Moco Museum introduces Studio Irma – “Reflecting Forward”
Immersive digital artist Irma de Vries opens her biggest show yet at Moco. She shares the museum’s vision of having the voice of the street be heard through art and has answered the call to honor female artists.
The collaboration between Moco and Studio Irma has resulted in a new immersive digital art exhibition that – although it will first be seen at the Moco Museum – clearly has the ambition to make many a heartbeat faster on an international scale. The interactive Studio Irma – “Reflecting Forward” exhibition opens today in the museum at the Museumplein in Amsterdam.
About Studio Irma – “Reflecting Forward”
Brightly colored lights, movement, and music drive you through these interactive works of art. These are the ingredients that bring dreams to life: infinitely variable spaces with ever-changing dimensions and ethereal works of art that communicate with each other.
Visitors feel a sense of bliss as they wander around the digital and constantly changing spaces: Diamond Matrix, Kaleidoscope, We All Live in Bubbles, Connect the Dots & Universe. There is no language barrier, allowing every visitor to optimally enjoy this reflecting world in their own way. Here, life is not imitated by art or vice versa; instead, the experience is a captivating celebration of connection.
Irma de Vries of Studio Irma: “With ‘Reflecting Forward,’ we are introducing a new art movement based on Connectivism. The exhibition emphasizes how internet technologies such as web browsers, search engines, and social media contribute to a new way of life. In it, the primary goal of art is to connect people in a world without borders.”
Kim Logchies, founder and curator of Moco Museum: “Usually, we reflect by looking back on the past. With this digital art experience and the infinite connections it shows us, we reveal what the future might look like and what your role in it could be.”
The influence of color
Our early ancestors used color to recognize ripe food. Hunger pushes one to search for food, while happiness is the reward for finding it. Over the course of millions of generations, color has become such a reliable predictor of food that the act of eating has gradually evolved to become associated with a feeling of happiness. During the age of colonization, bright pigments were sometimes considered closely guarded state secrets. A new color was developed specifically for Studio Irma’s exhibition. It is a shade of pink designed to induce energy and dopamine.
Studio Irma – “Reflecting Forward” is the first of many projects coming to Moco in 2020 to celebrate female artists.
About Irma de Vries
Among other things, Irma de Vries has earned national renown with her work for the Amsterdam Light Festival, where here pieces caused many people to stop and stare. Internationally, she has won several prizes for her unique video mapping. At the Gerrit Rietveld Academy, she combined her school work with modeling; her love for fashion is a recurring element in her digital patterns.
Her art makes people feel happy, which is a quality she does not take lightly.
She has read many books about how and when people experience happiness: when seeing round shapes and bright colors, which our brain still associates at some level with the search for ripe fruit when the body is hungry. Her life experience has made Irma a strong believer in the power of dopamine and serotonin. She invites you to go on a journey and briefly let go of everything to become part of something bigger, where everything and everyone is connected. Her twenty years of experience combined with her technical expertise and her unique vision on art make Irma a major new player in the art world.
Moco Museum presents: Daniel Arsham – Connecting Time – Press Release
From January 18th until September 30th 2019, Moco Museum in Amsterdam is hosting New York-based artist Daniel Arsham’s solo show ‘Connecting Time’. Arsham’s work draws on a range of disciplines, incorporating architecture, design, sculpture, film and performance. Moco Museum is the first museum in the Netherlands to present Daniel Arsham‘s work.
Entering the installation spaces of this exhibition, such as Amethyst Ball Cavern and Eroded Wall Paper Room, feels like stepping into an alternate reality. The artist’s fascination with pop culture objects, sports and the influence of archeology are apparent in these spaces. The show also includes Arsham’s never before presented interactive installation Calcified Room, consisting of a domestic space furnished in mid-century style but created to appear strangely petrified. The calcified room is evocative of a cave interior scaled with minerals, or the city of Pompeii, eternally preserved in ash.
