Art The Hague | 2-6 October 2019 | Booth # 24
Daniel Mullen, 76-04, 150x140cm, Acrylic on canvas, 2019
In this body of work Annabel Emson (London, 1975) plays with painting as a way of exploring notions of childhood, body and trauma through the lens of reality and observation, both present and past.
She refers to painting not as inanimate object but as an animated part of herself, an extension of an ‘other’ into a kind of ‘eigenstate’. The created object becomes the silent observer of what it was created from, bearing witness to inner experience. Not the single sensory experience of a scene, a sound, a touch, a smell, a feeling but the amalgamation of the experience seen through the eyes of memory.
The observed becomes the witness looking back at the artist, mirroring the experience. A painted presence created to see itself being seen. Touching on the idea of do we really exist if no one sees us. The artist being witnessed by their own painting, as in ’Through me’; a mixture of sensation memory and feeling made physically present, made real through paint.
The concept of transformation is central to the work and the question of ‘does something behave differently if it is observed?’, plays into the notion that the artist can be transformed by being looked back at by their own paintings. Emson is inspired by how this concept plays out in quantum physics under Heisenberg’s uncertainty principle.
Through parenthood the artist has become increasingly interested in childhood and the body, trauma and memory and the fundamental process of being witnessed and mirrored. In painting she plays with the notions of who is the witness, her or the paintings, and what is it to exist only in the eyes of another (as in infancy) and how that develops into a kind of own state ‘eigenstate’ with maturity. And what happens if that development is ruptured through trauma, how does that interfere with traditional notions of time and space. Picasso’s notion that ‘everyone is an artist’ links to this idea that we are all born with our own ability to create our own witnesses to our experience.
Annabel Emson currently lives in London, she completed her BA at Chelsea College of Art and her MA at The Slade School of Art. She studied directly under Peter Doig, Chris Ofili and Bruce Mclean.
Her work is currently held in a number of public and private international collections and museums including the Saatchi Collection, Burger Collection, Sachs Collection, Gmurzynska collection, Schwarzenbach collection and de Fundatie Zwolle.
Marian Cramer Projects is pleased to present Femocracy – The Divine Feminine with Victoria Adam, Güler Ates, Lise Haller Baggesen, Annabel Emson and Michelle McKeown.
In ‘Democracy Begins Between Two’ (2000), Luce Irigaray (Belgium) invites us to rethink democracy and construct a new civil code invested with the genio femminile (the female spirit).
‘Until the relationship between man and woman has changed, the desire to dominate nature, not only cosmos and women’s nature but equally the nature of young people, of other races, and citizens of their countries, will remain unchanged.’(2000, Irigaray)
McKeown’s most recent rorschach works for Femocracy – The Divine Feminine seek to establish painting emphatically as an inter-subjective encounter, rupturing traditional representations of women in an attempt to forge new relations with man, woman, nature, world and other.
Güler Ates’ work comments on the Western notion of Orientalism and the effects of the cross-pollination of cultures on female identity and architecture. In her work she questions the relationship between the veil and the West, by setting the female veiled figure within a lush or historic European interior. Ates will be presenting new work made recently at Oude Kerk Amsterdam.
In the past years Lise Haller Baggesen has been working mainly on two bodies of work regarding Female Genius and Feminist Utopias, namely MOTHERNISM and HATORADE RETROGRADE.
MOTHERNISM (2013-) is a book and nomadic audio installation, aiming to stake out the “mother-shaped hole” in contemporary art discourse, at the intersection of Feminism, Sci-Fi and Disco. If the proverbial Mother is perhaps perceived as a persona non grata in the art world, because her nurturing nature is at odds with the hyperbolic ideal of the singular artistic genius, MOTHERNISM amplifies her presence, channeling her energy, complexity, and sublime creative potential in a series of intimate and critical reflections. The resulting collection of letters dedicated with love from one mother to her dear daughter, sister, mother, and reader—fuse biography, music, art, and history into an auto-theoretical testimony that recalls and redefines the future imperfect.
Since it’s inception MOTHERNISM has toured North America and Europe and also served as the “mother-ship” for the academic colloquium “Mapping the Maternal: Art, Ethics, and the Anthropocene” at the University of Alberta, earlier this year.
