27th May – 8th June. During the Delft Fringe Festival, visitors will be introduced to new up-and-coming talent. From musician…
Read more11th to 29th June. Every year, the Holland Festival presents a carefully curated programme with excellent creators of theatre, dance,…
Read more16th – 25th May. The festival for contemporary dance and movement The Hague goes wild from 16th to 25th May!…
Read more29th May. Dance, video animation, holograms and design in new show Anima Obscura by Scapino Ballet. With live music by the Rotterdam…
Read more27th May. At a time when polarization and successive crises are driving us apart, Beutler and her team emphasize what…
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Through a newly enhanced audio tour at the museum, the partners are building a bridge between art, Van Gogh’s life story, and Samsung’s cutting-edge technology. Among the highlights of the tour is Van Gogh’s iconic masterpiece Almond Blossom.
The ground floor is taken up with a large marbled floored reception area dominated by the silver staircase, two smaller galleries, a café and, of course, a shop. There is a conference hall in another part of the ground floor. The two enormous, open-plan first-floor galleries either side of The Tornedo house a rich and varied collection of art, each in its own way exploring or revealing aspects of the touchy subject of migration.
Eric Whitacre is one of today’s most performed choral composers. He has received a Grammy Award and is known for his pioneering Virtual Choir project. In recent years, he also collaborated with Hans Zimmer on the film score for Pirates of the Caribbean: On Stranger Tides. Eternity in an Hour is his latest large-scale work — a meditation on presence, time, and awe.
On this night, from tinkling synthesisers to swishing water, the compositions were a feast not only for the ears but also for the eyes, offering a carefully choreographed experience of sublime emotional intensity, eccentric methodologies, and childlike playfulness. Beginning with a saunter through the cosmos of Sun Ra’s Outer Spaceways Incorporated and grounding in the sober confrontation of contemporary realities after the break, history and avant-garde collided through the cross-cultural dialogues of music.
The exhibition is a clever combination of media, featuring mostly primary sources from the wartime period, but also videos and text that contextualise the historical background of particular sections. Such comprehensive presentation welcomes history noobs such as myself, while the extensive capillaries of books, photographs, and letters encased in glass-topped tables will surely satisfy the avid researcher.
Much of Stam’s work has common threads – solitude and emptiness. The rooms or spaces, apart from the objects in them, are empty and any figures included seem lonely or lost. Either wandering aimlessly or standing still, they try to understand where they are and what they are doing there.
Pechstein shares much with the styles of Die Brücke and the Blaue Reiter – the bright colours, the bold strokes of paint and pen. In his drawing there was a boldness, attacking the paper with his chosen tool with energy and a palpable lack of fear of not succeeding, always following the philosophy of Die Brücke group – immediate and unfiltered.
The current show, in The Depot’s biggest exhibition space on the fifth floor, is entitled The Stories We Tell. It brings together some new acquisitions, and some old favourites, to explore how contemporary artists use storytelling to navigate the past, reflect on the present and imagine the future.
