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Robert Bateman, Dina Belga, Jacqueline Bilheust, Martin Brandsma, Keith Brockie, John Busby, Denis Clavreul, Epko Cordèl, Jaap Deelder, François Desbordes, Siemen Dijkstra, Frâns Faber, Hans Feyerabend, Julian Friers, Joke Frima, Karen Gillis, Robert Greenhalf, Henny van Grol, Ewoud de Groot, Andrew Haslen, Billy Hellsten, Chris Herenius, Hetty Heyster, Herman van Hoogdalem, Annette Isfort, Monica Jonkergouw, Lammert Joustra, Renze Koenes, Diederik Kraaijpoel, Tsunehiko Kuwabara, Rikus van de Meer, Rob Møhlmann, Evert Musch, To Musch-Jager, Panthaleon, Peter Partington, Dag Peterson, Rein Pol, Bernd Pöppelmann, Marjatta Ranta-Iso, Andrea Rich, John Ridder, Ben Rikken, Jurgen af Rolén, Ruth van Royen, Lennart Sand, Johan Scherft, Ed Schouten, Robin d'Arcy Shillcock, Anne Shingleton, Hendrik J. Slijper, Simon van der Sluis, Hilda Snoeyer, Ed Ubels, Janine Vos de Mooy, Siene de Vries, Hiske Wiersma, Hilde Wolters, Sherrie York, Fiona Zondervan, Theo Zwinderman |
| Techniques: | Almost everything between wood and bronze, charcoal and oil; there are even even boxes, etched cut-outs, painted chairs and a cupboard full of animals. | |
| Date of exhibition: | April 14 - June 19, 2006 |
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In our large, thematic exhibition Beste Beesten/Dear Animals, the work of contemporary representational artists plays a central role. The works of painters, draughtsmen, printmakers and sculptors from the Netherlands and from abroad, in all comprising ten different nationalities from across the planet, make this a rather international event that gives the visitor an understanding of each contributor's intimate vision on animals. In fact, each of these artists is a link in an unbroken chain of men and women who have been aesthetically attracted to animals since the very first animal depictions were produced with brush and chisel, over 300 centuries ago. This, in itself, reveals how meaningful our long-standing relationship with animalism is. An ongoing history, to be sure, that is far too circuitous and complex to be reduced to a mere sentence, but evidently man's fascination for animals over thousands of years may be called the most ancient idea of the visual arts. |
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The more civilized among us are accustomed to addressing each other in human interaction as Beste [dear]; the title of this exhibition may be seen from the same viewpoint. Such an address is a token of respect, brotherhood and courtesy, used in the title of this exhibition it is a well-meant salute to our animal relatives. But more is implied. Beste Beesten / Dear Animals also implies that the artists have given us their best paintings, that the exhibited work bears witness to a high level of artistry besides being a paean to animals. In the same blow we want to do something about the negative connotation that clings to the word beast in other languages besides Dutch: bete, bestia, Bestie, etc. The word itself is really nothing more than a veiled, but poor attempt, to put ourselves in a better light than animals. Literally beast means: 'animal without reason'. However, we are indirectly admitting that we ourselves are partly animals, but of course in a category all our own: a higher species, blessed with a brain capable of reason. But alas, our reasoning capacities do not suffice in curbing all of our urges. Man repeatedly crosses borders where any 'beast' in its right mind would have turned back. Man, in his haughtiness and impotence, affixes the word 'beastly' to such demonstrations of unreason. A gotspe, because even though it is difficult at times to see our inability in print, only one word is adequate: human rather than beastly. An animal cannot be reproached for its lack of reasoning ability or behaviour, but man-the-reasonable can. Animals are innocent by definition. If you agree and if your eye and heart are attuned to innocence you are sure to detect it in many of the works exhibited here. Could it be that especially that aspect fascinates contemporary artists in animals, in the beasts without reason, because they do not simulate, simply being what they are and taking life as it comes? During the past decades yet another aspect concerns painters of wildlife and, more broadly speaking, painters of nature. It is the toll animal man exacts on nature, intentionally and unintentionally, out of ignorance, consumerism and the competition for profit, but also born of our basic need to enlarge our own chances for survival. Yes, understandable and explainable, but nevertheless having a disastrous effect on wild nature, on its diversity and on the populations of certain species. Such things sharpen the awareness of any artist with a passion for wildlife and may explain the undertaking of long journeys into wild nature, and failing to do that, working in a zoo because time for observing and portraying wild animals in nature is running out. Remember that even the most ubiquitous animal may be threatened with extinction. Take our very own house sparrow, which was recently added to the Red List of threatened birds. Its alarming decrease in numbers was the incentive for an exhibition in 2005, Passé(r) Domesticus, in which no less than 50 concerned artists took part. In conclusion, we would like to underline that this exhibition could not have come about without the enthusiasm of Robin d'Arcy Shillcock. In its first phase the idea was to organize a retrospective in celebration of his 25th anniversary as an artist, supported by work of some of his artist-friends. The metamorphosis that subsequently set in can only take place in certain man-animals, because those of you who know Robin, know that besides being an artist and animal aficionado, he is also a fervent wanderer. He has probably visited every continent in his life's Odyssey, from Murmansk's icebox in the north to the oven of the Australian bush. Wherever he set foot, he met up with confreres, and made friends. He's blessed with many friends, really too many to tuck away into a side show. Prompted by his encounters with many artists the exhibition mutated from one man's retrospective to a survey of many. Therefore, many thanks to him for bringing together such a colourful cavalcade of artists, who together have turned this into a whale of an exhibition. Rob Møhlmann (translated by Robin d'Arcy Shillcock) |
SpecialOn the occasion of this exhibition the bilingual (Dutch/English) book Beste Beesten / Dear Animals is published. It is bound, has a hard cover and 192 pages, all full-colour with works of all the participating artists. Texts are by Rob Møhlmann (a historical outline on the relation man-animal, illustrated by a selection of 'marks on the wall') and by Robin d'Arcy Shillcock (who wrote about his relations with artist-friends, teachers, influences and sources of inspiration). A credit to your bookcase.
The book is available at the museum bookshop and costs only
If you want to buy this book, please watch carefully
Shipping and handling in Europe: So deposit the accurate amount into the account of:
Museum Møhlmann When we receive your payment, the book will be send to the address that is on the voucher, if not stated otherwise. This is the only way we can be at your service. We are unable to accept credit cards or other forms of payment. |
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 Cover of Beste Beesten/Dear Animals |
