Jurriaan Molenaar | Fermate
Jan 18, 2019 - Mar 02, 2019




weitere Bilder:
1 2 3

The Venetian architect and painter Giovanni Battista Piranesi (1720-1778) monitored the excavations of antiquities in Rome with great curiosity. His rendering of ruins and sites was such that, even today, they provide us with a good deal of information about the situation at that time. Apparently, this work stirred his imagination for he started a series of etchings of imaginary dungeons and subterranean vaults already before 1750, the famous Carceri d’invenzione. In these etchings, Piranesi challenged the laws of perspective and realistic representation. He filled the sheet with arches, bridges, steps and towers, making it clear that the composition was merely a cut-out of a larger whole. Light and shadow play an expressive role of their own .The Carceri give a vision of labyrinthian catacombs that cannot possibly be reconstructed in a rational way.
Jurriaan Molenaar (1968) picks up Piranesi’s technique by making the beholder an eyewitness of situations that are not easily accessible. A seemingly immeasurable space is represented on a flat surface, seen from an apparently unfathomable perspective. It is indeed recognizable.
In the paintings of a few years ago, only the outside of a building was represented from a bird’s-eye view. Instead of facing a back¬ground, in these paintings you look down upon a ground exclusively made up of land and water. The building stands on a ground plate like a closed box of irregular shape.
Nowadays the painter moves to a spot inside a building, making us experience the three-dimensional structure of walls, floors, door openings and windows from inside. With these interiors, too, he prefers irregularly shaped boxes with unexpected angles, mezzaninos and glass walls that confine a space physically but not visually. Characteristic of all the compositions is the absence of narrative elements. It is not one point in particular that catches the eye. The paint has been applied over the entire canvas with equal precision. This causes a tension between what the painter paints and what he omits.
Jurriaan Molenaar is not concerned with expressing details. They distract from the representation of spatial illusion. Every act or incident, if it were only the idea that the building is not finished yet or that someone is about to arrive, is one too many. This principle offers openings to great visual richness.
Molenaar’s picture choice is made while moving. With regard to the bird’s-eye perspectives this goes without saying. The painter has made balloon flights and round trips by plane and he has defied his fear of heights in order to master this picture language. The painted image can be nothing but a still, a split second from an infinite series of perspectives. When the artist is on solid ground, as we may assume is the case with the other compositions, what determines the picture cut-out and the vista is still the moving body, head or eye. The impression of the painting finally depends on wich moment was chosen to be frosen. For instance regarding the horizon, which is supposed to be straight, crooked or invisible in relation to the picture surface.
Of equal importance at the least is the position of the wall spaces in relation to each other. Any person that has ever walked among high buildings will know how the perspective is distorted with every step he takes. This happens in exactly the same way in an inner space with vistas. Another choice regards the picture cut-out. What are the edges of the composition, and what is their effect on the degree of realism of the composition? Impressionist townscapes for the first time showed street scenes with a seemingly accidental cutting of the houses at the painting’s edge. Molenaar often does this in the wide, lying formats. The effect still is, just like with Gustave Caillebotte and Camille Pisarro, that the painting is suggestive of a run-on representation.(1)
Jurriaan Molenaar shares with the impressionists a similar fascination
with contemporary street scenes, although the outcome is hugely different. Molenaar travels a lot and the architecture that stirs his imagination is the universal construction with concrete, glass and plaster walls, which can be found from Cologne to Cape Town and from Chicago to Singapore. This worldwide spread causes that Molenaar’s motifs can be recognized everywhere and yet cannot be placed as a specific situation, found exclusively in
a well-defined spot. For all his simplifying and stylising, Molenaar does not violate this conceivable reality.
He sticks to the eyewitness principle, which means that he does not repre¬sent anything that cannot have been visible from the artist’s perspective at the time of painting. The advantage of this principle is that the beholder can imagine himself standing on the very spot where the painter was when he decided upon his picture cut-out.(2)
Thus we get to the very crux of these paintings: fascination with space, suggested solely by colour on canvas. The painter may not overstep the borderlines of sugges-tion, for if he would retell the emotion he felt when he hit upon a usable image there would be nothing left but rude everyday realism and not the transparent piece of labyrinth coloured in grey light that we get to see now. What that labyrinth is composed of – constructions, materials and measurements – is left unresolved by the painter, and the beholder instinctively knows the answer. The fact that he is steered in this by the way colours alter in a seemingly monochrome surface, remains under the skin.
It is in the play with light and shadow that, for the keen observer, the only inconsistencies occur in these otherwise so soundly based compositions. Here the painter demonstrates that he has been touched by the ‘other world’, when he learned how to paint icons in a Russian monastery in 1989. He writes about this himself: ‘This ‘other world’ had a number of striking rules; for instance, ‘reverse perspective’ was used, which made it possible to see from an object both the left side and the right side. And since the ‘other world’ itself was the source of light, it was represented without shadows. Besides all, I was intrigued by the stylised picture language.’
It is Jurriaan Molenaar’s ambition that the eye of the beholder keeps roaming inces-santly. That it is captured in his dungeons and never gets bored.


