21th century | 20th Century

United Kingdom, London, Cortesi Gallery, Cortesi Gallery

The 2018 has been the 60th year anniversary since Otto Piene and Heinz Mack founded ZERO in their studio in Düsseldorf. To celebrate this historical event Cortesi Gallery's selection of artworks will be focused on some of the most significant artists in the European Zero network. The exhibition will include the Zero founders Heinz Mack and Otto Piene, Italian masters such as Piero Dorazio and Enrico Castellani, Belgian artist Walter Leblanc and Croatian Ivan Picelj, among others.

Artists: Enrico Castellani, Piero Dorazio, Jan Henderikse, Walter Leblanc, Heinz Mack, Henk Peeters, Ivan Picelj, Otto Piene.

Cortesi Gallery London, 41&43 Maddox St., W1S 2PD London. Until the 31st of January 2019.

Cortesi Gallery
United Kingdom, London, Cortesi Gallery, Cortesi Gallery

Jan Henderikse: MINT
Curated by Francesca Pola
Press Release

Dutch artist Jan Henderikse (1937) is a pivotal figure in twentieth-century European art, whose importance is gradually garnering international attention. This exhibition at Cortesi Gallery, curated by Francesca Pola, is his first solo show ever presented in London: it brings together a series of highly significant examples of his work, to retrace the key stages in his creative career.

Since the 1950s, Henderikse's work has developed beyond the traditional notions of painting and sculpture, to redefine the coordinates of artistic imagery: first, by neutralizing the surface into the monochrome; then, since 1959, by employing unconventional materials and techniques in 'allover' compositions that mark his distinctive language. Looking for everyday used objects (such as empty creates, bottles, corks, license plates, coins, bills, parts of toys, found photographs, and others), which he perceives as loaded with human and emotional content and interest, Henderikse combines them into assemblages and serial accumulations, sequences and multimedia installations, in order to show the immediate power of their significance. As objects taken directly from the world and left in their original state, they speak of the instants of life they belonged to, and rationalize this emotional load into a suspended poetic image, creating an immediate empathy with the viewer. This potential multiplicity of references implicit in every object is exemplified by the title of the show, as the word 'mint' can indicate three different kinds of items: a candy, a coin or a precious thing in perfect conditions ('mint condition'). Henderikse's work is intended to disclose precisely this inevitable and poetic clash between pleasure and value, transient and permanent, ordinary and extraordinary.

The show sets off with a rare monochrome piece from 1959, to develop into some crucial typologies of his assemblages from the 1960: featuring works made with corks, crates, bottles, coins, license plates combined with ready found tapestry. These pieces embody Henderikse's affinities with contemporary movements of the 1960s: on one hand, ZERO in the reduction of expressive means, the refusal of expressive subjectivity and the repetition of structures; on the other, Nouveau Réalisme and Pop Art in the interest for objects and consumer culture. However, it is important to stress the uniqueness and specificity of Henderikse's work in this context: not only because he combines all these different aspects into a single vision, but also because his exclusive focus is on found objects from our civilization's trash flow that have a human memory: the more banal or humble, the better. All these objects of affection interest the artist as long as they have been used: in his pieces made with them, he combines the popular and the intellectual, the collective and the individual, the physicality of their material presence and the immateriality of their evocative power.

The exhibition also features rarely seen works from the 1970s and 1980s, such as his conceptual photographic sequences, like the one devoted to the Broadway intersections, or what he calls 'rejected photographs': moments of life that have been shot and forgotten by the people who lived them. Or the 'shredded money' pieces, which stick huge quantities of bills out of circulation, meticulously torn into fragments and piled up into large geometric and apparently monochrome volumes.

Special and unique features in the London show are a number of works the artist has conceived specifically for this occasion: a large installation combining hundreds of corks with glowing neon English words, a striking wall piece with a multiplicity of ready found Baseball players cards, and a new and unseen typology in his monochrome cork works from 2018.

Henderikse's pieces feature crucial and topical issues of our age, which he has been translating for decades into his carefully arranged assemblages: the melting pot of globalization, the accumulation and spectacularization of material culture, the dialectic between homologation and difference. His work takes the shape of a continuous, curious and affectionate exploration of the world, through these 'empathic objects': fragments and instants of life that people have left behind. It is both a subtle and gentle commentary, and an incredibly astonished inventory, of the last 60 years of consumer culture, seen and registered through his innocent and poetic eye. The aim of this exhibition is to convey the fresh topicality and significance of both these souls in Henderikse's work: the material fascination for the real in the humanly loaded objects, and the conceptual tension that is implied by their selection, sequential arrangement, and re-contextualization.

The exhibition is accompanied by a fully illustrated catalogue, which includes essays by Francesca Pola and Antoon Melissen, images of all the works, installation views, and a bio-bibliographic appendix. Based on extensive art-historical research, it offers a more complete overview of Henderikse's work and is meant to pave the way to further international studies.

