Heroes

Heroes

20 july – 24 August
Opening and BBQ on Saturday 20 July: 17 – 21 hrs
Music by Theo Wesselo at 19.30 hrs

Drinks by Amsterdam Tinto

Artists:

Danielle van Ark
Broomberg & Chanarin
Fabrizio Cotognini
Shezad Dawood
Aukje Dekker
Sarah Entwistle
Diango Hernandez

Click HERE to view the exhibition

Aukje Dekker, SPOILT DISSATISFACTION (2009-2020), Giclée print,

40 x 28 cm, Edition of 5


Jake and Dinos Chapman ‘The Rainbow of Human Kindness’

Past Exhibitions

Jake and Dinos Chapman
The Rainbow of Human Kindness
Solo exhibition at H.E.R.O. Amsterdam

18 May till 13 July
Opening: Saturday 18 May, 17 – 21 hrs

Jake and Dinos Chapman, Living with Nearly Dead Art V, 2019, Hand watercolour over giclée print on A0 aquarelle paper, 119 x 84 cm

You, you may say I’m a dreamer
But I’m not the only one
I hope someday you will join us
And the world will live as one

Imagine, John Lennon

H.E.R.O. proudly presents The Rainbow of Human Kindness a solo exhibition by Jake & Dinos Chapman.

For over a quarter of a century Jake & Dinos Chapman’s work has been a beacon of hope in our dark and troubled times.

Standing firmly on the right side of history the Chapman brothers have combined reason, empathy, moral purpose and the highest grade raw materials to pursue a progressive philosophical program articulated through the medium of contemporary art.

Hand crafted with a quality of finish and detail that has thrilled seasoned art collectors and children alike, Jake & Dinos Chapman’s sculptures and 2-D works bring together elements from a range of subjects and sources – the works of Goya, low points of World War II, highlights of African Tribal Art and the visual universe of McDonald’s – into exciting and dynamic new wholes, articulating their profound belief in the radiant divinity that underlies and infuses all of existence.

The Rainbow of Human Kindness at H.E.R.O. brings together a judicious selection of Jake & Dinos Chapman’s finest recent works into a powerful statement of their artistic and moral philosophy. In sharp contradistinction to their YBA peers it is laudable that the Chapman brothers have used their big brains neither for self-enrichment nor the spread of a virulent pessimism in which hope and humans are as insignificant as specks of cosmic dust

Instead is clear Jake & Dinos want to touch each and every one of us in the place that really matters – the heart.

A short guide to highlights of The Rainbow of Human Kindness

Jake and Dinos Chapman, Someone offered me money to do it, 2008, Painted bronze, 165 x 360 x 91 cm

An engagement with love, affection and cuddles forms one of the most persistent lines of enquiry of the Chapman’s artistic practice. Someone offered me money to do it (2008), is one of a number of the Chapman brothers’ works inspired by the nature documentary March of the Penguins (2005) which celebrates the triumph of the penguin spirit over adversity and the touchingly insoluble nature of the pair bonding of Emperor Penguins. Here, much like two severely injured Emperor Penguins, the two elements of biomass depicted in the sculpture struggle over their compromised physicality to find their way towards each other and blissful union.

Jake and Dinos Chapman, The Larger Rainbow of Human Kindness IV, 2017, Etching, 115.57 x 86.995 cm (framed), Paper size: 100.5 x 70 cm, Plate size: 87.4 x 59.3 cm, Ed. of 3

The Larger Rainbow of Human Kindness (2017) is a recent set of etchings from which the exhibition takes its title. These superb essays in the etcher’s craft are perhaps the ultimate statement of the Chapman brothers’ profound belief in the unity of all things. Here we find, collaged together, quotations of Modernist masterpieces, Gunther von Hagens’ plastinated bodies, cartoon robot, tribal sculptures, soft toys and images of Jake & Dinos’ own work all brought together under the uplifting umbrella of a universal rainbow. In a very real sense these works are ‘the pot at the end of the rainbow’, a saying that is thought to have its origin in this old Irish folktale:

