Bourgeois Leftovers

Bourgeois Leftovers

De Appel Arts Center
Amsterdam, The Netherlands

With additional programming at:
Stedelijk Museum Amsterdam
EYE Film Institute Netherlands
Van Abbemuseum
San Serriffe art book shop

April 19–June 16, 2013

Bourgeois Leftovers hosts a group of unlikely conversation partners at de Appel arts centre in Amsterdam. The exhibition presents 32 Dutch genre paintings left over from the current Van Abbemuseum collection display, together with 19 commissions and contributions from contemporary artists.

18 April, 1936

Business rests for the day. The Tobacco Baron sits in his parlour.

[A knock at the door]

The Art Collector has come to call. They swiftly move to the dining room. Not much is said. Both know, economic matters of grave importance will have to be discussed. But this can wait until after food has been served.

[Another knock]

The Visitor arrives late. Very late. By the time she is led in to the dining room, the Collector and the Baron have long moved on to the smoking room. She finds their plates on the table. Each has left a piece of steak behind. Why, she thinks. These are hard times. Were they not hungry? I am.

Contemporary artists (exhibition)
Ayreen AnastasRuth BuchananJota CastroDina DanishLydia DavisJudith DeschampsMarlene DumasChris EvansRene GabriWill HolderJugedamos (Jurgis PaškevičiusGeraldine GeffriaudDavid Bernstein), Alison KnowlesMatthieu LauretteGabriel LesterDaragh ReevesBarbara VisserTimmy van Zoelen

Historical artists (exhibition)
Johanna Bauer-Stumpff, Hubert Bekman, Arnout Colnot, Lucie van Dam van Isselt, Jacob Dooyewaard, Willem Dooyewaard, Edgar Fernhout, Johannes Franken, Jan Goedhart, Herman Heijenbrock, Georg Hering, Jan van Herwijnen, Eduard Karsen, Conrad Kickert, Willem Knip, Ernst Leyden, Sal Meijer, Dirk Nijland, Bart Peizel, Wim van de Plas, Coba Ritsema, Dio Rovers, Wout Schram, Albert Servaes, William Henry Singer, Jan Sluijters, Walter Vaes, Jan Voerman, Cornelis Vreedenburgh, Betsy Westendorp-Osieck, and Matthieu Wiegman

Public programming
Balthazar Berling & Lukas Hoffmann, David Bernstein, Eric Girudet de Boudemange, Ann Demeester, Judith Deschamps, Olivia Dunbar, Guy Edmonds, Charles Esche, Hendrik Folkerts, Moosje Goosen, Yvonne Grootenboer, Roderick Heitbrink, Zhana Ivanova, Daniel Jacoby, Mark Jansen, Jugedamos (Jurgis Paškevičius, Géraldine Longueville, and David Bernstein), Tamara Kuselman, Gabriel Lester, Ruth Noack, Ana Navas, Jurgis Paškevičius, Bart Julius Peters, Daragh Reeves, Elif Rongen-Kaynakçı, Britte Sloothaak, Barbara Visser, Arnisa Zeqo, Vivian Ziherl

De Appel CP coordination
Guus van Engelshoven, Moosje Goosen, Nathalie Hartjes

De Appel arts centre
Anna Andersson, Ann Demeester, Nell Donkers, Edna van Duyn, Marina Fränkel, Justin Gosker, Lara Hillebrants, Tony Hofman, Marieke Istha, Renée Jongejan, Saskia van der Kroef, Sjoerd Tim, Remco de Vries

Graphic design
Bart de Baets

Curatorial assistance
Marjolein van der Loo, Renske Noordhuis

Co-curated with
Karima Boudou, Kari Cwynar, Angela Jerardi, Srajana Kaikini, Florencia Portocarrero