The book was co-published by Green Lantern Press & Poor Farm Press in 2014, and is available through SPD books:
HATORADE RETROGRADE (2016-) debuted at Chicago’s Threewalls/Rational Park in May 2016 and was received with an Art Forum Critics pick by Matt Morris. It features a selection of sartorial works set against a backdrop of revisionist “lipstick formalist” paintings to present a dystopian vision of the US anno 2033. In this glimmering post-capitalist burnout we must learn to make-do-and-mend, to repurpose art for art’s sake, and perhaps to forgive –but not forget– certain moments in the past when we were all hitting the Hatorade a little too hard. HATORADE RETROGRADE paints a bleak but hilarious picture of our shared predicament: on the intersectional battlefield we traverse there is no one-size-fits-all body armor, yet we cannot let our guards down post-feminism, until we arrive at post-gynophobia.
Annabel Emson will be showing paintings about the feminine in relation to Jung’s writings on the feminine and masculine, and work based on the writing of Gaston Bachelard and his reference to the feminine and water.
Finding something beyond politics, beyond opinion, beyond separation and judgement, a place where all is, and all is well is what excites Emson about painting. Matter just forming and transforming. This pure state is the ecstasy of the artist.
Victoria Adam has created new work for Amsterdam Art Weekend beyond politics beyond opinion. Adam makes sculptures intended to be experienced close-up and will present 3 small sculptures infused with herbal blends of both a real and cognitive variety. Each evokes a specific feeling from a combination of ingredients, smells and tactile familiarity.
Lise Haller Baggesen is based in Chicago and all other artists live and work in London
Marcelle Joseph Projects is delighted to present: 2Q13 – Women Artists, Women Collectors, an exhibition co-curated by Marcelle Joseph and Lydia Cowpertwait, and sponsored by Hampden.
The exhibition’s title 2Q13 references the cult trilogy 1Q84 written by Japanese author Haruki Murakami and represents a new parallel world conceived by women. If women could rewrite the rules of the universe in 2013, what would they do?
The exhibition will feature over 85 contemporary artworks made by women artists and will represent the art collections of seven prominent female collectors from London, Europe and North America. The art collectors involved include English collector Leslie Balfour-Lynn, art critic, curator and lecturer Sacha Craddock, Dutch gallerist Marian Cramer, Contemporary Art Society trustee Sarah Elson, the writer and contemporary art patron Maryam Homayoun Eisler, Boston-based collector of female photographers Lucille Spagnuolo and chair of the Collections Committee for the Contemporary Art Society Cathy Wills.
Many of the artworks featured in the show will be exhibiting for the first time in the UK.
Artists featuring in the exhibition will include: Samira Alikhanzadeh, Nazgol Ansarinia, Phyllida Barlow, Tina Barney, Becky Beasley, Louise Bourgeois, Ruth Claxton, Prunella Clough, Marian Coutts, Tracey Emin, Laura Ford, Geraldine Gliubislavich, Nan Goldin, Katy Grannan, Shirazeh Houshiary, Chantal Joffe, Josephine King, Beatriz Milhazes, Katy Moran, Catherine Opie, Cornelia Parker, Anna Parkina, Paula Rego, Maaike Schoorel, Kiki Smith, Elif Uras, Kara Walker, Gillian Wearing, Rachel Whiteread, Francesca Woodman and Vicky Wright.
There will also be a selection of new artworks exhibited that have been purposefully made for the exhibition or are recently produced works. These will include works by Afsoon, Güler Ates, Clarisse d’Arcimoles, Alexandra Bircken, Annabel Emson, Sally Fawkes, Jess Flood Paddock, Marenka Gabeler, Margarita Gluzberg, Rachel Goodyear, Vanessa Jackson, Karen Knorr, Julia Kunin, Kiki Lamers, Rania Matar, Michelle McKeown, Josephine Meckseper, Annie Morris, Jemimah Patterson, Alex Prager, Eva Räder, Penelope Slinger, Laurie Simmons, Shellburne Thurber, Mary Webb and Rose Wylie.
The exhibition will also be hosting a discursive programme of events sponsored by the UK Friends of the National Museum of Women in the Arts, Washington, D.C. On 7th October, Iwona Blazwick, director of the Whitechapel Gallery, will moderate a panel discussion with some of the featured women collectors. On 4th November, Sacha Craddock will lead a conversation with three of the featured artists.