“A poor man and his wife meet a leprechaun, and he tells them that he’ll grant them one wish. The couple take a while to decide before telling the leprechaun. The wife says she wants money, and then the husband wants tools and a new house. Then the wife says shoes and fine clothes. Needless to say, that is not one wish. The leprechaun then chides them for being selfish, saying, “For this, I will not grant any wish of yours. But, since you are in need, I will give you a hint. I have hidden a pot of gold at the end of the rainbow. All you have to do is find it.” The couple goes to search for the pot of gold, and nobody knows if they ever found it.

Jake and Dinos Chapman, Unhappy Feet, 2010, Glass-fibre, plastic and mixed media, 216 x 171 x 171 cm

Unhappy Feet (2010) is an evolution from Jake & Dinos Chapman’s famed Hellscape series that reinvigorated War Art and imbued it with a new acute moral dimension, making it fit for purpose for the 21st century. In Unhappy Feet (2010) mutant Nazi toy soldiers are replaced by a heartbreakingly unhappy and fractious meeting of Arctic and Antarctic fauna imagined as a consequence of untrammeled Climate Change. A desperate warning infused by the spirit of Martin Luther King Jr’s injunction that we should be moved by ‘the fierce urgency of now’ – the work asks us to act before it is too late.

After all who would want to live in a world without penguins?

Jake and Dinos Chapman, World Peace Through World Domination I-IV, 2013 Banners 494 x 196 cm (each)

You, you may say I’m a dreamer
But I’m not the only one
I hope someday you will join us
And the world will live as one

Imagine, John Lennon

Text by Nick Hackworth

Creative Director Modern Forms

Jake and Dinos Chapman, I wanted to punish myself, 2008 Painted bronze 227 x 103 x 68 cm

Jake and Dinos Chapman, Living with Nearly Dead Art I, 2019, Hand watercolour over giclée print on A0 aquarelle
paper, 119 x 84 cm

Jake and Dinos Chapman, Living with Nearly Dead Art III, 2019, Hand watercolour over giclée print on A0 aquarelle, paper, 119 x 84 cm

Jake and Dinos Chapman, The New Arrival, 2014-2016, Mixed media, Variable dimensions

Jake and Dinos Chapman, The Axminster of Evil (same only bigger), 2008, Wool, 400 x 400 cm
Ed. of 3+ 2AP

Jake and Dinos Chapman, The Axminster of Evil (same only black and white) , 2008
Wool, 400 x 400 cm, Ed. of 3 + 2AP

Jake and Dinos Chapman,  Minderwertigkinder – Wolf Child, 2011 Mannequin, wig, and trainers 131 x 39 x 32 cm

Jake and Dinos Chapman, Minderwertigkinder – Small Duck Child, 2011,Mannequin, wig, and trainers
116 x 41 x 32 cm


-CLOSER –

-CLOSER-

A group show with works by Desiree Dolron, Peter Schuyff, Jake and Dinos Chapman, Shezad Dawood, Michael Pybus, Daniëlle van Ark, Gerald van der Kaap, Thomas Raat, Thomas van Linge, Siert Dallinga,  David Pedraza, Athanasios Argianas and Wayne Horse.
27 February – 27 April 2019

110 x 78.6 cm


Leviathan: Memories of the Future Pt.2

#6 SHEZAD DAWOOD

Leviathan: Memories of the Future Pt.2

3 November – 22 December 2018

Dawood’s exhibition presented a (televisual) series of storyboards, masquerading as large-scale landscape paintings. In addition we featured the latest episode of the artist’s multi-year, multi-part series Leviathan, co-commissioned by the gallery.

Leviathan Cycle, Episode 4: Jamila reverses the usual path of migration (from North Africa to Italy) to question ideas of migration historically always being one way, and to question how crossings between Italy and North Africa are also deeply impacted by climate change affecting the marine environment both above and below the sea.

