Atelier Van Lieshout

Mother Earth and Mother Earth Constructivist mark a return to the origin of sculpture, to primitive totems and fertility statues.

Mother Earth in specific displays a kinship with Paleolithic Venus Figurines. The artworks’ creative process was expressive and intuitive, not driven by any premeditated plan. The artwork is placed on a abstract, geometrical pedestal, a reference to the utopian modernist movements of the early 20th century. Mother Earth couples the pursuit of progress with a longing for the primitive past, highlighting the contrast between primitivism and constructivism – a theme which it shares with a series of recent works by Atelier Van Lieshout, like for instance Pipe Cutter.

Mother Earth and Mother Earth Constructivist mark a return to the origin of sculpture, to primitive totems and fertility statues.

Mother Earth in specific displays a kinship with Paleolithic Venus Figurines. The artworks’ creative process was expressive and intuitive, not driven by any premeditated plan. The artwork is placed on a abstract, geometrical pedestal, a reference to the utopian modernist movements of the early 20th century. Mother Earth couples the pursuit of progress with a longing for the primitive past, highlighting the contrast between primitivism and constructivism – a theme which it shares with a series of recent works by Atelier Van Lieshout, like for instance Pipe Cutter.

Wood

Zig Zag (2015) is Van Lieshout’s take on one of the most iconic designs of the 20th century. However, it is executed in a primitive, almost crude way, in plywood, with a rough finish. Zig Zag is linked to a series of chairs by Atelier Van Lieshout, the Prototypes, in which Joep van Lieshout wanted to address the value of crude assembly. For this series, Van Lieshout produced a number of chairs, by hand, directly from the heart, from the head – without making use of a design, a try square or a measurement tape. This approach stands in stark contrast with that of the Rietveld chair. Any similarity is therefore a coincidence.

Zig Zag (2015) was part of the following exhibition(s):
‘Primitive Modern’, Almine Rech Gallery, Brussels (BE), 2015

For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com

With its abstract, geometrical shapes, the Nouveau Brutaliste holds a clear reference to the utopian modernist movements of the early 20th century. At the same time, however, the installation addresses mans’ most primeval needs for rituals and rites. The installation is part of the ongoing series by Atelier Van Lieshout, entitled New Tribal Labyrinth, which presents a vision of a future, yet primitive, world inhabited by imaginary tribes where there will be different ethics. This world will see a return to farming and industry, to rituals and rites.

Fiberglass, styrofoam

“Twenty-two men chase a ball for 90 minutes and at the end, the Germans always win”, said UK international Gary Lineker after losing the 1990 World Cup semi-final to
Germany. Weltmeister refers to another, more sinister part of German history. This cadaveric ball or globe refers to the eugenics programme of nazi Germany aimed at breeding a species of supermen to rule the world.

Weltmeister (2010) was part of the following exhibition(s):
‘Let’s Get Physical’, Atelier Van Lieshout, Rotterdam (NL), 2020

The Les Brutalist series (2015) is a body of cubist, functional sculptures in a style that Joep van Lieshout refers to as “nouveau brutalism”. With its abstract, geometrical shapes, Les Brutalist hold a clear reference to the utopian modernist movements of the early 20th century. At the same time, however, the installation addresses mans’ most primeval needs. The installation is part of a series by Atelier Van Lieshout, entitled New Tribal Labyrinth, which presents a vision of a future, yet primitive, world inhabited by imaginary tribes where there will be different ethics. This world will see a return to farming and industry, to rituals and rites.

Part of Les Brutalist series (2015): Henri, Kissing Chair, Lounge Area, Chaise Longue, Party Island and Carl.

Les Brutalist series (2015) was part of the following exhibition(s):
– Party Island: ‘Recover/Uncover’, Masa Galeria, Mexico City (MX)
– Various: ‘Primitive Modern’, Almine Rech Gallery, Brussels (BE)

Steel
140 cm x 110 cm x 370 cm

Early Bird (2015) is a bird is a bird is a bird is a bird, all four symbolizing a different viewpoint, a different direction. The sculpture is contemporary and utopian, primitive and archaic, a tribal object mixed with modernism. Some forms are cubic and mathematical, others irrational and intuitive, and follow the logical engineering of the body’s bones and tissues, all connected with reason and purpose. With reference to a world of rites and rituals, the totem embraces the optimism of construction and new energy, the emergence of a new world order , rejecting old order, and the artist’s embrace of the industrial revolution, art, and science, to create Neo-futurist symbols connected to the ruins of the past.

Early Bird (2015) was part of the following exhibition(s):
‘Primitive Modern’, Almine Rech Gallery, Brussels (BE), 2015

For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com

COR-TEN steel

Numbers are everything these days. The economy, politics and society are all controlled by figures. Statistics helps us understand trends and predict developments, however they are also rigid and coercive. Tech companies increasingly shape our lives using big data and algorithms. Tomorrow’s ruler The Statistocrat consists of bar graphs.