The Lloyds Club is a Grade II-listed Georgian townhouse in heart of the City of London with an ongoing contemporary art programme of four exhibitions a year.
For more information please contact Marcelle Joseph or Lydia Cowpertwait:
Tel: 01344 622 064
Mob: 07971 580 572
Tel: 02076 133 643
Mob: 07805 397 071
Paintings and works on paper
MARIAN CRAMER PROJECTS is proud to present an exhibition of new works by the British London based artist Annabel Emson. This is the artist’s first solo exhibition in the Netherlands.
Annabel Emson (b.1975, London, United Kingdom) received an MFA from The Slade School of Art in London and a BA from Cheslea College of Art & Design. Charles Saatchi recently acquired a series of her paintings and Emson’s work will be shown in the Upcoming Paint exhibition at the Saatchi Gallery in London. Emson lives and works in London.
Emson’s paintings are experimential performances on the relationship between the inner psychological terrain and the outside materialist world; through mark making and the language of paint she creates doorways into autobiographical landscapes that allow her to visually inhabit both worlds. Her paintings visualize bursts of energy and movement. The work addresses fundamental thoughts on communion and belonging; creating an intimate common bond with her viewer; they are still, silent open relationships through which she is dialoguing.
Sunday, 6 November, 2011, from 4-6 pm
7 September until 31 December, 2011
+31 (0)6 147 80 171
Marian Cramer Projects
1077 GM Amsterdam
T: +31 (0)6 147 80 171
NOTE TO THE EDITOR: Illustrations and more information can be requested on +31 6 147 80171 or at firstname.lastname@example.org
Marian Cramer Projects
1975 Born in London.
Lives and works in London
1994-1997 BA Fine Art Painting, Chelsea College of Art, London tutors Peter Doig, Chris Ofili
2004-2006 MFA Fine Art Painting, The Slade, UCL, tutors Bruce Mclean, Kate Bright
2007 DLA Piper Award Finalist
2007 Celeste Art Prize Finalist
2006 Castellon Museum Painting Prize Finalist
2006 Boundary Art Prize Finalist
Residencies & Teaching positions
2010 Residency, CCA Foundation, Andraitx, Mallorca
2009 Artist in Residence, PLASTIKI Recycling Project, San Francisco
2007 Lecturer/part time tutor Huddersfield University (BA Painting)
2006 Residency Scholarship Crete, Greece
2005 Residency Scholarship Venice School of Printing, Italy
2014 THE FUTURE PAST, Marian Cramer Projects Amsterdam
2012 GOLDEN EXIT, Marian Cramer Projects
2011 Paintings and works on paper, Marian Cramer Projects
2009 The Apartment Gallery, London (museum designers and artists)
2008 The Wyer Gallery, London
2007 HSBC Bank St. Moritz, Switzerland
2014 Eve Appeal Group show (Women Artists)
2013 2Q13 Women artists, Women Collectors (curated by Marcelle Joseph and Lydia Copertwait)
2011 Marine Contemporary, Los Angeles with Gereon Krebber
2011 Kenny Schachter Rove Projects, London with Gereon Krebber
2010 Carbon 12 Gallery, Dubai
2009 PLASTIKI PROJECT, PIER 31, San Francisco (sponsored by De Rothschilds)
2008 Kenny Schachter Rove, Hoxton Square, London
2007 C’an Marques Museum, Palma de Mallorca
2007 IBID Projects, London showing
2007 DLA Piper Art Award, London
2007 Gallery Gmurzynska, Switzerland
2006 Castellon Museum, Spain chosen by Barry Schwabsky
2004 Cologne Art Fair, Gallery Gymurznska, Germany
The Saatchi Gallery Collection, London
Musem de Fundatie, Zwolle, Holland
The Burger Collection, Switzerland
The Schwarzenbach collection, Switzerland
The Sachs Collection, Switzerland
Galerie Gmurzynska Collection, Switzerland
Beth De Woody Collection, New York
Chopinstraat 31, 1077 GM Amsterdam | T: +31 (0)6 147 80 171
email@example.com | www.mariancramer.com