“For my first museum scale exhibition in the Netherlands, I am excited to partner with Moco Museum to present a selection of my work spanning the last 10 years of my career. I’ve created some new and never before seen works and installations for this show and am very looking forward to share my practice with the Dutch people and international audience in Amsterdam”, says Arsham.
‘Connecting Time’ is a survey show with works spanning Arsham’s entire career. Included are four at first glance ‘conventional’ architectural interventions that subtly manipulate the physical environment to create surrealistic settings. Fitness gear and objects rooted in pop culture are presented in eroded form as though excavated from some archaeological site, while swaddled animalistic figures recall the work of Christo or Man Ray, but with a playful, childlike twist.
This exhibition is organised in collaboration with Daniel Arsham and in partnership with Galerie Perrotin and Galerie Ron Mandos.
About Daniel Arsham
Daniel Arsham (United States, 1980) is a New York-based artist whose work explores the realms of architecture, design, sculpture, film and fine art. Achieving his first success as a stage designer, Arsham and his architectural firm Snarkitecture quickly began collaborating with renowned artists, musicians, designers and brands. He is the first and only artist-in-residence at Adidas, and gained widespread fame following his recent collaboration with Pharrell Williams. A central element in Arsham’s work is the concept of fictional archaeology. He creates ambiguous spaces and situations, and conflates past, present and future by presenting millennial-era objects in calcified form. He is also interested in experimenting with the timelessness of symbolic objects and customs across different cultures. Arsham has received prestigious international awards for his work, which has been shown at MoMA PS1 in New York, the Museum of Contemporary Art in Miami, the Athens Biennale, the New Museum in New York, the Contemporary Arts Center in Cincinnati, the SCAD Museum of Art, Carré d’Art de Nîmes and the High Museum of Art in Atlanta, Georgia, among others.
About Moco Museum
Moco Museum was established in 2016 and exhibits iconic works by prominent international artists. In addition to its own MoCollection and pieces by big-name artist Banksy, which are on permanent display, the museum has also mounted solo shows featuring Andy Warhol, Salvador Dalí, Roy Lichtenstein and ICY & SOT. Moco Museum is dedicated to showcasing radical pioneers and influencers of modern artistic movements such as Street Art and Pop Art. A private initiative of Lionel and Kim Logchies, Moco Museum occupies Villa Alsberg on Museumplein and welcomes more than 500.000 visitors a year. The exhibition of Daniel Arsham’s work will be on view from January 18th 2019.
Daniel Arsham – Connecting time
From 18 January 2019 until 30 September 2019
Moco’s ICY and SOT exhibition ‘A Moment of Clarity’
In June this year, Amsterdam’s Moco Museum opens a new exhibition featuring the work of Iranian street art brothers ICY and SOT. To complete the bill, Moco has chosen influencer and art lover Anna Nooshin as the exhibition’s co-curator. Also Iranian by birth, Nooshin has been deeply affected by the works of ICY and SOT.
The young Iranian brothers Icy (34) and Sot (29) have been nicknamed the ‘Iranian Banksy’ for good reason. Their work is highly controversial and has even been banned in their native country. But the street artists’ work holds up a critical mirror to today’s society, offering an unconventional take on such themes as suppression, the environment, freedom, war, and dreams. The two brothers’ talent has not gone unnoticed and they quickly gained an opportunity to swap the streets of Tabriz for the bright lights of New York.
The brothers proved an instant hit among admiring art lovers in the Big Apple. But their inevitable success has not been without its sacrifices. By seizing success in America with both hands, they have forfeited the right to return to their native country…
We can now say with confidence that ICY and SOT did not give up a future in their home country in vain. They have had several exhibitions in New York and are well on their way to achieving international acclaim. Very recently, the artists again became the talk of the town thanks to their Dirty Money installation on Wall Street. The brothers hit out at the greed and volatility of capitalism by placing a gigantic crumpled dollar bill at the heart of the financial district.
About the collaboration
Moco founder Kim Logchies knew from their very first meeting that Anna Nooshin was the perfect match for the Moco Museum and its works and she was determined that the two should collaborate. The choice of ICY and SOT was a joint decision. Anna’s story is similar to that of ICY and SOT but it was her personal taste, natural affinity with and curiosity for art that persuaded Kim to enlist Anna as co-curator for this extraordinary exhibition.
