Same but Different – Equinox to Equinox

September 20 the bi-annual Equinox festival took place in Dordrecht. This is a performancefestival organised by 222lodge, a local artists initiative. I try to perform everytime although I am not in the Netherlands sometimes . This time I was there with the performance “In search of my lost saviour”, originating in memories from my childhood in Noordwijk.

this way I worked on 25 paintings on one wall

In 1982 – 1984 I wrote down a number of those memories and painted them on unprepared cotton which I put on the wall. Before I made pictures of the locations where these memories took place, copied the pictures on A4 paper and covered that with caperol, a layer that would not be damaged by oilpaint. I glued the photographs on the canvas and over it I painted the memory, leaving part of the Photographs uncovered.

One memory handled about a dream, a situation where I was attacked by boys with sticks and stones, for whom I fled. At night I was wakened by a black boy who stood on a ladder at my sleeping room window to save me from those boys who were banging at our front door. Suddenly they were black also and the boy at my window said he was my friend and wanted to save me. He had feathers in his hair and was clad in nothing but a loin cloth. He said he was my friend and took me over his shoulder to ran away from my family home. I don’t remember more but the painting above is how I painted him.

Me performing “In search of my lost friend” during an hour in Dordrecht

The performance was intended to let the above shown painting in the water on the side of the performance site, but the place I had in mind was occupied by kids fishing and there were boats coming by regularly. I improvised immediately and decided to put the painting on the sidewalk and start fishing for it there. The image would work anyway. Then I covered myself with a large coat and as I expected the public to ask me what I was doing, I wanted to whisper “come into my tent” and cover the one who was asking and myself with the coat. Thus I would tell him that I was looking for my friend because there is an enemy again. I would ask him to take my hand and look for my friend together.
I included elements from other memories, like the crossed candles referring to the difficulties to express myself when I was young. As a catholic I would receive a yearly blessing for throat trouble which would be spoken out with the crossed candles on my throat. The coloured balloons referred to companies going around in a cart with horses in front of it. The cart was called a Jan van Gent and I always found the people on it radiated an obligatory merriness, it had a touch of drama for me. Because of this I let the balloons explode, I always found an empty balloon hanging down to express a certain sadness which relativizes a lot.

25 jaar De Aanschouw

19 Juli vond de eerste veiling plaats die in dit feestelijke jaar van de Aanschouw werd gehouden. In het najaar volgt nog een tweede. Voorafgaande aan de veiling werd een feestelijke lunch georganiseerd die wat minder werd bezocht. Na de veiling werd echter nog driftig uit de schalen geschept, dus veel zal er niet over zijn.
Het aanbod tijdens de veiling was wat ingehouden en afgezien van wat populaire Rotterdamse kunstenaars mochten de meeste deelnemers een bescheiden bedrag bijschrijven op hun conto. Niet alles werd verkocht wat o.a. te maken had met gevraagde minimum prijzen. Naast de te veilen stukken was verder nog een verjaardagstentoonstelling georganiseerd die ik graag in de veiling had gezien, daar zaten echte top-stukken bij zoals u op chmkoome’s blog kunt zien.

Zelf bracht ik het onderstaande schilderij in wat na wat twijfel toch voor een mooie prijs werd verkocht.

Kees Koomen: No More Poetry in Paradise – 2020

De Aanschouw

Unifying Fury

In June 2006 Ellen Rodenberg, Maarten Schepers, Hans Ensink op Kemna and I feld the need to organize more public for our visual art. We decided to start a collaboration under the name mêkh and began in the DCR, an initiative funded by the city of The Hague. At the time this building was under construction for multidisciplinary artists and craftsmen and a lot of pop-up events took place in the building. There was one little square space in the center of the ground floor where we showed for the first time. Our aim was to see if our works would strengthen eachother by unexpected contextual effects or by formal analogies or whatever. We decided to show one representative work each. We were so enthousiastic about the result that we continued looking for suitable exhibition spaces of specific character which we still do after twenty years.

mêkh at the chapel of DCR with above Kees Koomen, under the sculpture of Maarten Schepers and on the right Ellen Rodenberg
mêkh at the chapel of DCR with left Hans Ensink op Kemna, middle Maarten Schepers en on the right Kees Koomen

The collaboration has been very beneficial for me in many ways: it broadened my ways of looking at art, my choice of artistic disciplines of which some I started working with together with Hans, Maarten and Ellen, my social abilities, and most of all we were able to make many more exhibitions than we would have alone. After some time we were also able to exhibit in a number other countries. I am very grateful to my colleagues for being such good friends and colleagues, even although Hans, who is still a friend, left us after some years (hence EX-MÊKH, the collaboration formerly know as mêkh). Our graphic presentation was done by Ben Faydherbe from a certain moment. We refer to him as our underground member. I am equally grateful that he shares his abilities and friendship with us.