Statistocrat (2015) was part of the following exhibition(s):
‘Let’s Get Physical’, Atelier Van Lieshout, Rotterdam (NL), 2020
‘ArtZuid’, Amsterdam (NL), 2017

Our capacity to shape the world, to create culture and wealth is a great achievement. At the same time, our relationship with nature has become severely disrupted, whilst our needs seem to be growing nonetheless. In order to support 7 billion people, agriculture has become an industry, with factory farming and genetic manipulation a necessity. This provides us with an ethical dilemma, as this kind of farming seems to border on abuse. At the same time, the literal abuse of animals, bestiality, is one of the last remaining taboos. Why is it that treating an animal like a fellow human is an unspeakable act, whilst treating an animal like a resource for industrial production is the norm? Atelier Van Lieshout has created a series of artworks that symbolize the power of humanity over the natural world, the Domestikator series. These artworks pay tribute to the ingenuity, the sophistication and the capacities of humanity, to the power of organisation, and to the use of this power to dominate, domesticate the natural environment. Farmer, 2015 is part of this series, and address the relation between man and nature, which can be seen in a both positive and negative light.

Bambino lamp. Man-woman, (wo)man child, child-child: tender family relations captured in a functional object.

The New Tribal Labyrinth is an ongoing series of work in which recurring themes like the organization of labour, the structures of power and revolution are linked to the end of the worlds´ resources and subsequent self sufficiency. It suggests a new world order, a society inhabited by imaginary tribes. This world will see a return to farming and industry – which currently both have been banished from our society – and a re-establishment of our relationship with materials – which now has been lost. Rituals will be re-valued, and will play in important role in society once more. Thus, objects for farming, industry and rituals are the three main bodies of work of this huge ”Gesamtkunstwerk”.

For the near future, Atelier Van Lieshout foresees the emergence of a new tribal world, a primitive society where production takes centre stage. This world will see a return to farming and industry – which currently both have been banished from our society – and a re-establishment of our relationship with materials – which now has been lost. In this new world, ethics will be of little importance. Instead, rituals will be re-valued, and will offer the tribes of the future guidance.

Atelier Van Lieshout is taking an advance on this future, and is creating all necessary equipment for the imaginary tribes, ranging from items of worship and sacrifice to objects for daily use, dwellings and machines. All these artworks together make the huge Gesamtkunstwerk that is New Tribal Labyrinth.

Soap Factory (2013) was part of the following exhibition(s):
‘Ferrotopia’, NDSM, Amsterdam (NL), 2018

This sculpture offers the vision of an imaginary future farm, a utopian machine that functions similarly to the human body, which Atelier Van Lieshout sees as the ‘ultimate system’. As the scientific possibility of futuristic, genetic-hybrid creatures advances into reality, how far, or bizarre, will we be willing to go? Will we, as humans have in past eras, embrace technology with utter faith, believing it will manage to deliver solutions to problems like our world’s diminishing resources, and the insatiable hunger we have for more possession, consumption, and power?

The Food Processor is a hybrid human-machine species, one united entity, that can take leftovers and process them with microbes and enzymes to produce new, recycled superfood. It is a technocratic, capitalist dream come true, and a triumph, in collaboration with science: the food of the future.

Food Processor (2015) was part of the following exhibition(s):
‘(UN)REAL’, Science Gallery, Rotterdam (NL), 2020
‘The Invisible Hand’, Parc Tournay de Solvay , Brussels (BE), 2016
‘Vrijstaat’, Kasteel Keukenhof, Lisse (NL), 2014

Domestikator’s themes coincide with a number of recurring topics in the work of Atelier Van Lieshout, like utopia, dystopia, idealism, power, ethics, religion, love and reproduction. Domestikator is part of the ongoing project New Tribal Labyrinth. New Tribal Labyrinth presents a vision of a future yet primitive world, a society inhabited by imaginary tribes where ethics will be of little importance. This world will see a return to farming and industry, to rituals and rites – with Domestikator as a temple for a new religion, a place where the high priest can address the masses.

Courting Birds, 2015 is part of this series, and address the relation between man and nature, which can be seen in a both positive and negative light.

The fossil series consists of several chairs, chaise longues and sofas. The fossils are reminiscent or recall a primitive shape, half natural, half manmade. They have an outline that vaguely looks like a remnant of a human shape or a body. Like a fossil, these nomadic pieces reveal the identity of the pre-historic host but also resemble and may be seen as rocks or volcanic stone. The fossils are provocative and thoughtful sculptures, which function as sitting places or pieces of furniture, inspiring visitors to nestle and offer an interesting place to gather, read, have a pick-nick, and dream away with the movement of the clouds or the sounds of the city.