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Daragh Reeves “A Still Life of a Cigarette and Smoke”
Cigarette, nylon thread, feathers, lint, wool fibres, glue, 2013
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Johanna Bauer-Stumpff “Antinous” 
Oil on canvas, 1935
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Timmy van Zoelen “Miasmic Revisionism (Clinical PDF)” 
Paper, ink, wax, 2013
—–
(Photograph: Cassander Eeftinck Schattenkerk)
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Daragh Reeves “A Still Life of a Cigarette and Smoke”
Cigarette, nylon thread, feathers, lint, wool fibres, glue, 2013
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(Photo: Cassander Eeftinck Schattenkerk)
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Betsy Westendorp-Osieck “The Little Hat”
Oil on canvas, Undated
—–
Coba Ritsema “Still Life with Statue”
Oil on canvas, Undated
—–
Will Holder, Reproduction of Edgar Fernhout, “Damesportret” / Portrait of a Lady, (1937) “… for single mothers.”
500 four-colour offset postcards, produced and sold by Van Abbemuseum, Eindhoven, 2013
—–
Dina Danish “The Witch and a Shipwreck Full of Paintings”
Materials variable, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Dina Danish “The Witch and a Shipwreck Full of Paintings”
Materials variable, 2013
—–
Ruth Buchanan “A Condition”
Coated steel support structure, audio 9’06″, 2013
—–
Dirk Nijland “Still Life with Skull”
Oil on canvas, 1932
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Bart Peizel “Still Life with Books”
Oil on canvas, 1933
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Dirk Nijland “Still Life with Nautical Instruments (Homage à Conrad)”
Oil on canvas, 1935
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Dina Danish “The Witch and a Shipwreck Full of Paintings” (excerpt)
Materials variable, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Ruth Buchanan “A Condition”
Coated steel support structure, audio 9’06″, 2013
—–
Dirk Nijland “Still Life with Skull”
Oil on canvas, 1932
—–
Bart Peizel “Still Life with Books”
Oil on canvas, 1933
—–
Dirk Nijland “Still Life with Nautical Instruments (Homage à Conrad)”
Oil on canvas, 1935
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Will Holder, Reproduction of Edgar Fernhout, “Damesportret” / Portrait of a Lady, (1937) “… for single mothers.”
500 four-colour offset postcards, produced and sold by Van Abbemuseum, Eindhoven, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Barbara Visser “17 Left Out Leftovers (Bourgeois)”
Paint, colors, 2013
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Barbara Visser “17 Farrow & Ball Archive Colours”
Photographs, paper prints, 2013
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(Photo: Cassander Eeftinck Schattenkerk)
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Barbara Visser “17 Left Out Leftovers (Bourgeois)”
Photographs, paper prints, 2013
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(Photo: Cassander Eeftinck Schattenkerk)
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Marlene Dumas “Rejects”
Mixed media on paper, Ongoing series
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Marlene Dumas “Rejects” (excerpt)
Mixed media on paper, Ongoing series
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Albert Servaes “Portrait of Henri van Abbe”
Oil on canvas, 1937
—–
Jota Castro “Polvo y Ceniza”
Materials variable, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Jota Castro “Polvo y Ceniza” (excerpt)
Materials variable, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Jota Castro “Polvo y Ceniza” (excerpt)
Materials variable, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Albert Servaes “Portrait of Henri van Abbe”
Oil on canvas, 1937
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Jota Castro “Polvo y Ceniza”
Materials variable, 2013
—–
Albert Servaes “Portrait of Henri van Abbe”
Oil on canvas, 1937
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Jota Castro “Polvo y Ceniza”
Materials variable, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Jota Castro “Polvo y Ceniza” (excerpt)
Materials variable, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Daragh Reeves “Portrait of Eliza Watching ‘My Fair Lady’ on TV”
Ink on found paper, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Jan Goedhart, Untitled
Oli on canvas, 1933
—–
Walter Vaes “Portrait of a Girl”
Oil on canvas, 1936
—–
Georg Hering “Fisherman from Volendam”
Oil on canvas, 1931
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Walter Vaes “Portrait of a Girl”
Oil on canvas, 1936
—–
Judith Deschamps “A Talk to the Leftovers”
Installation, re-creation of a space with chairs, table, beamer, speakers, images, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Edgar Fernhout “Portrait of a Lady”
Oil on canvas, 1937
—–
Lydia Davis “Suddenly Afraid” 
Copyright © 1999 by Lydia Davis. First appeared in Bomb Magazine. Reprinted with permission of the Denise Shannon Literary Agency, Inc. All rights reserved. 
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Wim van de Plas “Kid Oliveira (boxer)”
Oil on canvas, 1939
—–
Johannes Franken “Portrait of Eliza”
Oil on canvas, 1939
—–
Gabriel Lester “Cookie 1 & 2 (Koekeloeren 1 & 2)”
Materials variable, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Johannes Franken “Portrait of Eliza”
Oil on canvas, 1939
—–
Gabriel Lester “Cookie 1 & 2 (Koekeloeren 1 & 2)”
Materials variable, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Johannes Franken “Portrait of Eliza”
Oil on canvas, 1939
—–
Ernst Leyden “Portrait of Joep Nicolaas”
Oil on canvas, 1935
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Gabriel Lester “Cookie 1 & 2 (Koekeloeren 1 & 2)”
Materials variable, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Edgar Fernhout “Portrait of a Lady”
Oil on canvas, 1937
—–
Lydia Davis “Suddenly Afraid” 
Copyright © 1999 by Lydia Davis. First appeared in Bomb Magazine. Reprinted with permission of the Denise Shannon Literary Agency, Inc. All rights reserved.
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Jan Sluijters “Reclining Nude”
Oil on canvas, 1935
—–
Barbara Visser “17 Farrow & Ball Archive Colours” 
Paint colors, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Jan Sluijters “Reclining Nude”