A series of dreams or hallucinations take the place of the Netflix image and narrative feed, by substituting the moving image for the still (if unstable) image of a volatile future. If the works in the exhibition act as a mirror to places and narratives so far unexplored, it’s because they represent the landscapes of as yet uncharted narrative arcs in Shezad Dawood’s imagination. These still images, or fragments of narrative, are punctuated by text from existing and forthcoming chapters of Dawood’s stream-of-consciousness monologues that score the various episodes of Leviathan. Playing with the function of the serialisation of narrative, the installation at HE.RO allows the viewer to insert themselves in this logic of the ebb and flow between narrative and iconic image; the space between the world as it is and as it may be.

Step in, the water’s warm.

Shezad Dawood (UK, 1974) trained at Central St Martin’s and the Royal College of Art before undertaking a PhD at Leeds Metropolitan University. He is a Research Fellow in Experimental Media at the University of Westminster. He lives and works in London.

Shezad Dawood works across disciplines film, painting, neon, sculpture and more recently virtual reality to deconstruct systems of image, language, site and narrative. Using the editing process as a method to explore both meanings and forms, his practice often involves collaboration and knowledge exchange, mapping across geographic borders and communities. Through a fascination with the esoteric, otherness and science-fiction, Dawood interweaves histories, realities and symbolism to create richly layered artworks.

Recent solo exhibitions include: Leviathan, Mostyn, Wales (2018); Leviathan, Fondazione Querini Stampalia, Venice (2017); Timothy Taylor, London (2016); Galerist, Istanbul (2016); Pioneer Works, Brooklyn (2015); Fig.2 at the ICA studio, London (2015); Parasol Unit, London; Leeds Art Gallery and OCAT Xi’an, China (all 2014), Modern Art Oxford (2012). And group exhibitions include: the Gwangju Biennial (2018); Rubin Museum of Art, New York (2018); The Drawing Room, London (2017); Mori Art Museum, Tokyo (2016); Taipei Biennial (2014), Marrakech Biennial (2014), MACBA Barcelona (2014), Witte de With (2013), Busan Biennale (2010), Tate Britain, Altermodern (2009), and the Venice Biennale (2009). Shezad Dawood’s work is in major public and private collections including Tate, London; LACMA, Los Angeles; National Gallery of Canada, Ottawa; The British Museum, London; Kiran Nadar Museum of Art, Delhi; Mathaf, Arab Museum of Modern Art, Doha; UBS Collection; US Government Art Collection; Government Art Collection, UK; Bill & Melinda Gates Foundation; Art Jameel, Dubai; Devi Art Foundation, Delhi; EKARD Collection.


Market Forces (15 September – 27 October 2018)

#5 Market Forces

curated by Nick Hackworth
15 September – 27 October 2018

Atelier van Lieshout / Aukje Dekker / Ceel Mogami de Haas / David Birkin & Mariam Ghani / Desiree Dolron / DIS / Ed Fornieles / Gabriele Beveridge / Guillaume Paris / Jake & Dinos Chapman / Jeremy Hutchison / Keith Coventry / Leo Fitzmaurice / Martha Rosler / Michael Pybus / Wayne Horse / Yoan Mudry

 

Guillaume Paris, Mégane (Hommage à Franz Fanon,2005, 80 x 80 cm

Guillaume Paris, Mégane (Hommage à Franz Fanon) 
2005, ed. 5, 80 x 80 cm

A group show of work that variously critiques and co-opts the techniques of mass-markets, often succeeding in both at once. The exhibition comprises both historical and recent work, mapping out creative responses to the steady intensification of consumer culture engendered by the dominance of neoliberalism from the 1980’s onwards.

Opening the exhibition are artists who have faced and responded to this trend from early in their trajectories, with works like: Martha Rosler Reads Vogue (1981), the artist’s seminal deconstruction of the magazine’s iconography, Untitled (1988), Atelier van Lieshout’s sculptural appropriation of beer cases and various examples from Guillaume Paris’ critical examination of commodity culture from the 1980’s onwards.

