Sebastiaan Bremer Surreal Photography

" Sebastiaan Bremer is renowned for transforming ordinary snapshots into grandly baroque and surreal tableaux by a careful process of retouching and enlargement. Since his first solo show, in 1994, he has exhibited in venues such as the Tate Gallery, London, the Brooklyn Museum of Art, New York, and the Aldrich Museum, Connecticut. He has been based in the United States since 1992."

"Although Bremer has always been interested in photography, it wasn’t until the late 1990s that he began to draw directly on the surface of photographs. He has been inspired in part by nineteenth century spirit photography, and fin de Symbolists such as the poet Rainer Maria Rilke, and painter Odilon Redon, but his methods partake of advanced photographic techniques. Often he will begin with a simple snapshot of friends or family or familiar places, and after enlarging it far beyond conventional dimensions, he will begin altering and embellishing the image with India ink and photographic dye. He has often used the ink to produce fine patterns of lines reminiscent of cobwebs, or readings from seismographs. Photographic dyes also enable him to blur and mute some forms while accentuating others, and make some colors bloom while others recede into mysterious darkness. The result is an image that seems to literally vibrate with hidden consequence, as if the subject matter has sent cracks across the surface of the picture. Whilst Bremer’s choice of images inevitably grounds his work in his own biography, his imagery also makes reference to alchemy, art, and the occult, establishing unexpected connections between ordinary life, history, and the unconscious.

"Sebastiaan Bremer lives and works in New York. He studied at the Vrije Academie, The Hague, and Skowhegan School of Art and Sculpture, Maine. He has published two major catalogs: Monkey Brain (2003), and Avila (2006). His work is included in the collections of the Museum of Modern Art, New York, and the Victoria and Albert Museum, London, among many others." Orange Alert

Rewire Festival for Contemporary Culture 4 and 5 November The Hague Netherlands

The city of Den Haag (The Hague) in the Netherlands welcomes the first edition of Rewire Festival that will place around the city unconventional locations like the former office building, a church and parts of the old power plant that reflects the spirit of the festival. With a excellent combination of contemporary art events like Abstract-Cinema, Audiovisuals, Installations, Exhibitions and a wide range of cutting-edge music selection like Dirty Beaches, Sylvain Chauveau, Nils Frahm & Anne Müller, oOoOO, Washed Out, Plaid, Holy Other, Machinefabriek & Peter Broderick, Tropics, Dorian Concept and Vondelpark only to name a few.

For more information please visit Rewire Festival

Contemporary art in the XXth Century,The Hague,Claude Monet,Tobias Rehberger, Mondriaan, Kandinsky, Constant, Anselm Kiefer,Robert Zandvliet,Ossip

This afternoon i was in The Hague , Gemente Museum has still in exhibition a impressive collection of contemporary art in the XXth Century.

3 Staggering floors of art from artist like Mesdag, Toorop, Van Doesburg, Picasso, Constant, Mondriaan, Lewitt, Merz, Lüpertz, Baselitz.

Where some pics i took , from what i liked the most.


" Wisteria " - Claude Monet


" Infection 8XWI " - Tobias Rehberger


" Painting Nr 4 " - Piet Mondriaan


" Unbenannte Improvisation " - Wassily Kandinsky


" Vague Terrein " - Constant


" Design for a Gypsy Camp " - Constant


" Wege der Weltweisheit V " - Anselm Kiefer


" Untitled " - Robert Zandvliet

On the musem was also a a replica of Dutch Artits Ossip own studio .

Ossip uses old photographs taken from medical books or faded newspapers and magazines, often dating back to the early twentieth century. He is interested in the images themselves, not their context. The pictures are astonishing, partly because they often show people with physical abnormalities and partly (as when they show classic beauties of the past) because they are removed from their original historical context. Ossip enlarges these isolated images and manipulates them to place them in today’s world. The original image is still there but its meaning is changed. He restores three-dimensionality by stretching strings or wire around it or adding animal bones or fragments of cloth. In this way, emphases are imposed and powerful images are created. Ossip’s procedure conjures up a completely different world, in which viewers are free to endow the new images with whatever significance they choose. Ossip works by association; the texts he places on the works may bear some relationship to them, but then again they may not. His unorthodox working methods are not based on any ideology or art historical style. He aims to avoid any kind of accompanying rhetoric, believing that art should be left to speak for itself. The resulting work is intriguing, often oppressive, challenging and thoroughly thought-provoking.