Oil on canvas, 1931
—–
Barbara Visser “17 Farrow & Ball Archive Colours”
Paint colors, 2013
—–
Lucie van Dam van Isselt “Watercress with Plover Eggs”
Oil on canvas, 1939
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Matthieu Laurette “THINGS (Purchased With Funds Provided By)” (excerpt)
Installation composed of a series of 50 contracts and a neon sign, 2010–2020
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Matthieu Laurette “THINGS (Purchased With Funds Provided By)” 
Installation composed of a series of 50 contracts and a neon sign, 2010–2020
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Matthieu Laurette “THINGS (Purchased With Funds Provided By)” 
Installation composed of a series of 50 contracts and a neon sign, 2010–2020
—–
(Photo: Cassander Eeftinck Schattenkerk)
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The 14 paintings on this wall are ordered according to their insurance value (from left to right, top to bottom), with four contributions by Lydia Davis.
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(Photo: Cassander Eeftinck Schattenkerk)
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1. DIO ROVERS “Still Life with Hen” Oil on canvas, undated —–  2. JAN VAN HERWIJNEN “Forest View” Oil on canvas, 1936 —– LYDIA DAVIS “The Outing” Copyright © 1995 by Lydia Davis. First appeared in the literary journal Conjunctions. Reprinted with permission of the Denise Shannon Literary Agency, Inc. All rights reserved. —– 3. JACOB DOOYEWAARD “Still Life with Pewter Pitcher” Oil on canvas, 1935 —– 4. EDUARD KARSEN “Beguinage in Autumn” Oil on canvas, undated —– 5. CONRAD KICKERT “Still Life with Fish and Birds” Oil on canvas, 1931 
—– LYDIA DAVIS, The Fish. Copyright © 1986 by Lydia Davis. First appeared in 43 Poets (1984), ed. Bernstein in the journal boundary 2: Binghamton, 1987. Reprinted with permission of the Denise Shannon Literary Agency, Inc. All rights reserved. —– 6. WILLIAM HENRY SINGER “Summer Day” Oil on canvas, 1929 —– 7. WILLEM KNIP “Les Matiques at Night” Oil on canvas, 1933 —– 8. WOUT SCHRAM “Still Life with Bottle” Oil on canvas, undated —– 9. SAL MEIJER “Tower Sluice” Oil on canvas, undated —– 10. HERMAN HEIJENBROCK “Steel Factories in Wales” Oil on canvas, 1937 —– 11. MATTHIEU WIEGMAN “Portrait of Trees” Oil on canvas, undated
—– 
(Photo: Cassander Eeftinck Schattenkerk)
Exhibition ' Bourgeois Leftovers' in De Appel, Amsterdam, april 2013
(9. SAL MEIJER “Tower Sluice” Oil on canvas, undated) —– (10. HERMAN HEIJENBROCK “Steel Factories in Wales” Oil on canvas, 1937) —– (11. MATTHIEU WIEGMAN “Portrait of Trees” Oil on canvas, undated) —– 12. ARNOUT COLNOT “Still Life with Blackcocks” Oil on canvas, undated —– 13. CORNELIUS VREEDENBURGH “Polder Landscape” Oil on canvas, 1931 —– LYDIA DAVIS “In a House Besieged” Copyright © 1984 by Lydia Davis. First appeared in Dog Hair Press postcard. Reprinted with permission of the Denise Shannon Literary Agency, Inc. All rights reserved. —– 14. GÉ RÖLING, Yearly Fair in Sicily” Oil on canvas, 1933 —– LYDIA DAVIS “They Take Turns Using a Word They Like.” Copyright © 1999 by Lydia Davis. First appeared in Bomb Magazine. Reprinted with permission of the Denise Shannon Literary Agency, Inc. All rights reserved.
—– 
(Photo: Cassander Eeftinck Schattenkerk)
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Wout Schram “Still Life with Bottle”
Oil on canvas, undated
—–
(Photo: Cassander Eeftinck Schattenkerk)
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(Photo: Cassander Eeftinck Schattenkerk)
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Alison Knowles
SHOES OF YOUR CHOICE for Wies
Materials variable, 1962, 2013
“I am honored to be in your shoe Bourgeois Leftovers.”
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Ayreen Anastas, Rene Gabri
A. The title of this work refuses to give itself.
B. The title of this work is ‘on strike’.
Materials variable, 2013
—–
The artists Ayreen Anastas and Rene Gabri propose to use the duration of the exhibition and their distance from Amsterdam as elemental parts of their contribution. Over the course of this exhibition at de Appel arts centre, they will be mailing traces of movements – intellectual, political, emotional, spatial, temporal – establishing some dialogue with or departing from the notion of “bourgeois leftovers.”
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(Photo: Cassander Eeftinck Schattenkerk)
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Alison Knowles “TIME SAMPLES” 
Materials variable, 2010–2013
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(Photo: Cassander Eeftinck Schattenkerk)
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(Photo: Cassander Eeftinck Schattenkerk)
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Timmy van Zoelen “Miasmic Revisionism (Clinical PDF)” 
Paper, ink, wax, 2013
—–
(Photo: Cassander Eeftinck Schattenkerk)
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Johanna Bauer-Stumpff “Antinous” 
Oil on canvas, 1935
—–
Timmy van Zoelen “Miasmic Revisionism (Clinical PDF)” 
Paper, ink, wax, 2013
—–
(Photo: Marjolein van der Loo & Renske Noordhuis)
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Opening night (Photo: Marjolein van der Loo & Renske Noordhuis)
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Opening night (Photo: Marjolein van der Loo & Renske Noordhuis)
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Performance by Matthieu Laurette on the opening night (Photo: Marjolein van der Loo & Renske Noordhuis)
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Performance by Matthieu Laurette on the opening night (Photo: Marjolein van der Loo & Renske Noordhuis)
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Opening night (Photo: Marjolein van der Loo & Renske Noordhuis)
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Opening night (Photo: Marjolein van der Loo & Renske Noordhuis)
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Opening night (Photo: Marjolein van der Loo & Renske Noordhuis)
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Will Holder, Reproduction of Edgar Fernhout, “Damesportret” / Portrait of a Lady, (1937) “… for single mothers.”
500 four-colour offset postcards, produced and sold by Van Abbemuseum, Eindhoven, 2013
—–
(Photo: Alexandra Stock)