The exhibition’s narrative arc brings us to a present where younger artists derive their vocabulary from within a landscape of consumption. Whether as adaptive mechanisms or underhand critiques, their works are articulated in the spectacle’s very language: DIS’s Thinkspiration (2016), an ironic conflation of philosophy and brand culture, Gabriele Beveridge’s elegant manipulations of retail aesthetics and Ed Fornieles’ insidious Finiliar series, which makes use of the latest devices in empathically focused, corporate marketing strategies.

A central question haunts the exhibition and the works within it:
In which forms and in what kinds of spaces can art exist, when the realm of self-fulfillment has been so ruthlessly colonized by consumer culture?

Market Forces was curated by Nick Hackworth, Creative Director of Modern Forms, a London based art collection and platform. www.modernforms.org

 


Songs (4 augustus – 8 september)

#4     Athanasios Argianas
Andreas Ragnar Kassapis

‘SONGS’

 August 4 – September 8, 2018

Andreas Ragnar Kassapis (2018), Hoing Torture (projector), oil and pencil on wood panel. 40×50

 

Athanasios Argianas (GR, 1976) lives and works in London and Athens. Solo exhibitions include EMST National Museum of Contemporary Art (Athens), The Barbican Art Gallery (London) and The Serpentine Gallery (London). Notable group shows include Kunsthalle Wien, Fondazione Prada Milano, Ca Corner Venice and Tate Britain in London. In 2012 his work was featured in the Biennale of Sao Paulo, Brazil, in 2013 at PERFORMA Biennial New York, and in 2017 at Documenta 14, Kassel. Argianas is taking up residence this september at the Camden Arts Centre (London), ahead of a major solo exhibition in 2020.

 

Andreas Ragnar Kassapis (GR, 1981) lives and works in Athens, Greece. Notable group shows include Documenta 14 in Athens (2017), SMFA in Boston (2014) and Palais de Tokyo in Paris (2013). He also participated in the 2nd Athens Biennale.

 


Yellow Paintings

#3  YELLOW PAINTINGS
PETER SCHUYFF
21 June – 21 July 2018

Front space: The Great Peter Schuyff Art Robbery, Eliane Gerrits

 

Peter Schuyff (NL, 1958) came to prominence in 1980’s New York, alongside the likes of Philip Taaffe,  Peter Halley and Ashley Bickerton, part of the loosely defined ‘Neo Geo’ movement. His signature style is a kind of proto-digital, geometric abstraction.

His most recent body of work Yellow Paintings (2018) is the 10th in a sequence which he started back in 1979 in Vancouver, Canada. That same year Dennis Hopper shot his film Out of the blue there, and used the very first of Peter’s yellow works as a backdrop in one of the scenes. Every four years or so since then, Schuyff paints a series of pictures in yellow, white, grey and black; always in acrylic, on paper.

Peter has painted this series over the past four months in his studio in Amsterdam North, adjacent to HE.RO. The twenty-seven works, which are exhibited for the first time, are light hearted and often humorous; playfully referring to American contemporaries such as Christopher Wool, Robert Indiana or Richard Serra and suggesting a subtle yet evident irony.

The use of multiple vanishing points lends a 3D perspective to the images, which carry the proto-digital, geometric abstraction that make them immediately recognizable as Schuyff’s.

The works seem to be part of an enormous psychedelic exhibition space, a gallery or museum, in which the yellow texts and structures are sculptures on display. In this fictional exhibition, black-and-white versions of Peter’s well-known oil paintings are often seen hanging on the walls, creating a museum within a museum, a world that belongs to the artist himself and to whom the spectator is invited to take part of.

In the Frontspace: The Great Peter Schuyff Art Robbery
Instead of showcasing moving images, this month HE.RO’s Frontspace features stills. Eliane Gerrits (NL, 1960), who studied both graphic design and painting, calls herself a draughtsman: an illustrator, cartoonist as well as a painter. This is her very first gallery solo-exhibition.

