Publication The Soul in Limbo,
Jennifer Tee, Star Crossed, performance for the exhibition Nether Land, Shanghai Expo, China, 2010
Jennifer Tee, Shuudan Koudou (collective action), Ether Plane / Material Diagram series 4, plate 3, 50 x 84 cm
6th Cobra Art Prize Amstelveen goes to Jennifer Tee
Exhibition: The Soul in Limbo, November 24, 2015 until March 6, 2016
The title of the exhibition is taken from the statement, “I am the soul in limbo”, made by Nadja, the central character in the eponymous novel by André Breton.
Three performances of Jennifer Tee at the Cobra Museum
What Men Knew Nothing About
The Oracle Club, a reading from Marcel Proust's Swann's Way
Sunday, February 14 Valentine's Day. 8 p.m. to 22:30 hrs
Cobra Art Prize Amstelveen
Exhibition: Jennifer Tee meets Cobra
Publication: The Soul in Limbo
You can buy the catalogue at the museumshop or order it via Roma Publishers
The Exhibition and publication was made possible through support by de Council of Gemeente Amstelveen, Galerie Fons Welters, the Mondriaan Fund, the Amsterdam Fund for the Arts, and the Tijl Fund. With special thanks to Zwaan Printmedia.
His designs for the Dutch National Opera
In 1994 and 1995, at the invitation of Pierre Audi, artistic director of The National Opera, Karel Appel designed the sets and costumes for two operas, ‘Noah’ and ‘The Magic Flute'. Thus he joined the long tradition of collaboration between artists and opera. Appel's designs led to consternation and praise by press and public. The sets and backdrops are colourful and spectacular and testify to the expressive style so characteristic of him. A direct and intuitive art portraying the great human themes, which also take a central place in opera.
In 2016 it has been 10 years since Karel Appel had passed away. An occasion to collaborate with The National Opera and to shine the spotlights on the stage scenery works. The same Opera staff that worked with Appel have restored various pieces especially for this exhibition. Displaying these objects in a museum creates a totally different experience. The visitor moves like an actor over the 'stage', past the scenery and light plan that is designed again by technicians from the National Opera. From close-by you can see the human hand of Appel and his assistants.
Included are a few artworks from our own collection showing kinship with the Opera designs. Film recordings of both operas will be on show in the gallery along with Appel's original scenery sketches.
The Danish artist duo, Bank & Rau, based in Copenhagen, have been invited by the Cobra Museum to create a contemporary presentation of the museum collection from the perspective of their own unique vision. The collection of the museum, the stories associated with it and the history of the Cobra movement, with associated archival material, are the building blocks with which Bank & Rau have set to work. They will further complement this with their own work, inspired by the Cobra collection and thereby creating a new, total installation in which they tell a story of Cobra in a completely new way.
In the artistic practice of Bank & Rau (Lone Bank & Tanja Rau), hand crafting and elements of folklore are consistent elements. By setting aside accepted tradition and everything we tend to take for granted (in a museum), Bank & Rau endeavour to create new forms for museum presentations.
The Open Collection Programme of the Cobra Museum is an investigation in practice, in which contemporary creators are invited to open up the Cobra Museum collection and contribute new impulses and perspectives. The Open Collection Programme has been made possible by the Mondriaan fund. The presentation by Bank & Rau is also supported by the Danish Arts Council, SVFK (Danish Art Workshop) and the SKF (Danish Art Foundation).
Works from the collection of the Cobra Museum of Modern Art
The CoBrA artists, many of whom had left-wing political leanings following the isolation and divisions inflicted by the war, wanted to create a new form of art that transcended national borders and could assume a central place in society. Cobra artists wanted to produce art that could be understood by everyone, that would speak directly to the individual. To achieve this, they sought to get as close as possible to the underlying core of what it meant to be human. They sought ‘authenticity’, and found something closer to that authenticity in the artistic expressions of children, folk culture and in non-Western societies. In practice, this meant experimenting with ‘a new, spontaneous painterly expression’. In this way, Cobra artists investigated the relationships between drawing, writing and painting. They strove to liberate colour from form. Some of the artists associated with Cobra, including Karel Appel and Asger Jorn, had specific periods when abstraction played a larger role in their work, but there were also artists associated with Cobra who had always leaned more strongly towards abstraction, such as Eugène Brands, Anton Rooskens, Theo Wolvecamp and the Danish artist, Erik Ortvad. It is this field of tension between figuration and abstraction that is central in this presentation with works from the collection of the Cobra Museum of Modern Art