\/images\/media\/default.png","width":2560,"height":1920,"sizes":{"thumbnail":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2017\/12\/Cage-2017-Facade-Middelburg_007-175x131.jpg","thumbnail-width":175,"thumbnail-height":131,"medium":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2017\/12\/Cage-2017-Facade-Middelburg_007-650x488.jpg","medium-width":650,"medium-height":488,"medium_large":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2017\/12\/Cage-2017-Facade-Middelburg_007-scaled.jpg","medium_large-width":2560,"medium_large-height":1920,"large":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2017\/12\/Cage-2017-Facade-Middelburg_007-1333x1000.jpg","large-width":1333,"large-height":1000,"1536x1536":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2017\/12\/Cage-2017-Facade-Middelburg_007-1536x1152.jpg","1536x1536-width":1536,"1536x1536-height":1152,"2048x2048":"https:\/\/www.ateliervanlieshout.com\/wp-content\/uploads\/2017\/12\/Cage-2017-Facade-Middelburg_007-2048x1536.jpg","2048x2048-width":2048,"2048x2048-height":1536}}]
Les Acrobates
Les Acrobates
2017
The starting point for Les Acrobates is the notion of collaboration, science and creativity, which is central to its location, next to the research centre Inria in Saclay, Île-de-France. The work is made from galvanised steel, after which it was deformed by hydraulic presses in a controlled, uncontrolled manner, and welded. The result is a playful, happy double human form built on top of one another. Just like in science and research, this work of art was created by a process of trial and error.
Les Acrobates symbolises collaboration and solidarity. With a mirrored double human figure, the work refers to an equilibrium, a constant and familiar structure. But also, it shows a moment of successful completion, a breakthrough – the irrational process that follows scientific research. The sculpture is an homage to the intangible which forms the basis of everything, but especially of science: creativity, imagination and dreams.
https://www.ateliervanlieshout.com/wp-content/uploads/2017/12/IMG_0268_1.jpg
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Calgon
Calgon
2017
Steel
62 cm x 55 cm x 220 cm
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.
Calgon (2017) was part of the following exhibition(s):
‘The Clock Which Will Solve Every Problem in the World’, Kunstraum Dornbirn (AT), 2020
‘Ferrotopia’, NDSM, Amsterdam (NL), 2018
For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/Calgon-2017-70x70x240-cm_low-.jpg
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Mensch
Mensch
2017
Steel
84 cm x 57 cm x 192 cm
Mensch (2017) was part of the following exhibition(s):
‘The Clock Which Will Solve Every Problem in the World’, Kunstraum Dornbirn (AT), 2020
For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com
https://www.ateliervanlieshout.com/wp-content/uploads/2020/08/mensch01-scaled-e1597912856974.jpg
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Le Balzac
Le Balzac
2017
Washing machine, steel
140 cm x 95 cm x 177 cm
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.
Le Balzac (2017) was part of the following exhibition(s):
‘The Clock Which Will Solve Every Problem in the World’, Kunstraum Dornbirn (AT), 2020
For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com
https://www.ateliervanlieshout.com/wp-content/uploads/2020/08/Le-Balzac-2017-140x95x177-cm_001-scaled-e1597754133466.jpg
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Birds
Birds
2017
Steel
40 cm x 71 cm x 203 cm
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.
Birds (2017) was part of the following exhibition(s):
‘State of Extremes’, Design Museum, Holon (IL), 2019
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/Birds-2017-40x71x203-cm_001_low-.jpg
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Daalderop
Daalderop
2016
Mixed media
115 cm x 100 cm x 205 cm
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.
Daalderop (2017) was part of the following exhibition(s):
‘The Clock Which Will Solve Every Problem in the World’, Kunstraum Dornbirn (AT), 2020
‘Der Hausfreund’, Galerie Krinzinger, Vienna (AT), 2016
For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com
https://www.ateliervanlieshout.com/wp-content/uploads/2016/06/Daalderop-2016-115x100x205-cm_002-scaled.jpg
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Philosopher
Philosopher
2017
Aluminium
The owl has symbolised wisdom since the ancient Greeks. It is rooted in nature and reproduces by laying eggs, but under the influence of rational, scientific thinking it has become more angular.
The Philosopher is one of four characters that constitute an AVL-designed new world order. Death, The Artist, The Leader and The Philosopher are idols for the future.
Philosopher (2017) was part of the following exhibition(s):
‘Let’s Get Physical’, Atelier Van Lieshout, Rotterdam (NL), 2020
‘ArtZuid’, Amsterdam (NL), 2019
‘Ferrotopia’, NDSM, Amsterdam (NL), 2018
https://www.ateliervanlieshout.com/wp-content/uploads/2017/12/ArtZuid-2019-Amsterdam-The-Philosopher-02-scaled-e1583316884219.jpg
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Fog Horn
Fog Horn
2017
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.