Public programming

Cinematic Leftovers
23 April 2013
EYE Film Institute of the Netherlands

Guy Edmonds, film restorer and archivist
Daragh Reeves, artist
Elif Rongen-Kaynakçı, Silent Film Specialist at the EYE Film Institute of the Netherlands
Moderated by Alexandra Stock

In the context of Bourgeois Leftovers and in collaboration with the e*cinema Academy series at the EYE Film Institute of the Netherlands, this panel presents a cinematic evening exploring – in the broadest sense – leftovers: archival material, found footage and outdated technologies, leftover perspectives, and the worst seat in the house.

Featuring three filmic experiments by artist Daragh Reeves, an excerpt from film restorer and archivist Guy Edmonds’ occasional screening series “Saloon of Refuse,” and a presentation of film scraps and research deep into the archive with Elif Rongen-Kaynakçi, the silent film specialist at the EYE Film Institute of the Netherlands. Organized in collaboration with EYE Film Institute and moderated by Alexandra Stock.

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Q&A with Barbara Visser
4 May 2013
de Appel arts centre

On the occasion of the exhibition “Bourgeois Leftovers,” you are invited to a discussion between participating artist Barbara Visser and curators Karima Boudou, Kari Cwynar, Angela Jerardi, Srajana Kaikini, Florencia Portocarrero, and Alexandra Stock. This conversation will offer insight into the curatorial process and the making of the exhibition. Moderated by Barbara Visser.

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Barbara Visser (moderator), Florencia Portocarrero, Kari Cwynar, Alexandra Stock, Angela Jerardi, Srajana Kaikini, and Karima Boudou (Photo: Marjolein van der Loo)
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(Photo: Marjolein van der Loo)

Pastapun Met Mint Oysters 
12 May 2013
de Appel arts centre

Jugedamos is a collaborative pun invented by Jurgis Paškevičius, Géraldine Longueville, and David Bernstein that plays according to the context where it’s hosted. The artists produce a new language that translates the looseness of both understanding and misunderstanding to generate stories, theories and displays.

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David Bernstein, Jurgis Paškevičius, Géraldine Longueville

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David Bernstein, Géraldine Longueville, Jurgis Paškevičius

How to Behave & How to Amuse
17 May 2013
de Appel arts centre

With: Balthazar Berling & Lukas Hoffmann, David Bernstein, Eric Girudet de Boudemange, Ann Demeester, Charles Esche, Yvonne Grootenboer, Roderick Heitbrink, Zhana Ivanova, Daniel Jacoby, Mark Jansen, Gabriel Lester, Ruth Noack, Ana Navas, Jurgis Paškevičius, Bart Julius Peters, Vivian Ziherl

The bourgeoisie: a state of mind, not a state of pocket.

