December 4-7, 2014 Galerie Juliette Jongma presents work by Florian & Michael Quistrebert at Art Basel Miami Beach
Juliette Jongma opened it’s doors in 2004. It was the first gallery for contemporary art to establish itself in the De Pijp area of Amsterdam, which has since developed into an important spot on the city’s contemporary art map. The gallery focuses on collaborations with international artists in an early stage of their careers, often through its close engagement with Amsterdam’s international residency programs, like De Ateliers and the Rijksakademie.
Its main concern is the development and promotion of young artists in the international arena, through its participation in art fairs, and its extensive institutional and collector network. The gallery produces around seven exhibitions a year, and presents a host of contextual activities, like the production of publications, performances, talks and screenings, and actively engages with educational institutions like Amsterdam’s MA Sandberg Institute and the Art and Research MA program at the Rietveld Academie besides curating on a free-lance base events (SPF Spring Performance Festival) and projects (Eau De Cologne) out-side the gallery and started a record label for young upcoming musicians in collaboration with KunstVerein Amsterdam named I’m with her recordings.
The films and paintings by the brothers Quistrebert (Nantes, 1982, 1976) are rooted in the tradition of geometrical-abstract art and op-art from the sixties and seventies, translated to the post-everything-era of2014. They are hallucinatory works that are based on mathematical principals, where sculptural considerations explicitly claim a role within the flat surface of the painting or video screen. Symmetry and duplication are important principals for the Quistreberts, who are able within their rigorous structured compositions to achieve a remarkable softness. In their hermetic obsession with decoration and the surface, is a hidden quest for the sublime and the mystical. The choice of materials with in the works, such as car-paint and pigments, and the choices for the devices they use such as saws, sanders and chisels, provokes thoughts about the meaning of the skin of painting, in a culture where the skin or surface has grown to a primary locus for temptation – the flimsy place where the erotic manifests.
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