NEW BOOK: "L'Amour fou". Paperback, 204 pages.
Text "L'Amour fou" by Frits Achten.
Text "Desire solidified" by Aernout Hagen.
Photography: Winnifred Limburg.
Design: Barends & Pijnappel
Price: € 30,00
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Walls of Art- L'amour fou | Carolein Smit
solo show
Flatland Gallery, Amsterdam
Opening reception: Saturday 5 September, 4 pm – 6 pm
from 05 September 2015 till 03 October 2015
With: Carolein Smit
Flatland Gallery is pleased to announce the solo exhibition of Carolein Smit’s newest works Walls of Art. The show forms a preview of Smit’s grand solo exposition, taking place at the Victoria and Albert Museum in London in 2017/2018. It will present the artist’s white ceramic reliefs in a classical, Jasperware-like setting, displaying them on light grey-blue walls.

Smit’s newest project will not go unnoticed, certainly not to those who are familiar with her earlier sculptures, overblown baroque-like compositions, filled with lush, rich, and colourful decoration. Her recent work, however still retaining a morbid touch (Smit’s distinctive signature), is classical in form. Using only two colours: white and grey-blue, as well as traditional ornaments, she creates a delicate and peaceful atmosphere of elegant and harmonious grandeur.

Walls as an integral piece of art
Throughout the history of painting two contrasting artistic approaches can be traced. The first of them is strictly integrating an artwork within the walls, where it is presented, forming an optical illusion, trompe l’oeil. This originated in fresco painting in antiquity (think of Pompeii) and gained notable popularity in the baroque, when artists strove to trick the human eye. Such creativity continues to this day, and is also visible in contemporary art. In 2014 this could be seen in the works by Jasper Johns and Roy Lichtenstein during the exhibition “Walls” at the Castelli Gallery in New York. The show focused on the idea of incorporating a portion of a wall into the subject matter of an artwork.

The second artistic attitude towards walls forms a contrast with the aforementioned one. Here painters present artworks in a three dimensional fashion, with part of it protruding out of the flat surface into the space of the viewer. Cubistic and Dadaistic assemblages come to mind, as well as conceptual paintings. Famous examples can also be seen in Anselm Kiefer’s artworks using mixed media and applications, or Robert Rauschenberg’s addition of found objects to his paintings. These artists created their paintings for different reasons to express various ideas, but used similar techniques.

Not only in paintings, but also in sculptures the appreciating of walls can be spotted. Carolein Smit is shifting from her three-dimensional style of sculpting towards two-dimensional reliefs, hanging flat on walls. Her works are being both literally and figuratively speaking in close connection with their background. Walls, whose colours are deliberately chosen by the artist to be grey-blue, are integrated in her newest project. Without them the artworks would not be complete. Her white, shiny reliefs decorate the surrounding and together with their background form an inseparable whole. The classical usage of colours and ornaments intentionally evokes the style of Josiah Wedgwood’s Jasperware (18th cent). The walls and reliefs themselves seem to be a part of a grand vase, whose limits are beyond vision, engulfing the viewer within. The exhibition space becomes a Gesamtkunstwerk, where walls are no longer mere boundaries, where the location is no longer simply the gallery, and where the viewer is no longer only a spectator, but all the present elements together are employed to serve one purpose: art.

Carolein Smit (1960) is a sculptor that would certainly be accepted and highly appreciated by her fellow artists of the 17th century. Her works fit in perfectly within the morbid and death-referring themes of baroque, nearly breathing out the Latin phrase memento mori. Using sculptural forms instead of paint, Smit employs transgressive beauty that contradicts commonly held convictions about what makes something appealing. Her fascination with contrasts: the ugly but adorable, or the frightening but fragile, provides a reminder about the vulnerability and impermanence of life, and the inevitability of death.

Smit, who studied in the Netherlands and currently lives in Belgium, is internationally known. Her sculptures form part of the Victoria and Albert Museum in London, Asante collection in Switzerland, Thomas Olbricht collection in Germany, the Treger/Saint Silvestre Collection in Paris, Fuled International Museum (FLICAM) Fuping in China and many more. Her artworks have been on show at the Bonnefantenmuseum in Maastricht, Art Basel, Art Paris, La Maison Rouge in Paris, All Visual Arts Gallery in London, only to name a few. Her upcoming exhibitions are to be held at The Bonnefantenmuseum in 2015, La Maison Rouge in Paris in 2016 and the Victoria and Albert Museum in London in 2017/2018.

The solo show of Carolein Smit at Flatland Gallery runs from September 5th – October 3rd 2015.

(text written by Zofia Jackson)

OMNIA VANITAS Exhibition at WCC-BF Gallery ,
at the Anciens Abattoirs in the city of Mons, Belgium.
From 24th october 2015 to 10th january 2016.
Along with the European Prize for Applied Arts in the Grand Hall at the same location.
I will be participating with one sculpture "Death and the maiden 4".

