Atelier Van Lieshout

Fiberglass

This tree of life bears body-shaped fruit in various stages of ripeness. This is a celebration of life or perhaps these are the ‘strange fruit’ jazz singer Billie Holiday referred to in her 1938 song: the victims of lynch mobs. Birth and death grow on the same tree.

Tree of Life (2016) was part of the following exhibition(s):
‘Let’s Get Physical’, Atelier Van Lieshout, Rotterdam (NL), 2020
‘SlaveCity’, De Pont, Tilburg (NL), 2016

Molecules and atoms are sculptor Joep van Lieshout’s most recent obsession. They hold his imagination because he is currently researching the origin of matter, material and form. In addition, he is working on the development of a nuclear power plant, as part of a vision on a new, ecological, high-tech society. This has inspired him to create a series of artworks which take the structure of molecules as a source of inspiration. The works, however, area literal reference, but offer a sculptural interpretation, an artistic and contemporary version of the abstracted scientific structure.

The molecule represents Glucose (C6H12O6), the primary source of energy for human life.  Glucose is a key element for human life. Without glucose, nothing would function: neither the brain, intelligence, thought, muscles, movement or sports. Without energy, not only our lives but also our machines and our cities would come to a standstill – with great, empty, eternal stillness as the result. Energy is the vital force which drives our world, brings it its color, its joy, its vibrancy, its life. It is literally ‘the beginning of everything’.

Molecules and atoms are sculptor Joep van Lieshout’s most recent obsession. They hold his imagination because he is currently researching the origin of matter, material and form. In addition, he is working on the development of a nuclear power plant, as part of a vision on a new, ecological, high-tech society. This has inspired him to create a series of artworks which take the structure of molecules as a source of inspiration. The works, however, area literal reference, but offer a sculptural interpretation, an artistic and contemporary version of the abstracted scientific structure.

The molecule represents Glucose (C6H12O6), the primary source of energy for human life.  Glucose is a key element for human life. Without glucose, nothing would function: neither the brain, intelligence, thought, muscles, movement or sports. Without energy, not only our lives but also our machines and our cities would come to a standstill – with great, empty, eternal stillness as the result. Energy is the vital force which drives our world, brings it its color, its joy, its vibrancy, its life. It is literally ‘the beginning of everything’.

Molecules and atoms are sculptor Joep van Lieshout’s most recent obsession. They hold his imagination because he is currently researching the origin of matter, material and form. In addition, he is working on the development of a nuclear power plant, as part of a vision on a new, ecological, high-tech society. This has inspired him to create a series of artworks which take the structure of molecules as a source of inspiration. The works, however, are not a literal reference, but offer a sculptural interpretation, an artistic and contemporary version of the abstracted scientific structure

Happy Molecule pays homage to the Ethanol molecule (C2H6O), which has both a destructive and redeeming effect on human life and the world. It is the vital ingredient in all alcoholic beverage, making it a source of problems, due to its addictive nature. On the other hand, it also offers a relief from these problems, an escape from reality.

Art Basel 2016, Galería OMR

Molecules and atoms are sculptor Joep van Lieshout’s most recent obsession. They hold his imagination because he is currently researching the origin of matter, material and form. In addition, he is working on the development of a nuclear power plant, as part of a vision on a new, ecological, high-tech society. This has inspired him to create a series of artworks which take the structure of molecules as a source of inspiration. The works, however, area literal reference, but offer a sculptural interpretation, an artistic and contemporary version of the abstracted scientific structure.

The Molecule That Solves Every Problem pays homage to the Ethanol molecule (C2H6O), which has both a destructive and redeeming effect on human life and the world. It is the vital ingredient in all alcoholic beverage, making it a source of problems, due to its addictive nature. On the other hand, it also offers a relief from these problems, an escape from reality.

