Take Heleen van Royen. She’s the well-known author of such high-profile bestsellers as De Gelukkige Huisvrouw (The Happy Housewife'), De Ontsnapping ('The Escape'), and De Mannentester ('The Man Tester'), but also the photographer of Selfmade, a saucy series of selfies in which Van Royen photographs her own, mostly naked, body in countless ways, proving once again how taboos still exist in emancipated Holland. Jan Cremer is another good example. Again, a well-known author of such works as I, Jan Cremer, Made in U.S.A. and De Hunnen ('The Huns'), but also a lithographer, who regularly exhibits works with the Dutch landscape as the subject at home and abroad. Both are featured in the exhibit with their work in the visual arts.
Blessing
Artist Marte Röling got roped into speaking at the opening. She spoke briefly — "I was afraid you would all have to stand" — about the blessing and the curse of having a double talent. So on the one hand, she talks about the all-consuming excitement in making art, but on the other about the challenge of its addictive nature, in which she loses herself. As an artistic talent, it is impossible to escape making art. ‘For many people, having one talent is already wonderful, but being blessed with multiple talents is a small miracle, because a lot of talent gets lost and never comes to fruition,’ she says. She calls the wealth of so many poets, writers and visual artists in one place ‘quite extraordinary’.
Despite the overwhelming diversity of double talents, most of the exhibitors really do seem to see themselves primarily as writers. Not everyone has the same eye for the presentation of visual work, with the end result being that the whole thing sometimes looks a bit awkward. The asking prices are pretty modest, to say the least, with the exception of the works from the really big names, all of whom weren’t at the opening, by the way.
Reaping the spoils
Rense Sinkgraven, co-organiser of the exhibit and also an exhibitor himself, explains why he is so pleased with De Rijke Buit. ‘I like the fact that the work of writers and poets who also make visual art can be seen in one centralised location for a change. That hardly ever happens.’ His own work, a kind of spatial collage of rotted wood and rusted metal, can be found close to Van Rooyen's photographs. In addition to their location at the exhibit, ‘Selfmade’ and ‘Penis Envy’, Sinkgraven's work, have similarities in content. ‘Who knows, maybe there’ll be a poem one day with Sigmund Freud as the main character.’
These double talents certainly provide us with rich spoils, but you definitely have to look around for it. A slightly stricter selection might have made for a better exhibit. Then again, the advantage of 96 lots is that the exhibit is quite thorough. The auction, scheduled for 19 March, provides ‘something for everyone’ and inevitably feeds the addiction of the true art connoisseur to expand their art collection with premium works at a modest price.
In collaboration with Glasnost, Shariza Abdoelhak visited the exhibit. Her report was broadcast on 15 February via OOG Radio and is available online.
Text: Shariza Abdoelhak and Gerdine Kruizinga // Image: Shariza Abdoelhak
Pictured: Selfmade, Licht 1 2/3 and Licht 4, Heleen van Royen, House and Sculpture, Hans Wap, Luctor et Emergo, Renée Luth