1. On the problem of the picture cut-out and the possible relation with photography, see: Kirk Varnedoe, A Fine Disregard, What Makes Modern art Modern, New York 1990, especially chapters 1, Near and Far, and 5, Overview: the Flight of the Mind.
2. On the eyewitness principle and the representation of movement and space on a plane see:
E.H. Gombrich, Standards of Truth: The Arrested Image and the Moving Eye, in: The Image & the Eye, London 1999 (1982).

‘Walking around in a painting, I don’t want to stumble anywhere.’
‘When I put a colour on canvas, it has to sink to its specific depth.’
‘If a big, say concrete, wall is part of an image, I want its shape to be such, that I can read it
as a motion instead of feeling its weight. Somehow I don’t like a dominating base.’
‘I like working with a soft lightsource and an equally soft darksource.’






./ Participating Artists


Jurriaan Molenaar


Exhibitions Overview

 
  Frank Bauer | Paths of Inaccuracy
Aug 30, 2019 - Nov 02, 2019


 
  Christian Bazant-Hegemark | Kindness of Strangers
Jun 07, 2019 - Jul 13, 2019


 
  Sandra Ackermann | Escape into your Reality
May 03, 2019 - Jun 01, 2019


 
  Kay Kaul | Cloudbusting
Mar 08, 2019 - Apr 27, 2019


 
  Jurriaan Molenaar | Fermate
Jan 18, 2019 - Mar 02, 2019


 
  Harding Meyer / Humanize
Oct 19, 2018 - Jan 12, 2019


 
  Mihoko Ogaki / Soft Landing
Aug 31, 2018 - Oct 13, 2018


 
  Iwajla Klinke / ONEIRONAUTS
Jun 08, 2018 - Aug 18, 2018


 
  Peter Uka / Fragment of the Present Passed
Apr 13, 2018 - May 26, 2018


 
  Daniel Heil / Monologues
Mar 09, 2018 - Apr 07, 2018


 
  Düsseldorf Photo Weekend 2018
Feb 16, 2018 - Feb 18, 2018


 
  Sandra Senn / Zwischen Zwei Meeren
Jan 26, 2018 - Mar 03, 2018


 
  Frank Bauer / Die Gelassenheit der Dinge
Nov 17, 2017 - Jan 20, 2018


 
  Kate Waters / Whistling In The Dark
Sepr 01, 2017 - Nov 11, 2017


 
  Untitled
Jul 12, 2017 - Aug 02, 2017


 
  Davide La Rocca / 13K ( Part 1 )
May 12, 2017 - Jun 27, 2017


 
  Sandra Ackermann / Lost in Nothingness
Mar 24, 2017 - May 06, 2017


 
  Claudia Rogge / CONCENTRATION
Jan 27, 2017 - Mar 18, 2017


 
  Christian Bazant - Hegemark / The Rise and Fall of Transformative Hopes and Expectations
Nov 11, 2016 - Jan 21, 2017


 
  Harding Meyer / The Others
Aug 26, 2016 - Nov 05, 2016


 
  Crossing Borders
Jun 03, 2016 - Jul 15, 2016


 
  Sandra Senn / Flüchtiges Getriebe
Apr 08, 2016 - May 21, 2016


 
  Iwajla Klinke / Red Sandals and a Mirror for Gabriel
Feb 12, 2016 - Mar 26, 2016


 
  Corrado Zeni / Éloge de la fuite
Nov 27, 2015 - Jan 09, 2016


 
  Claudia Rogge / PerSe
Oct 16, 2015 - Nov 21, 2015


 
  Kate Waters // Tell it like it is
Aug 28, 2015 - Oct 10, 2015


 
  Visions Of Sensory Space ( by Weightless Artists Association - SPARTNIC )
May 15, 2015 - Jul 04, 2015