Following Peter’s suggestion to portray him, Gerrits ultimately decided to make a series of 20 large drawings (180 x 140 cm), which form a comic story. The hilarious narrative depicts an art robbery which ends up as an exhibition in Japan, and features elements of Peter’s fascinating biography, in which many of his illustrious friends (Andy Warhol, Basquiat, Madonna and Sylvester Stallone – to name a few) make a guest appearance.

 

Peter Schuyff, RADIATOR (2018), acrylic on paper, 150 x 300 cm

Peter Schuyff, BISCUIT (2018), acrylic on paper, 150 x 190 cm

Peter Schuyff, CALL THE POLICE THEY CANT HEAR YOU I AM THE POLICE (2018), acrylic on paper, 150 x 200 cm

Eliane Gerrits, The Great Peter Schuyff Art Robbery #cover (2018), acrylic ink on paper, 180 x 140 cm


Into The Woods (21 April – 9 June 2018)

#2  INTO THE WOODS
21 April – 09 June 2018

In his manifesto The Barbarians (2006), Alessandro Baricco describes a cultural shift where the rule of the elitarian few (aristocracy, church, intellectuals, cultural elite), has been replaced by the rise of young ambitious outsiders. The works exhibited in ‘Into the Woods’ playfully illustrate how technological innovation has mutated our cultural values into a rapid experience along the surface of things. The exhibition explores the state of global culture and how connectivity is changing the way we experience it.

Into the Woods features new works by Daniel Boccato (BR, 1991), Stevie Dix (BE, 1990), Rindon Johnson (US, 1990), Thomas van Linge (NL, 1989), Dustin Pevey (US, 1980), Victor Payares (CU, 1985), Gino Saccone (UK, 1979) and Lara Verheijden (NL, 1990).

Furthermore, @theoffice we present ‘I Will Be Wolf’, a solo exhibition by photographer Bertien van Manen (NL, 1942). In 1975 she made a series of black-and-white photographs capturing daily life in metropolitan Hungary. I will be Wolf brings together many of these beautiful and never-before-seen images with the editorial direction of renowned British photographer Stephen Gill. Her snapshots of commuters, grocers, chemists, café workers, and street vendors contain all the hallmarks of a bygone era, before the grip of globalisation was able to make its mark on the country. Imbued with an air of ambivalent nostalgia, the series takes its title from the poem Grief by the Hungarian poet József Attila.

For enquiries, please send an e-mail to office@hero-gallery.com, or call Gabriel Rolt at +31(0)625005374.


At The Office

DAVID PEDRAZA

Los Caidos

Opening Saturday 12 January


IDEAL-TYPES (27 January – 7 April 2018)

#1: IDEAL-TYPES (curated by Alfredo Cramerotti)

From 27 January until 7 April 2018 HE.RO presented a major exhibition of the work of 16 international artists to mark the launch of the new gallery space.

The inaugural exhibition took its name from a term developed by the sociologist Max Weber. For him, “ideal-types” are models that share characteristic with actual real-life objects but do not derive from or correspond to any specific example; that is, they hold no relation to an external reality to represent.

Embracing uncertainty rather than defined knowledge, the exhibition opened up to the possibility of reading things differently, without claiming representation.

A number of works had been specially commissioned for the show. The exhibition was curated by Alfredo Cramerotti (director of MOSTYN, Wales and head curator of the APT Global Artist Pension Trust).

FEATURED ARTISTS:
1. Valerio Adami
2. Athanasios Argianas
3. Adriana Arroyo
4. Ewa Axelrad
5. Chloë Cheuk
6. Fabrizio Cotognini
7. Shezad Dawood
8. Sarah Entwistle
9. Laurence Kavanagh
10. Alice Pedroletti
11. Peter Schuyff
12. Peter Sköld
13. Peter Tillessen
14. Alesch Vital
15. Gernot Wieland
16. Bedwyr Williams