“Anna was deeply touched, which was a joy to experience.”
Anna identified with the two brothers who also fled from their native country of Iran. Like them, she has also succeeded in moving on from a difficult start in life and achieving a positive and inspirational turnaround. In early March, Anna and Kim traveled to New York to meet the artists and select works for the exhibition. Anna is involved in the whole creative process.
This summer, Moco Museum brings the work of Icy and Sot to Amsterdam to adorn the walls of the museum, alongside Banksy. The works that will feature in the ICY and SOT exhibition are being chosen by Kim Logchies and Anna Nooshin. Sharing the same themes, the exhibition is not only an excellent match for Banksy’s work but will also enrich the museum’s existing collection!
ICY and SOT – ‘A Moment of Clarity’
From 1 June 2018 until the end of October 2018.
‘The Moco Museum unveils new work by Marcel Wanders to mark its second anniversary’
To celebrate its second anniversary this month, the Moco Museum will be unveiling ‘Portrait’, a new work by Marcel Wanders designed especially for Moco.
Artist Marcel Wanders has interpreted the sheer dedication and ambition of adult existence as a rocking, rotating egg that transforms into a wall of wishes. The sculpture heralds a new start and has been presented by the artist as a gift to the city of Amsterdam. Thoroughly poetic and dreamy, the work symbolizes that inner longing we all feel within us. Viewed from a distance, the egg evokes images of a landscape of dreams. On the top of its marble base, the wishpin is engraved as a reminder of our eternal ambitions and our belief in what is possible.
The work is an organic cork object with an imposing presence, and, according to the artist, represents warm and unconditional dreams. These dreams, wishes and goals can be sealed within the work using so-called wishpins. The pins are marked with the letter M for Moco Museum/Marcel, or viewed upside down, W for wishpin/Wanders. Make a Wish!
The wishpins are available in the museum gift shop – visitors can insert a pin into the artwork themselves and have their dreams fulfilled. The proceeds from wishpin sales will be used to make Moco Magic donations to good causes with which the museum has a special bond. These include such organizations as Movement on the Ground and the AIDS Fund.
This extraordinary work will be unveiled in the Moco garden in Amsterdam’s Museumplein on 23 April.
In 2017, more than 400,000 visitors crossed the threshold at Villa Alsberg to enter the wonderful world of modern and contemporary art. The most popular attraction is street art legend Banksy.
Since the museum opened in 2016, it has featured iconic works by leading international artists. Alongside Banksy, the museum has exhibited works by such greats as Andy Warhol and Salvador Dali. The current exhibition features pop art icon Roy Lichtenstein.
The museum’s primary mission is to highlight the radical leaders and influencers of modern art movements (including street art and pop art). Featuring exciting exhibitions and high-profile guest curators, Moco appeals to a wide public.
Moco is a private initiative of Lionel and Kim Logchies, owners of the Lionel Gallery in Amsterdam’s Nieuwe Spiegelstraat. The couple have devoted more than 18 years to the works of leading names in the international world of art, ranging from Pablo Picasso to Jeff Koons and from Damien Hirst to Jean Michel Basquiat.
Establishing Moco has enabled them to feature prize exhibits that are normally beyond the reach of the general public. A wide range of works have been made available on loan to the museum thanks to its international network of initiators.
ROY LICHTENSTEIN – “Lasting Influence”
New exhibition at Moco Museum Amsterdam
November 3, 2017 – May 31, 2018
ROY LICHTENSTEIN BACK IN AMSTERDAM AFTER EXACTLY 50 YEARS
Starting from November 2017 Moco Museum presents an exhibition of Roy Lichtenstein, one of the greatest contemporary art interpreters and a master of Pop Art. The influence of Roy Lichtenstein’s art is still evident in many forms of artistic expression: from painting to advertising, from photography to design and fashion.
You recognize his works at first glance: he has become part of the unconscious cultural heritage to all of us.