Jan Henderikse (Delft, the Netherlands, 1937) lives and works in Brooklyn, New York and Antwerp, Belgium. In 1959, he started developing a highly distinctive visual language, focusing on assemblages, readymade and installations. In the same year, he moved to Cologne, and shortly thereafter to Dússeldorf, one of the epicentres of the post-war European avant-garde. He connected to the international ZERO movement and network, and in 1961, together with Armando, Henk Peeters and Jan Schoonhoven, Henderikse formed the Dutch Nul Group, which took part in several major international ZERO initiatives. The exhibition Nul at the Amsterdam Stedelijk Museum in 1962, showed Jan Henderikse's installation of stacked beer crates: a true milestone in conceptual terms. The artist settled in Curacao from 1963-67, working with found objects, coins, photographs, and licence plates. In 1968 Henderikse moved to New York, working mainly with assemblages of found objects and photographic sequences. Since then, his work has continued to focus on conceptually-based photographic objects, multiples and readymade. His works can be found in the collections of museums around the world, and in 2014 and 2015 were featured in the exhibitions on ZERO at the Guggenheim Museum in New York, the Martin Gropius Bau in Berlin, and the Stedelijk Museum in Amsterdam. A retrospective solo exhibition in Schiedam, the Netherlands (2018) and recent contributions to group exhibitions in Dusseldorf, London, Miami, and Tokyo, reflect the ongoing and mounting interest in Henderikse's multimedia oeuvre.

Review Wallstreet International

Photo's by PCA, Courtesy Cortesi Gallery

Cortesi Gallery
  • Cortesi Gallery
  • Cortesi Gallery
  • Cortesi Gallery
  • Cortesi Gallery
  • Cortesi Gallery
  • Cortesi Gallery
  • Cortesi Gallery
  • Cortesi Gallery
  • Cortesi Gallery
  • Cortesi Gallery
Netherlands, Schiedam, Stedelijk Museum, Jan Henderikse - Alles en Niets

Na succesvolle tentoonstellingen met de nul-groep, Jan Schoonhoven en herman de vries presenteert het Stedelijk Museum Schiedam een groots overzicht van het jongste lid: Jan Henderikse. Hij maakt radicale kunst, van afval en alledaagse producten als kratten bier, centen en kurken. Ook verheft hij de eenvoudige dingen van het leven tot kunst. Soms oogt het leeg, dan weer overdadig: alles en niets. Het is voor het eerst dat het werk van Jan Henderikse (Delft, 1937) op zo?n grote schaal is te zien. Jan Henderikse. Alles en Niets loopt van 3 maart t/m 10 juni 2018 en bevat een nieuwe installatie die hij speciaal voor deze tentoonstelling maakte.
Reviews / Artikelen
NOS, 3 maart 2018, Jeroen Wielaert
AD, 5 maart 2018, Sandra Don
vandaagenmorgen.nl, 5 maart 2018, Rinus Vuik
NRC, 7 maart 2018, Joyce Roodnat
De Kunstmeisjes, 5 april 2018
NRC, 17 april 2018, Lucette ter Borg

Jan Henderikse - Alles en Niets
  • Jan Henderikse - Alles en Niets
  • Jan Henderikse - Alles en Niets
  • Jan Henderikse - Alles en Niets
  • Jan Henderikse - Alles en Niets
  • Jan Henderikse - Alles en Niets
  • Jan Henderikse - Alles en Niets
  • Jan Henderikse - Alles en Niets
  • Jan Henderikse - Alles en Niets
Germany, Berlin, Daimler Contemporary Berlin, Serielle Formationen. Frankfurt 1967

The Daimler Art Collection undertakes the Re-staging of the outstanding exhibition Serielle Formationen jointly curated by Peter Roehr and Paul Maenz in 1967. The exhibition 2017 is curated by Renate Wiehager. ?The ambition of the exhibition was to juxtapose visual structures that were omnipresent in forms of sequences, accumulations, combinations, variations and permutations, internationally in the works of the best artists at the time.?- recalls Paul Maenz. Artworks of the historical exhibition are supplemented by thematically parallel artworks of the Daimler Art Collection.

Serielle Formationen. Frankfurt 1967
Belgium Bozar Brussels, Germany ZKM Karlsruhe, Russia Pushkin Museum Moskou, Facing the future. Art in Europe 1945-1968

Facing the Future: Art in Europe 1945-68 sheds light on about 180 works created between 1945 and 1968 by artists from Europe and the former Soviet Union, including Fernand Léger, Vladimir Tatlin, Gerhard Richter and Pablo Picasso among others. Notwithstanding the tensions between Eastern and Western Europe in the years following the Second World War, artists on both sides of the Iron Curtain experimented in similar ways: from media art to action painting, conceptual art and sound art. Together with the Pushkin Museum in Moscow and the ZKM, BOZAR presents for the first time, an overview of the most important artistic trends that flourished in the years following the Second World War in both Eastern and Western Europe. A significant collaborative project that takes place against the background of a new trial of strength between Europe and Russia.
Jan Henderikse is part of this exhibition.
Brussels: 24 June 2016 - 25 September 2016
Karlsruhe: 22 October 2016 - 29 January 2017
Moskou: 7 March 2017 - 21 May 2017

Facing the future. Art in Europe 1945-1968
  • Facing the future. Art in Europe 1945-1968
  • Facing the future. Art in Europe 1945-1968
Belgium, Antwerpen, De kunstzolder, 3x Delft

With this exhibition, Galerie Schoots + Van Duyse and Kunstzolder.be present the work of three artists who lived in Delft in the same period of time. The works by Bogart, Henderikse and Schoonhoven are known throughout the world and represent a unique and innovatory period in the recent history of art.

3x Delft

Upcoming events

Presentation Gramophone disc

You / I

at the roof of the MUHKA on Saturday 22 September, 3PM. Hosted by the 'Vrienden van het MUHKA', Museum of Contemporary Art in Antwerp. Everyone welcome.

Jan Henderikse / 119 Hall Street, Brooklyn NY 11205, USA / Hessenplein 2, 2000 Antwerp, Belgium