COR-TEN steel

Atelier Van Lieshout has created a series of artworks that symbolize the power of humanity over the natural world, the Domestikator series. These artworks pay tribute to the ingenuity, the sophistication and the capacities of humanity, to the power of organization, and to the use of this power to dominate, domesticate the natural environment.

Our capacity to shape the world, to create culture and wealth is a great achievement. At the same time, our relationship with nature has become severely disrupted, whilst our needs seem to be growing nonetheless. In order to support 7 billion people, agriculture has become an industry, with factory farming and genetic manipulation a necessity. This provides us with an ethical dilemma, as this kind of farming seems to border on abuse. At the same time, the literal abuse of animals, bestiality, is one of the last remaining taboos. Why is it that treating an animal like a fellow human is an unspeakable act, whilst treating an animal like a resource for industrial production is the norm?

Midwife (2015) was part of the following exhibition(s):
‘ArtZuid’, Amsterdam (NL), 2017

COR-TEN steel

The most advanced milking machines are controlled by the cows. Whenever needed, the cow activates a robot that takes its temperature, cleans its udder and extracts milk. It’s a fully automated system that involves no humans at all. Is it efficiency or animal cruelty? The ethical impact of technology is often difficult to ascertain.

Milkman (2015) was part of the following exhibition(s):
‘Let’s Get Physical’, Atelier Van Lieshout, Rotterdam (NL), 2020
‘ArtZuid’, Amsterdam (NL), 2017

For enquiries: please contact Atelier Van Lieshout via info@ateliervanlieshout.com

The Mechanical Turks 2015, an automaton that represents a symbiosis between man and machine.

The Monument references classical rider monuments and the political, military, and representative function of such statues: celebrating heroes of the past and current forces of power. However, in this monument the standard allegorical nature is replaced by stylised forms and fragmented bodies. The figurative and visual language of this work should be read as a warning signal, directed towards the present and future.

Fiberglass

Farming is one of a pillars of the New Tribal Labyrinth. Atelier van Lieshout will create farms for the future, but also from the pre-history, the year zero, the Middle Ages, the Golden Age, and post-war modernist utopia. The final goal is to create a larger than life farm which consist of all the individual farms, connected by tunnels, corridors, doors and hatches. By entering this farm, visitors will engage in labyrinth-like time-travel through the ages, past history, hope, family, utopia, self sufficiency, design and deviancy.

Hagioscoop is the first of this series, a large cross-shaped diorama set in the imaginary date of “year zero”. It consists of four parts: an large Adobe style kitchen, cave-like sleeping quarters, a deconstructivist carpenters workshop and a rough stable. The farm can be entered on the inside, but also viewed from the outside through small openings – comparable to the small windows which can be found in some churches, which enabled outcasts to witness the celebration of mass from outside – the so-called Hagioscoop.

Hagioscoop (2012) was part of the following exhibition(s):
‘Inner Spaces‘, MDD Museum, Deinze (BE), 2020
‘Vrijstaat’, Kasteel Keukenhof, Lisse (NL), 2014

Watch a video of Hagioscoop (2012) via this link

For the near future, Atelier Van Lieshout foresees the emergence of a new tribal world, a primitive society where production takes centre stage. This world will see a return to farming and industry – which currently both have been banished from our society – and a re-establishment of our relationship with materials – which now has been lost. In this new world, ethics will be of little importance. Instead, rituals will be re-valued, and will offer the tribes of the future guidance.

Atelier Van Lieshout is taking an advance on this future, and is creating all necessary equipment for the imaginary tribes, ranging from items of worship and sacrifice to objects for daily use, dwellings and machines. All these artworks together make the huge Gesamtkunstwerk that is New Tribal Labyrinth.

For the near future, Atelier Van Lieshout foresees the emergence of a new tribal world, a primitive society where production takes centre stage. This world will see a return to farming and industry – which currently both have been banished from our society – and a re-establishment of our relationship with materials – which now has been lost. In this new world, ethics will be of little importance. Instead, rituals will be re-valued, and will offer the tribes of the future guidance.

Atelier Van Lieshout is taking an advance on this future, and is creating all necessary equipment for the imaginary tribes, ranging from items of worship and sacrifice to objects for daily use, dwellings and machines. All these artworks together make the huge Gesamtkunstwerk that is New Tribal Labyrinth.

Fiberglass

Milling machines are versatile tools capable of producing anything from coarse metal sheeting to delicate sprockets. For AVL it is the industrial version of divine creativity. This one’s name derives from Christian iconography that depicts Jesus as the Pantokrator, the creator of everything.

