Unlike traditional approaches that would produce a book or catalogue to document the artworks on show, this exhibition wants to transform the very essence of the book Sketches of Transition – An Atlas on Growth and Decay into a spatial experience.
Drawing inspiration from its atlas structure, a curated selection of printed works is showcased. These prints, functioning as maps, extend the book's topography into the architectural canvas of the space, inviting the viewer to immerse in an interactive encounter with the atlas's content.
Alongside these two-dimensional elements is a selection of sculptural works, which don’t present themselves as finished artworks, but rather as the molds onto which the pages were casted, subtly referring to the way in which their images are built in layers of paper, ink, and transparency.
Gazing through the various apertures of the featured researches, each chapter of the book could be considered a sketch of transition in itself, as an annotation on an alternative perspective on the material and visual spheres of our existences. In this sense, this exhibition can be seen as an extension of those sketches, which with the freedom of a blank paper sheet investigate and probe new modes of production of beauty and wonder.
LARA ALMARCEGUI (Zaragoza, 1972) lives and works in Rotterdam. Her work has been the object of numerous solo exhibitions in institutions such as Graphische Sammlung, Zurich (2019); IVAM, Valencia, Spain (2019); Art Basel (2018); Casino Luxembourg (2016); Kunsthaus Baselland, Switzerland (2015); Gemmeente Museum Den Haag, the Netherlands (2015); the Stedelijk Museum, Den Bosch (2012). Almarcegui has also participated in many collective exhibitions in institutions such as Kröller-Müller Museum, Otterlo (2020), Centro Botín, Santander (2020), Kunsthalle Karlsruhe (2020), Museum M+, Hong Kong (2019), MACBA, Barcelona (2015), and Van Abbemuseum, Eindhoven (2015), among others. Almarcegui has also participated in the 14th Biennale de Lyon, France (2017); the 1st Triennale of Aichi, Nagoya, Japan (2013); Manifesta 9 (2012); the Taipei Biennial (2010); the 2nd Athens Biennial (2011). In 2013 she represented Spain at the 55th Venice Biennale.
MARIA BARNAS (Hoorn, 1973) is a writer, poet and visual artist. Barnas studied at the Rietveld Academie and the Rijksakademie in Amsterdam (1998-2000). Since her poetry debut with Twee Zonnen in 2003, for which she was given the C. Buddingh’-prijs in 2004, she has been awarded numerous prizes including the Ger Fritz-Prijs (2021); Leo Herberghs Poëzieprijs (2016); Anna Bijns Prijs (2014), among others. Her work is represented by Galerie Annet Gelink, Amsterdam, and was showcased in several solo exhibitions in museums as Kröller-Müller museum, Otterlo (2019); Nationaal Glasmuseum, Leerdam (2017); Museum De Hallen, Haarlem (2016), among others.
In 2016 she was nominated member of the Akademie van Kunsten; and in 2022 she was nominated City Poet by the municipality of Alkmaar. Barnas also published three novels, Engelen van ijs (1997), De baadster (2000), and Altijd Augustus (2017).
MICHELE BAZZOLI (Brescia, 1996) is an Italian visual artist based in Amsterdam, the Netherlands. After completing a bachelor’s degree in Painting at the Brera Academy of Fine Arts in Milan, Italy, he attained a master’s degree in Visual Arts & Ecology Futures at the Master Institute of Visual Cultures in ‘s-Hertogenbosch, the Netherlands. His work was presented in solo and group exhibitions at Galleria Lampo, Milan (2023); Het Blauwe Veld, Arnhem (2022); Zaza Ramen, Milan (2022); Galleria Arrivada, Milan (2021); DOOR, Dordrecht (2021); SK Galerie, Solingen (2021); 9hrs Capsule Hotel, Tokyo (2019). In 2023 he is selected for the ARTeCHÓ fellowship program, and his work has been included in the catalogue 99 Future Blue-Chip Artists by Artsted.
DAGMAR BOSMA (The Hague, 1994) is an artist, writer and gleaner based in Rotterdam, the Netherlands. They obtained a master’s degree in Fine Art at the Piet Zwart Institute in Rotterdam (2021), and a bachelor’s degree in Philosophy at the University of Amsterdam (2018). Bosma’s work has recently been shown in solo and group exhibitions at A Tale of A Tub, Rotterdam (2023), Kunstfort Vijfhuizen, Vijfhuizen (2023), Flippy’s, Melbourne (2023), Rosa Kwir, Balzan (2023), Dracul.la, L’Hospitalet de Llobregat (2022), and Available and the Rat, Rotterdam (2021). Their texts and essays have been published by several magazines and online platforms, including Metropolis M, Mister Motley, zweikommasieben, and Tubelight. Currently, they are an editor at Girls Like Us magazine and nY magazine. From 2016 to 2020 they have been part of the curatorial team at Stichting Perdu, a centre for poetry and experiment in Amsterdam.
YANA NAIDENOV (Maputo, 1988) completed a BA in Interaction Design (2010) at the London College of Communication, and a Master’s in Sculpture at the Royal College of Art (2013), London, UK. Between 2016 and 2018 she was resident at De Ateliers in Amsterdam, Netherlands. Since 2010 she has exhibited internationally, with solo exhibitions at Artes - Mota Galiza (2022, Porto, Portugal), De Ateliers (2018, Amsterdam, Netherlands), CASS Sculpture Foundation (2016, Chichester, UK), Josh Lilley (2015, London, UK); and group exhibitions at Museum Jan (2022, Amstelveen Netherlands), Tatjana Pieters (2021, Gent, Belgium), Institut für Bienenzucht (2017, London, UK), Artíssima (2016, Turin, Italy), 53 Beck Road (2015, London, UK), Leila Heller (2014, New York, USA), and Yorkshire Sculpture Park (2013, Wakefield, UK). In 2020, she participated in Al Balad’s virtual residency, hosted by ATHR Gallery, Saudi Arabia. She was a resident artist at the EKWC (European Ceramic Workcenter) Oisterwijk, in 2021, with support from the Calouste Gulbenkian Foundation. In 2022 she was selected for the Topographic Atlas commission, by the Municipality of Amstelveen, Netherlands.