EX-MÊKH

Same but Different – Equinox to Equinox

On September 21 another performancefestival took place in Dordrecht under the above mentioned name. The location had changed to the square in front of the ancient city hall. Twenty two participants joined in the event on which everyone agreed was a successful edition of the festival. The new location also had some aspects that made it more suitable for this type of activities than De Hof which had been used untill now. I personally participated in a performance named Selfportrait in Shards, a collection of impressions of the day of the festival.

Tearing the shards and painting them white. I write notes in the wet paint.
Then I stick them to the wall of the city hall
Selfportrait in Shards- 2025

For more on the festival, see chmkoome’s blog

You’re so welcome!

Galerie Sophie in Den Haag will intensify its programme in the coming year. As a start it will open a group-exhibition under the name You’re so welcome! with artists the gallery worked with before. To broaden their programme they asked participating artists to invite one artist they liked to present work in the same exhibition. The opening will take place during Hoogtij, the two monthly open night of art-spaces in Den Haag.

I was asked to participate after several shows I took part in. I will show two portraits of my Malieveld invites series in oilpaint on stone paper.

Anonyme Zeichner*innen 2025

This exhibition changed venue to the Kunsthaus in Erfurt after a succesful edition in Berlin last fall. My Shard – , drawing is still in it untill March 28 and it is still for sale for € 250,- also on-line. After Erfurt the exhibition will move to Hamburg where it will be shown from May 16th untill June 5 in in Hypercultural Passengers.

Installation view Erfurt
Shard (The diaries: Greece diary – Santorini 1993)

Anonyme Zeichner*innen

De Aanschouw benefit auction

The yearly benefit auction for De Aanschouw, Rotterdams smallest art gallery, was held March 2 in studio building Het Wilde Weten in Rotterdam. I offered one of my shard-drawings to be sold, archeology of my past. A reasonable price was offered after a long rally in which the auctioneer, Rotterdam Artist Inge Aanstoot, did her very best to raise the biddings. The benefit was a succes: the art that was offered and sales were very satisfying.

The bidding is on!
Shard (The Diaries (San Francisco 2016) – 2021

You can find an account of the auction here!

Anonyme Zeichner*innen 2024

November 15, 2024 – January 12, 2025 – Kunstraum Kreuzberg, Berlin (D)

Tijdens de tweejaarlijkse tentoonstelling Anonyme Zeichnungen 2024 hangt ook werk van mij tussen de duizend andere tekeningen. Het betreft een grote expositie met tekeningen van een beperkte grootte waarvoor een call uitging. In Kunstraum Kreuzberg hangen in een aantal zalen van verschillende kleur grote of kleinere groepen van tekeningen. Het geheel oogt wat overdonderend. Ik kon niet naar de opening, maar kreeg installatiefoto’s van de organisatie.

Rara, waar ben ik?
Shard (Greece diary 1993: Santorini)

@ Hybrid Art Fair 2024

I presented four portraits from my series New Encounters in the EX-MÊKH exhibition ¿De Donde?. They represent people I notice on weekly walks to the Malieveld in Den Haag. I write a description in my telephone and mail it home. Then, in my studio, I paint the portraits in oilpaint on stone paper. I also write words from the texts in the painting. It is a hommage to Francisco Goya whose drawings and comments I admire greatly.
In the Petit Palace Hotel I presented two portraits on a background of text, written on the wall with one wollen thread and two portraits without backgrounds. Also, above the bed in the room I wrote a text with one red woolen thread: Her spine moved like a snake . The wall was almost black there with blue in it which contrasted beautifully with the red of the text. Maarten Schepers placed sculpture on the bed underneath which in one blink could have been paws of animals, maybe pre-historic, which would have suggested fossiles. On the other hand the work could also have been seen as flowers on a grave or a monument. This would have turned the bed into a place of memory. The contrast with my text, which to me has an erotic connotation, placed above the bed as it was, opened a lot of associations to me. It enables me to eleborate on this way of working.

Her Spine Moved Like a Snake
Maarten Schepers: Flowerfeet
A Sudden Fit of Melancholia
It looks Like They Are Dissolving
left: I Imagine Them Speaking French Inside
right: You Are Right, You Have a Good Point There