 
  Sandra Ackermann / Wasteland
Mar 13, 2015 - May 02, 2015


 
  Lost Scapes
Jan 30, 2015 - Mar 07, 2015


 
  Christian Bazant-Hegemark / Calibrating Aesthetics
Nov 14, 2014 - Jan 17, 2015


 
  Frank Bauer / Back to Basics
Aug 29, 2014 - Nov 08, 2014


 
  Harding Meyer // recent paintings
May 23, 2014 - Aug 23, 2014


 
  Till Freiwald - memoria
Apr 11, 2014 - May 17, 2014


 
  Quadriennale Düsseldorf 2014 / Gallery Evening
Apr 05, 2014 - Apr 05, 2014


 
  Iwajla Klinke / Ritual Memories
Jan 17, 2014 - Apr 05, 2014


 
  Giacomo Costa // Traces
Nov 22, 2013 - Jan 11, 2013


 
  DC-Open Galleries: Matthias Danberg - Inventory by Appropriation
Sepr 06, 2013 - Nov 16, 2013


 
  Christian Bazant-Hegemark // VOW OF SILENCE
May 24, 2013 - Aug 20, 2013


 
  Corrado Zeni // Generation Why
Apr 12, 2013 - May 18, 2013


 
  behind the Non-Colours
Mar 22, 2013 - Apr 06, 2013


 
  Sandra Ackermann // Running to stand still
Feb 15, 2013 - Mar 16, 2013


 
  Düsseldorf Photo Weekend 2013
Feb 01, 2013 - Feb 09, 2013


 
  Mihoko Ogaki // Star Tales - White Floating
Nov 30, 2012 - Jan 31, 2013


 
  Claudia Rogge / Lost in Paradise
Oct 12, 2012 - Nov 24, 2012


 
  Harding Meyer // features
Sepr 07, 2012 - Oct 06, 2012


 
  Summer 2012 - Part 2
Aug 10, 2012 - Sepr 01, 2012


 
  Summer 2012
Jul 06, 2012 - Sepr 01, 2012


 
  Maria Friberg // The Painting Series
May 11, 2012 - Jun 23, 2012


 
  Mary A. Kelly // Father & Child
Mar 30, 2012 - May 06, 2012


 
  Maia Naveriani // Future Wolves and Chicks so far
Feb 10, 2012 - Mar 24, 2012


 
  Düsseldorf Photo Weekend 2012
Feb 04, 2012 - Feb 08, 2012


 
  Kate Waters // The Air that I breathe
Dec 09, 2011 - Jan 28, 2012


 
  Frank Bauer / ...den Wald vor lauter Bäumen....
Nov 04, 2011 - Dec 03, 2011


 
  Claudia Rogge // Final Friday
Sepr 09, 2011 - Oct 29, 2011


 
  Davide La Rocca - STILLS
May 27, 2011 - Jul 16, 2011


 
  Giacomo Costa // Post Natural
Apr 01, 2011 - May 21, 2011


 
  Harding Meyer - to be a real vision
Feb 18, 2011 - Mar 26, 2011


 
  Shannon Rankin - Disperse / Displace
Dec 03, 2010 - Feb 12, 2011


 
  Sandra Ackermann // I look inside you
Oct 15, 2010 - Nov 27, 2010


 
  Amparo Sard / AT THE IMPASSE
Sepr 03, 2010 - Oct 09, 2010


 
  Kate Waters // The Land of Kubla Khan
Jun 11, 2010 - Jul 17, 2010


 
  Jurriaan Molenaar // Lessness
Apr 30, 2010 - Jun 05, 2010


 
  Claudia Rogge // The Paradise of the Onlooker
Mar 05, 2010 - Apr 24, 2010


 
  Ivonne Thein // incredible me
Jan 22, 2010 - Feb 27, 2010


 
  Frank Bauer // Jet Set
Nov 27, 2009 - Jan 15, 2010


 
  Michael Koch // forever more
Oct 23, 2009 - Nov 21, 2009


 
  Masaharu Sato // SIGNS
Sepr 04, 2009 - Oct 17, 2009


 
  Harding Meyer // blind date
Jun 19, 2009 - Aug 22, 2009


 
  Maria Friberg // way ahead
Apr 24, 2009 - Jun 13, 2009


 
  Claudia Rogge // Isolation ( aus: Segment 8 - die Blasen der Gesellschaft)
Mar 06, 2009 - Apr 18, 2009