In the context of the exhibition Bourgeois Leftovers, the de Appel Curatorial Programme requests the pleasure of your presence at de Appel arts centre for a special evening concocted in collaboration with artist Gabriel Lester. The proceeds of the evening will be invested in the publication concluding the exhibition Bourgeois Leftovers.

Inspired by bourgeois etiquette and social mores, this evening, which is a unique combination of performance events and a fundraiser, will furnish hints that may prove useful in dealing with social obligations of the most frequent occurrence: parlour etiquette, the exhibition vernissage, the cocktail party. Playing on the bourgeois values we consciously or unconsciously perform, a menagerie of amusements and etiquette lessons have been prepared by artists, curators, and other flâneurs and will be for sale to our guests via a menu. These experiences will be available for this one night only! They are to be experienced immediately after they are purchased, following one convention of the bourgeois sensibility: the expectation of instant gratification.

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Design: Alexandra Stock
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Guus van Engelshoven, co-ordinator of the Appel Curatorial Programme

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Ann Demeester, director of de Appel arts centre

Is This a Good Painting? Part 1 
24 May 2013
Stedelijk Museum Amsterdam

With: Hendrik Folkerts, Britte Sloothaak

The Stedelijk Museum and de Appel arts centre present “Is This a Good Painting?”, a reading group dedicated to“Bourgeois Leftovers,” the current exhibition at de Appel.

“Bourgeois Leftovers” began with an interest in the “leftover” status assigned to a set of historical paintings found at the Van Abbemuseum in October 2012, and its relation to questions of “newness” and the pressure to be contemporary. To revisit this point of departure, this first reading group session will draw attention to the questions Boris Groys raises about the museum’s role in distinguishing between old and new, as well as the ways in which current artistic production operates in relation to this distinction and to the legacy of the fine arts.

A Walk to the Leftovers 
26 May 2013
de Appel arts centre

A Walk to the Leftovers is a performative tour re-enacting Judith Deschamps’ work in the exhibition Bourgeois Leftovers.

On 26 May 2013, Judith Deschamps gave a guided tour titled A Walk to the Leftovers. The tour questioned the uncertainty of the reality, continuously crossed by other times. On 26 May 2013, Judith Deschamps will give the same tour, A Walk to the Leftovers, and will focus on leftovers, excess, and more particularly about what she considers to be “ghosts”. With the presence of a cultural mediator, the artist will go through the exhibition and then examine her own installation.

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Is This a Good Painting? Part 2
7 June 2013
de Appel arts centre

The Stedelijk Museum and the de Appel Curatorial Programme present the second session of the Bourgeois Leftovers reading group. This evening at de Appel arts centre features reading or text-based performances from four writers and artists (Olivia Dunbar, Moosje Goosen, Tamara Kuselman, and Arnisa Zeqo), who will each read beside or in relation to a chosen painting on display.

The event proposes reading as a way of establishing personal and intuitive relationships with the historical art object, without seeking to “recuperate” or interpret. Taking inspiration from Susan Sontag and Donald Barthelme’s call for subjective and sensuous responses to works of art, we invite guests to join us in considering new ways of reading (to the) paintings.

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Audience participation at a performance by Olivia Dunbar
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Olivia Dunbar
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Moosje Goosen
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Audience participation at a performance by Tamara Kuselman
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Audience participation at a performance by Tamara Kuselman
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Arnisa Zeqo
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Launch of the Bourgeois Leftovers reader at San Serriffe. The publication was edited by Kari Cwynar and Srajana Kaikini, produced with Mousse Publishing, and dedicated to Seth Siegelaub.  (11 September 2013)

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Curatorial visit to the depot of the Van Abbemuseum

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Curators Kari Cwynar, Srajana Kaikini (Photo: Alexandra Stock)
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Curator Kari Cwynar (Photo: Alexandra Stock)
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Photo: Alexandra Stock

And the moment that started it all:

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Kari Cwynar and Charles Esche at the Van Abbemuseum

Press
Metrolopolis M (Dutch)
Lost Painters (Dutch)
Cultuurbewust (Dutch)
Daily Serving (Dutch)
Eindhovens Dagblad (Dutch)
Het Parool (Dutch)
Financieel Dagblad (Dutch)
De Groene Amsterdammer (Dutch)

Other

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