Pantokrator (2015) was part of the following exhibition(s):
‘Let’s Get Physical’, Atelier Van Lieshout, Rotterdam (NL), 2020
‘Power Hammer’, GRIMM Gallery, Amsterdam (NL), 2015

AVL wants to start a Neo-Industrial Revolution by showing sculptures of machines and tools like the Drill. It wants to reinterpret and revalue the factories and manual labour of the Industrial Revolution, by creating sculptures, made in an improvised style with contemporary materials. AVL wants to see a return to the idealism of production, where the shape and character of the material determine the design. Sculptures of machines and tools are an ode to vanished industry. These machines not only refer to the romantic longing to industry but further to this they will be honored to emphasize the fact that they brought the Western society freedom, wealth and prosperity.

Joep van Lieshout explains: “Industry used to play a vital role, as it enabled societies based on farming to reach a higher level of development and prosperity. Nowadays, however, everything that reminds us of physical production has been banned from our society, and has subsequently been removed from our sight. Our role is only to design, no longer to produce. The only thing left in our sanitized world is consumption: retail, recreation, restaurants. AVL wants to protect Industry. Industry and production should be a part of our society, as should be manual labour, pollution and hardship. As a society we cannot just consume and use, real products should be made and grown.”

Embrace is an organically shaped sculpture, that doubles as a lamp. The work shows three figures embracing, enveloping, merging and becoming one form.  A tribal totem for worship that is also an element of van Lieshout’s New Tribal Labyrinth series.

Enquiries via Carpenters Workshop Gallery

Acrylic Resin

Notwithstanding its title, Black Madonna is not black. Instead, the artwork takes its inspiration from a statue Joep van Lieshout saw in the Royal Museum for Central Africa in Tervuren, Belgium. Its collections hold a large number of Central African artifacts which were acquired during Leopolds’ control over the Congo and the Belgian colonial era that followed. The weekend before the museum closed down in 2013, Joep van Lieshout went there on a pilgrimage. Of all the statues on display, one in particular impressed him: a female figure with child, which at the same time carries an axe.

The image did not leave him, and led him creating Black Madonna from memory. Black Madonna shows an axe-bearing mother-with-child, on a cube-shaped pedestal, which is topped by a hexagonal volume. The female figure has a protective function – guarding both life and the community – yet her weapons can also bring death and darkness. One could interpret her as a referral to of one of the darkest periods in Congolese history, when the area was under direct control of Leopold II. This period saw great atrocities against the Congolese. The Black Madonna’s choice of weapons might refer to these atrocities. At the same time as a guardian of her people she might just as well be using her weapons in an act of otherworldly revenge against the aggressors.

Black Madonna (2014) was part of the following exhibition(s):
‘The CryptoFuturist and The New Tribal Labyrinth’, Pioneer Works, New York (USA), 2019
‘Primitive Modern’, Almine Rech Gallery, Brussels (BE), 2015

Location: private collection.

Humanoid (2014) invites people to see the human soul in natural and manmade objects. This sculpture is the seed of thought for the larger public installation Humanoids (2019), which is permanently installed in the Collins Canal Park in Miami.

Fiberglass, styrofoam

Crisis brings out man’s true nature. Under pressure someone may prove a selfless hero or a cowardly opportunist. These helpers tend to the dead and wounded after a catastrophe. Or are they the occupier’s cronies dispatching fallen resistance fighters?

Helpers (2014) was part of the following exhibition(s):
‘Let’s Get Physical’, Atelier Van Lieshout, Rotterdam (NL), 2020
‘SlaveCity’, Zuecca Project Space, Venice (IT), 2016
‘Vrijstaat’, Kasteel Keukenhof, Lisse (NL), 2014

Since ancient times oracles have been both loved and feared messengers of advice. Atelier Van Lieshout made its own oracle in a style that reminds of primitive African art and resembles a totem or idol. The Oracle is made of steel and equipped with a mechanism that enables the giant head to talk and move its mouth, neck, ears and eyes.The Oracle reflects on power relations between and within society.

The work asks how people are mentally fed, what type of information we consume and how we reproduce this information, and how we reproduce this information. Do we formulate our own thoughts or mindlessly copy those of others? The Oracle touches on themes as freedom of speech, political correctness and incorrectness, and the (im)possibility of privacy and anonymity.

On May 5th, Liberation Day, (on which the German Army’s surrender in the Netherlands in 1945 is commemorated and the liberation of the country is celebrated), The Oracle was presented on Dam Square in Amsterdam. All day long The Oracle orated text messages from the public and reflected the views of the community. The Oracle received widespread attention from both national and international press.

The sculpture Drehmaschine is part of the “New Tribal Labyrinth”-series. For the near future, Atelier Van Lieshout foresees the emergence of a new tribal world, a primitive society where production takes centre stage. This world will see a return to farming and industry and a re-establishment of our relationship with materials – which now has been lost. AVL is creating all necessary equipment for the imaginary tribes, ranging from items of worship and sacrifice to objects for daily use, dwellings and machines.