 
  Claudia Rogge - The Opening
Mar 06, 2009 - Apr 18, 2009


 
  JoJo Tillmann // What you see is what you get
Jan 30, 2009 - Feb 28, 2009


 
  Sandra Ackermann // Die Wirklichkeit ist nicht die Wahrheit
Nov 21, 2008 - Jan 24, 2009


 
  Kate Waters - Getting used to the 21st Century
Oct 10, 2008 - Nov 15, 2008


 
  Mihoko Ogaki - Milky Ways
Sepr 04, 2008 - Oct 04, 2008


 
  Summer 2008 // Painting
Aug 12, 2008 - Aug 30, 2008


 
  Silke Rehberg: Stationen 1,4,6,7,11,12,13,14
Jun 13, 2008 - Jul 12, 2008


 
  Maia Naveriani: At home with good ideas
May 09, 2008 - Jun 07, 2008


 
  Justin Richel: Rise and Fall
Apr 04, 2008 - May 03, 2008


 
  Davide La Rocca - Strange Object
Feb 08, 2008 - Mar 28, 2008


 
  Frank Bauer: AkikoAlinaAlinkaAndrew....
Nov 30, 2007 - Feb 02, 2008


 
  Maria Friberg: Fallout
Oct 12, 2007 - Nov 24, 2007


 
  Harding Meyer / in sight
Sepr 06, 2007 - Oct 11, 2007


 
  SUMMER '07
Jul 17, 2007 - Sepr 01, 2007


 
  Kay Kaul - Wasserfarben
Jun 15, 2007 - Jul 14, 2007


 
  Sandra Ackermann - Point Blank
Mar 02, 2007 - Apr 28, 2007


 
  Tamara K.E.: pioneers -none of us and somewhere else
Jan 19, 2007 - Feb 24, 2007


 
  Till Freiwald
Nov 17, 2006 - Jan 13, 2007


 
  Claudia Rogge: U N I F O R M
Sepr 01, 2006 - Nov 11, 2006


 
  Frank Sämmer: Die Stunde des Zaunkönigs
Jun 23, 2006 - Aug 22, 2006


 
  Kate Waters: Killing Time
May 05, 2006 - Jun 17, 2006


 
  Katia Bourdarel: The Flesh of Fairy Tales
Mar 31, 2006 - Apr 29, 2006


 
  Mihoko Ogaki
Feb 10, 2006 - Mar 18, 2006


 
  Silke Rehberg: RICOMINCIARE DAL CORPO
Jan 27, 2006 - Feb 26, 2006


 
  Sandra Ackermann
Dec 08, 2005 - Jan 15, 2006


 
  Corrado Zeni
Dec 04, 2005 - Jan 11, 2006


 
  Frank Bauer
Nov 18, 2005 - Jan 15, 2006


 
  Harding Meyer
Oct 07, 2005 - Nov 12, 2005


 
  AUFTAKT
Sepr 02, 2005 - Oct 01, 2005


 
  Claudia Rogge: Rapport
Jun 17, 2005 - Jul 20, 2005


 
 
May 13, 2005 - Jun 11, 2005


 
  Kate Waters: Solo-Exhibition in the Gallery Thomas Cohn, Sao Paulo
Apr 16, 2005 - May 20, 2005


 
  Vittorio Gui: FROZEN MOMENTS
Apr 08, 2005 - May 07, 2005


 
  Kay Kaul - ARTSCAPES
Apr 03, 2005 - May 29, 2005


 
  SEO Geheimnisvoller Blick
Mar 04, 2005 - Apr 02, 2005


 
  Claudia van Koolwijk at Museum Bochum
Feb 26, 2005 - Apr 17, 2005


 
  Corrado Zeni - Six Degrees of Separation
Nov 26, 2004 - Jan 15, 2005


 
  Maia Naveriani: What' s the difference between ME and YOU?
Oct 15, 2004 - Nov 20, 2004


 
  Tamara K.E.: MAD DONNA AND DONNA CORLEONE
Sepr 03, 2004 - Oct 09, 2004


 
  Davide La Rocca: Real Vision Reflex
Jun 12, 2004 - Jul 17, 2004


 
  Kay Kaul COLLECTORSCAPES
Apr 23, 2004 - Jun 05, 2004


 
  Frank Sämmer MUTABOR
Mar 12, 2004 - Apr 17, 2004