The Molecule that Solves Every Problem (2016) was part of the following exhibition(s):
‘Poly Pluto Pluri’, Galería OMR, Mexico City (MX), 2017

The kinetic artwork Intercontinental by Atelier Van Lieshout is a model of one of the brothels from the SlaveCity project, and offers a visual representation of the different women in the world.

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.

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.

Loom (2016) was part of the following exhibition(s):
‘ArtZuid’, Amsterdam (NL), 2017

Bronze
Edition 8 + 4 AP
42 cm x 28 cm x 28 cm

The Burghers symbolizes the ever-present human dilemma: the choice between the known and the unknown, between security and insecurity, between tradition and progress. The monumental sculpture draws from a universal and timeless theme: what does one do in an emergency situation? The figures, huddled together like a Laocoon, represent the different emotions that people go through in a time of conflict: heroism, fear, rebellion, survival, escape, compassion, cowardice, joy, loneliness – a mass of humans, insecure, doubtful and chaotic.

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

An abstracted sculpture of a pig which deifies the animal making it into a sacred monument for ritual. An element of Van Lieshout’s 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

COR-Ten steel

The kiss is a recurrent theme in art history, from August Rodin’s sculptural interpretation to Gustav Klimt’s gold plated version as well as pop artist Roy Lichtenstein’s comic book style embrace. AVL adds its own cheerful interpretation using cows.

Kiss (2015) was part of the following exhibition(s):
‘Let’s Get Physical’, Atelier Van Lieshout, Rotterdam (NL)

Bronze

Rising from the rubble of the apocalypse, The Leader is a takedown of colonial monuments. The sculpture of a rider and donkey draped in folds of thick bronze conceals a structurally hollow interior, a metaphor for our times. We ask ourselves: “is this leader present, absent, democratic, good, bad, or ugly?”.

The Leader (2015) was part of the following exhibition(s):
‘ArtZuid’, Amsterdam (NL), 2019
‘Ferrotopia’, NDSM, Amsterdam (NL), 2018

Ballerina shows us a well-intended but unachieved attempt to attain symmetry. The sculpture springs from Joep van Lieshout’s desire to create geometrical form in an intuitive, expressive and impulsive fashion, and from his exploration of the relationship between the human body and geometry. The intentionally asymmetrical sculpture reminds us of the balance of the human body and the dynamics of movement.

Not by coincidence, Ballerina draws on the visual language of the costumes of the Ballet Russes, which in themselves were also a reflection on balance, movement and asymmetry.

Galerie Jousse Entreprise, Paris

Fiberglass

Location: private collection.

Untitled is a sculptural interpretation of a Pietà, and a reference to one of the most well know artistic representations of the sorrowful Virgin Mary, the sculptural group by Michelangelo in Rome’s St. Peters Basilica. At the same time, it draws on the visual language of 20th century movements in art: futurism, cubism, abstract expressionism. Pietà is a modern-day presentation of a centuries-old representation of sorrow.

Marble cast

This classically sculpted foot marries old Roman sculptural characteristics and modern cubist art. It refers to Constantin’s Colossus in Rome, and Hermes — the divine messenger of the ancient Greeks. It exudes movement and energy: an invitation to step into the future.

Le Foot (2015) 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
‘Der Hausfreund’, Galerie Krinzinger, Vienna (AT), 2016

Pipecutter is multi-layered, a work of many meanings: it raises a monument for humble tools, whilst its’ embryonic form refers to the small but overpowering origins of human life. The statue is cradled by an umbilical metal pedestal, which in turn is connected to a simple, crib-like chair – the AVL-Shaker chair. The chair appears to have been the focal point of shamanist rituals or offerings, in contrast with the Pipe Cutter itself, a virginal ideal image in pure white composite.

The AVL-Shaker chair was conceived in 1999, inspired by the furniture created by the Shakers. It was, however, intended as a furniture piece for the ideal dwelling of the Una Bomber, which in turn was part of an installation at the Walker Art Center entitled The Good, the Bad and the Ugly.

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.

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

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.

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.

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.

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.”

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.