16-10-2015 tot en met 05-02-2016

Keramische kunst van Gauguin tot Schütte
16.10.2015 – 05.02.2016
In samenwerking met La Maison Rouge in Parijs en de befaamde Cité de la céramique in Sèvres presenteert het Bonnefantenmuseum in Maastricht vanaf oktober 2015 een grootse blockbuster-tentoonstelling over het gebruik van keramiek door 20e- en 21e-eeuwse kunstenaars van grote internationale faam. De tentoonstelling brengt topstukken uit internationale collecties van o.a. Gauguin, Rodin, Picasso, Fontana, Thomas Schütte, Ai Weiwei en ik dus. Het zal de eerste expositie over de 20e-eeuwse toepassing van dit materiaal zijn met een internationale opzet. De première van deze tentoonstelling vindt plaats in Maastricht. In het voorjaar van 2016 reist de tentoonstelling naar Parijs en Sèvres.

Museum Beelden aan Zee, Scheveningen.

SKELET. De armatuur van het lichaam in de hedendaagse beeldhouwkunst

30.10.15 t/m 7.2.16

De mens is van oudsher het meest gebruikte onderwerp in de beeldhouwkunst. In deze tijd gebruiken kunstenaars het menselijk lichaam vaak om juist iets te zeggen over de binnenkant, het lichaam is de drager van het gevoelsleven en van maatschappelijke en politieke omstandigheden. In deze tentoonstelling wordt onderzocht wat de betekenis is van het skelet in de hedendaagse beeldhouwkunst. Met werk van onder anderen Caspar Berger, Matthew Day Jackson, Urs Fischer, Carolein Smit, Atelier van Lieshout, Sandro Setola, Gijs Assmann, Tunga, Anthony Gormley en Jonathan Marshall.

Vom 07. Dezember 2014 bis 30. August 2015 präsentiert der me Collectors Room/Stiftung Olbricht unter dem Titel „QUEENSIZE – Female Artists from the Olbricht Collection“ erstmals ausschließlich Künstlerinnen der Sammlung. Mit beinahe 60 Positionen versammelt die Ausstellung ein Drittel der in der Sammlung vertretenen Künstlerinnen. Die circa 150 gezeigten Arbeiten unterschiedlichster Medien sind von Künstlerinnen wie Helene Appel, Louise Bourgeois, Nathalie Djurberg, Marlene Dumas, Klara Kristalova, Sükran Moral, Elizabeth Peyton, Patricia Piccinini, Cindy Sherman, Taryn Simon, Carolein Smit u.v.a.
„Queensize“ ist die Bezeichnung für eines der größten Bettenformate und bildet den Ausgangspunkt für die Ausstellung; das Bett dient als Chiffre für den existentiellen Ort menschlicher Erfahrung, als Sinnbild für Tod und Geburt, Verführung und Erotik, Träume und Albträume. Die Künstlerinnen zeigen ihren spezifischen Blick auf unsere menschliche Existenz und auf das was uns ausmacht: unsere innersten Befindlichkeiten und Bedürfnisse, unsere Wünsche und Passionen. Die Präsentation hinterfragt die Ambivalenz von Eigen- und Fremdwahrnehmung und, ob es den spezifisch weiblichen Blick tatsächlich gibt?
Die Ausstellung wird kuratiert von Nicola Graef (Dokumentarfilmproduzentin und -regisseurin) und Wolfgang Schoppmann (Chefkurator der Olbricht Collection).
Im Rahmen von “QUEENSIZE – Female Artists from the Olbricht Collection” erscheint ab Februar 2015 eine Publikation.
Kinder unter 18 Jahren nur in Begleitung oder mit Erlaubnis eines Erziehungsberechtigten.

Ellen Altfest, Helene Appel, Monika Baer, Tina Barney, Vanessa Beecroft, Katharina Bosse, Louise Bourgeois, Ulla von Brandenburg, Rineke Dijkstra, Nathalie Djurberg, Marlene Dumas, Nicole Eisenman, Sylvie Fleury, Hope Ginsburg, Jitka Hanzlová, Mona Hatoum, Almut Heise, Laurie Hogin, Jenny Holzer, Klara Kristalova, Makiko Kudo, Marie-Jo Lafontaine, Abigail Lane, Sharon Lockhart, Teresa Margolles, Alex McQuilkin, Hellen van Meene, Dawn Mellor, Marilyn Minter, Sükran Moral, Elizabeth Peyton, Patricia Piccinini, Chloe Piene, Bettina Rheims, Daniela Rossell, Cindy Sherman, Laurie Simmons, Taryn Simon, Carolein Smit, Anj Smith, Kiki Smith, Rebecca Stevenson, Kirsten Stoltmann, Anett Stuth, Paloma Varga Weisz, Katharina Wulff, Lynette Yiadom-Boakye, Lisa Yuskavage