Where I end, and You Begin

HIDDE VAN SEGGELEN is proud to present the group show “Where I end, and You Begin” with works by Siobhán Hapaska, Andy Holden, Suchan Kinoshita, Klaas Kloosterboer and Pere Llobera

Siobhán Hapaska (1963) was born and raised in Belfast. She studied in London and currently lives and works in London and Rotterdam. Her oeuvre stretches over a period of more than twenty-five years and is marked by originality and complexity. She appears to be working in a broken landscape, retracing past events using faint memories, nurturing unthinkable works as palimpsests. This ‘post-Beuysian’ territory requires re-tuning of our senses to recognize patterns evolved from her personal and cultural developments whilst she uses juxtapositions of the artificial and the natural, of sound and silence, and evocations of life and death. A clear example of this is her installation at Museum Boijmans van Beuningen (2014-15) a portrait of a state of uprootnedness, with suspended and quivering olive trees evoking sensations of disturbance and excitement.’ A selection of Hapaska’s solo exhibitions includes Kunst Museum, St Gallen, Switzerland (2020); Douglas Hyde Gallery, Dublin (2020); John Hansard Gallery, University of Southampton, UK (2019); Kerlin Gallery, Dublin (2016); Andéhn-Schiptjenko, Stockholm (2016); Museum Boijmans Van Beuningen, Rotterdam (2014–2015); Magasin 3 Stockholm Konsthall, Stockholm (2013); HIDDE VAN SEGGELEN (2013), Tanya Bonakdar Gallery, New York (2010) and Camden Arts Centre, London (2007). Group exhibitions includes Kerlin Gallery, Dublin, Ireland (2019, 2018) White Cube Bermondsey, London (2017); Bloomberg SPACE, London (2016); 56th Venice Biennale, Italy (2015); Royal Academy, London (2010); the British Art Show 6 (2005–2006); 49th Venice Biennale, Italy (2001); Magasin 3 Stockholm Konsthall, Stockholm and Documenta X, Kassel (1997).Hapaska’s work is included in several collections, including Museum Boijmans Van Beunigen, Rotterdam; TATE, London; Irish Museum of Modern Art, Dublin; Boston Museum of Fine Arts, Boston and Hirshhorn Museum and Sculpture Garden, Washington DC.

Suchan Kinoshita (°1960) was born in Tokyo into a Japanese-German family. In the early eighties she attended studies in music in Cologne. Throughout the late eighties and early nineties she made numerous productions at TAM (Theater am Marienplatz) in Krefeld, Germany, including collaborations with composer Mauricio Kagel. Notably from this period is Kinioshita’s production Der Raum eines Denkens (The Room for Thinking), 1984, a performance piece based on a film scenario by René Magritte and Paul Nougé from 1928. In the early nineties, after completing her studies at the Jan van Eyck Academy in Maastricht, the Netherlands, Suchan emerges as a visual artist. Several years ago she moved to Brussels after having lived in the Netherlands for over two decades.Kinoshita’s visual art incorporates – quite literally, because it usually concerns the body, often her own body – elements from her background in experimental music, where connections between work and audience are key. It is a dynamic process in which the personal relationship between the spectator and the work take shape over time. The exhibition Taking Place at Hidde van Seggelen in 2013 included amongst other works, the performative installation Occupied / Non-Occupied, 2013, in which the artist stuck her elbow through the gallery-wall, whilst seated behind the gallery building.In 2019, during the month of November Suchan Kinoshita presented the performance PLATZHALTER TAKINGPLACE SURPLACE in Leuven, Belgium, in which she combined a process-based approach of narrative and music with the generally more static nature of visual arts. The work Place Holder was included in this performance, as well as a performance of the poem I love you.Kinoshita’s exhibitions include presentations at Moma’s PS1, New York, Icon Gallery, Birmingham, Stedelijk Museum, Amsterdam, De Pavilioens, Almere, Chisenhale Gallery, London, Bloomberg Space, London. Other significant exhibitions took place at at Museum of Modern Art City of Paris / ARC, at the MHKA, Antwerp and at the Ludwig Museum, Cologne. Suchan Kinoshita was the winner of the 1992 Prix de Rome. The Ludwig Museum in Cologne and Kinoshita were awarded the “Kunstpreis des Kuratoriums der Kunststoff-Industrie” in 2010. Most recently her installation Gym was included in the group exhibition Risquons-Tout, at Wiels, Antwerpen 2020.

Pere Llobera (1970), Milan, received classical training in Barcelona which was followed by studies in history and aesthetics of cinema in Valladolid. He attended the Rijksakademie programme in Amsterdam, 2006 – 2007. He combines a figurative and conceptual art practice with curating exhibitions and other forms of collaboration. His paintings resemble volatile evocations of possible worlds: works are often scenes taken from a narrative, fragments from film, art history, or episodes from his family background. His painterly style is atmospheric; a sleek unevenness suggests that everything can change at any moment; this mercurial aspect is an important aspect: he is interested in the state of the world. He favours a humoristic approach to the unexpected. For example he made a painting of one of his own works, that was hung behind a door because his friend’s wife did not favour it. What comes forward in his art is a saturnine element, interest in the impasse and a capacity to see it as potential, and a desire to confront all painterly and narrative limitations.When in 2012 writer Rosanna McLaughlin asked the artist about his youth he answered: “In IKEA you can find a shortcut that leads you from one side of the building to the other. It’s used most of the time by employees that need to go back and forth from one place to another fast, while customers usually follow the complete tour of the corridors. I know this shortcut exists, and I love to use it to access times in my life. For instance right now I am in the present, making dinner for my children, fighting the crisis, etc. But maybe tomorrow I will take this shortcut and be on the other side, inside a silent world full of memories and lost think- ing (lost because there is not time enough to think about de- tails when you are busy living). These visits to my past give me the chance to stop time and think about hidden details. It’s a pleasure for me to walk alone inside those past landscapes. At the end of these visits I re- turn through the small door of the shortcut, and go on with normal life. But it doesn’t feel like living in the past. Let’s say that I have free access to both sides. Mishima said once that childhood is like a castle that you can visit when you need to find refuge and be safe from everything. I agree with that. Sometimes these visits to the hidden places bring back paintings, sometimes writing, some- times nothing. The point is that I experience wider and deeper sensations of living.”His recent solo shows include, Faula Rodona, La Capella, Barcelona (2020); Museum Voorlinden, Wassenaar (2019), Bombon Projects in Barcelona (2018). In Barcelona he has collaborated with institutions like the MNAC (Espai educArt), the Fundació Miró (Do it Yourself) and Caixa Forum (Beneath the Arm: Between the Palm of the Hand and the Armpit). Pere Llobera is currently the curator of the 2020-2021 contemporary programme at Fundació Miró’s Espai.