Fog Horn (2017) was part of the following exhibition(s):
‘Ferrotopia’, NDSM, Amsterdam (NL), 2018
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/Happening_AVL-Mundo-Art-rotterdam-fog-horn-scaled.jpg
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Pulse
Pulse
2017
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/Aantekening-2019-09-26-155106-e1569506034528.png
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Der Fliegende Holländer
Der Fliegende Holländer
2016
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/4.-Flying-Dutchman-hdr-01.jpg
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Process 50 ton 50 mm
Process 50 ton 50 mm
2016
Wood, steel
85 cm x 50 cm x 160 cm
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.
Process 50 ton 50 mm (2016) was part of the following exhibition(s):
‘State of Extremes’, Design Museum, Holon (IL), 2019
For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/Process_horizontal_2wide-2016_0468_low-.jpg
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Black Pinkie
Black Pinkie
2016
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2016/06/Black-Pinkie-01-1.jpg
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Stoplicht
Stoplicht
2016
Mixed media
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.
Stoplicht (2016) was part of the following exhibition(s):
‘Der Hausfreund’, Galerie Krinzinger, Vienna (AT), 2016
For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/Stoplicht-2016-liggend-80x50x150-cm_low-.jpg
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Walking Sticks
Walking Sticks
2016
Walking Stick I (2016)
Wood, steel, rope
35 cm x 28 cm x 197 cm
Walking Stick II (2016)
Wood, steel, rope
32 cm x 28 cm x 184 cm
Walking Stick III (2018)
Composite
42 cm x 40 cm x 202 cm
Walking Stick IV (2018)
Composite
22 cm x 20 cm x 174 cm
Walking Stick V (2018)
Composite, glass
25 cm x 25 cm x 210 cm
Walking Stick VI (2018)
Aluminium, composite
25 cm x 25 cm x 166 cm
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.
Walking Sticks (2016-) was part of the following exhibition(s):
‘Vrijplaats bij MIJ’, Museum IJsselstein, IJsselstein (NL), 2019
‘Killing Time‘, Willem Twee, Den Bosch (NL), 2018
For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com
https://www.ateliervanlieshout.com/wp-content/uploads/2016/06/Walking-Stick-1-2016-35x28x197-cm_004-scaled-e1597663799819.jpg
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Janus kop
Janus kop
2016
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2016/06/Janus-kop-01.jpg
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Leemwerker
Leemwerker
2016
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2016/06/Art-Rotterdam-2020-AVL-Mundo-Joeps-private-exhibition-space-Leemwerker-scaled-e1581608254178.jpg
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Face
Face
2016
Wood, steel
76 cm x 55 cm x 210 cm
Face expresses 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.
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/Face-2016-76x55x210-cm_low-.jpg
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Nose Cart
Nose Cart
2016
The work is part of Van Lieshout’s New Tribal Labyrinth. In this series AVL’s recurring themes of examining the structures of power and revolution are linked to the end of the worlds’ resources. Nose Cart acts as a monument for a new world order, a society inhabited by imaginary tribes, where rituals will be reinstated and re-evaluated.
https://www.ateliervanlieshout.com/wp-content/uploads/2016/11/nose-cart.jpg
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Crypto Container Helmet
Crypto Container Helmet
2016
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/Crypto-container-helmet-2016-89x77x150-cm_low-.jpg
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Crypto Helmet Lamp 2
Crypto Helmet Lamp 2
2016
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2016/06/Crypto-Helmet-Lamp2-2016-140x35x180-cm_001.jpg
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Crypto Helmet Lamp 1
Crypto Helmet Lamp 1
2016
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2016/06/Crypto-Helmet-Lamp1-2016-105x40x180-cm_003-1.jpg
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Nuclear Crypto Helmet
Nuclear Crypto Helmet
2016
Mixed media
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.
Nuclear Crypto Helmet (2016) was part of the following exhibition(s):
‘Der Hausfreund’, Galerie Krinzinger, Vienna (AT), 2016
For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com
https://www.ateliervanlieshout.com/wp-content/uploads/2016/06/Nuclear-Crypto-Helmet-2016-94x56x160-cm_001-scaled-e1584012304134.jpg
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Nuclear Reactor
Nuclear Reactor
2016
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/x-Nuclear-Reactor-2016-70x70x350-cm-3_low3.jpg
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Maniac
Maniac
2016
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/Maniac-2016-75x72x200-cm_004_low-.jpg
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Stainless Steel Colomn
Stainless Steel Colomn
2016
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.
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/Stainless-steel-column-2016-e1570527868316.jpg
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Henry, de Statistocraat
Henry, de Statistocraat
2016
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
https://www.ateliervanlieshout.com/wp-content/uploads/2017/06/Henry-de-Statistocraat-2016_GemeenteMuseum_004_low.jpg
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