Roy Lichtenstein has a ‘Lasting Influence’, he was the first to put Mickey Mouse in a painting before Damien Hirst, Andy Warhol and numerous others did. The applications you have seen in the current daily fashion image is a direct translation of Roy Lichtenstein’s work.
ABOUT THE CURATORS
The exhibition at Moco is curated by the Italian Gianni Mercurio (curator of shows about Keith Haring, Jean Michel Basquiat, Andy Warhol and Roy Lichtenstein) and Mirta d’Argenzio (curator of a retrospective of Damien Hirst and Robert Rauschenberg) with active participation of Kim and Lionel Logchies, founders of Moco Museum. The exhibition, organized by Moco on Madeinart project presents, through a large selection of editions like the famous Brushstrokes, Imperfects and Still lifes from European and American collections, the conspicuous themes treated by the great American artist.
Starting with images taken from advertisements by the newspaper and objects of everyday life, he discovered cartoons as both inspiration and source-material for his art. His preferred material was romance or war-inspired, which reinterpreted by Lichtenstein are supplied with irony.
Lichtenstein explained his choice of comic frames for his works in these words: “From the beginning, I felt that comic-strip painting had to be de-personalised. It had to express great emotions – passion, fear, violence – in an impersonal, removed and mechanical manner” […]
“I try to look for something that says something mysterious, or absurd, or obvious or extremely simple or extremely complicated. Something visually or if there are words to it – something that when it’s a painting and not a part of a comic strip that it will strike you as funny…or…usually funny. ……….. It’s the drama and heroics and of course, none of the consequences – we still think of war that way.”
3D INTERIOR ROOM
The Lichtenstein exhibition at Moco Museum will include a 3D interior room installation based on Lichtenstein’s painting “Bedroom at Arles”, which he made in 1992 after a postcard of Van Gogh’s famous “The Artist’s Room at Arles” (1888-89). A 3D installation of VAN GOGH ‘s painting was last presented at the Van Gogh museum in 2000.
Roy Lichtenstein said about his version of the Arles Room:
l’ve cleaned his room up a little bit for him; and he’ll be very happy when he gets home from the hospital to see that l’ve straightened his shirts and bought some new furniture. Mine is a rather large painting and his is rather small. His is much better, but mine is much bigger.
Lichtenstein’s art seems apparently “easy” to understand. But beyond the surface it is an intellectual, rationalistic art, premeditated and realized through a complex process of deconstruction and reconstruction of the image: bold lines associated with flat colors, thousands of regular dots, a magnified halftone screen, that suggests the idea of chiaroscuro and even the impression of reflections of light.
From the beginning Roy Lichtenstein’s sophisticated art has had an uninterrupted power of seduction on visual culture and communication, whose end is still far off.
In 1965 Lichtenstein made the first Brushstrokes, paintings that as one isolated object reproduce one or more brush strokes: “The Brushstroke was the way of portraying this romantic and bravura symbol in its opposite style, classicism. The Brushstroke plays a big part in the history of art. Brushstroke almost means painting or art”
Abstract gestures and brushstrokes had already been of interest to Lichtenstein in the ‘50s and were to be seen again in his work in the ‘80s, but with a new sense of freedom. The “frozen” brushstroke of the sixties melts away in a disorganized and subtle sign, with which he tackles inspired famous themes like The Sower by Vincent Van Gogh and the series Woman by Willem de Kooning. Here we can appreciate the artist’s attraction to self-referencing.
After the “heroic” age of pop, the Sixties, Lichtenstein looked at the genres and masters of the great art of the past, to reinterpret it through the filter of his poetry and his technique, from landscape, to still life, to pastiche and from Mondrian, to Picasso, to Matisse and Brancusi.
The exhibition also presents a selection of spectacular large size editions from the series “Imperfect Paintings”, which testimonies an incursion of the artist into geometric abstraction: with his subtle irony the artist defines those works as a commentary on “the dumbest abstraction you could think of, an abstract painting by someone without any idea or motivation. It’s about setting up rules and not obeying them”.