Exhibitions
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Publications
About
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Other Artists
About
© Adrian Paci
| Quotes: | |
| This sentence I wrote yesterday: I'll contact you tomorrow. | 1977 |
| Making sculptures with light on the canvas of reality. | 1978 |
| The question is how to formulate the complexity of our time without losing hope for the future. | 2000 |
| There is new territory to explore - a more abstract way of looking at reality. | 2011 |
| An abstract view on the outskirts of our visual reality, with the viewer as king. | 2015 |
TEFAF Maastricht 2016
Street Perception IV, 2013
Night Lights - a new phenomenon.
In 2015 I introduced another kind of light in my work. Here, not sunlight or daylight or artificial light is making visible parts of our reality - sources I examined in depth – but on the contrary ‘night light’: the summer lightning, the electrical natural discharge, the unexpected light that confronts us all of a sudden with Nature itself. At the same time I-phone’s digital video pixelation puts the images to a stop between reality and abstraction, between its photo-technical background, yet painterly approach.
Night Lights I, 2016
Night Lights IV, 2016
Night Lights V, 2016
Night Lights VI, 2016
About earlier Videowatercolors:
The name conjures up the image of two mediums that are apart in effect and time, yet have the flow of the image in common. I executed these works on archival silk baryte, encausted in a by hand matted epoxy, which provides a deep clarity and saturation of colors. I took ample advantage of the enlightening visual possibilities offered by the digitally produced imagery. Flatness meets depth, grey proofs to be full of color. The unrecognizable gets recognizable, unsharp and razor-sharp coexist. Light and Perception, perhaps my main tools, are omnipresent.
Moving IV, 2002
In Moving IV of 2002, which at first sight has something sensual about it, possibly being a blown up image of lips, we actually see a red seat, videoed on a train. The light shifts with the movement of the train and time, the pliable skin of the seat invoking the presence of travelers.
Moving II, 2002
Moving II of 2002 consists of three parts of which the bottom two are recognizably of undulating water. The top layer, however, appears strange, as though our view over the water is interrupted by rocks or an iceberg— until we tilt our head to the side and recognize that our sight is conditioned.
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Skyscape (Blue Horizon), 2003
Skyscape (Blue Horizon) of 2003 looks like a landscape but in reality consists of two Videograbs from a long shot taken with the lens of the video camera held still against an airplane window. Dark clouds announce themselves in the top image and form, a little while later, a thick blanket of clouds below. In reality we are looking at different manifestations of H2O, including the ice crystals that have formed on the window, which engage in a kind of digital dance with the pixels of the flowing image.
Statements, in Dutch
Begin 70-er jaren koos ik voor een conceptueel uitgangspunt: het visueel integreren van licht, tijd en ruimte binnen de uitdagende beperking van de rechthoek. Negen avontuurlijke fases van meerdere jaren volgden elkaar op waarbij nieuwe technologieën mij hielpen om dichter bij de kern van het zien te komen. Essentieel instrument van waarneming en rode draad in het oeuvre werd daarbij mijn gebruik van de rechte lijn die – ook inhoudelijk – scheidt en tevens verbindt.
Diptych, 1977, 100 x 150 cm
Diptych 7801, 1978, 75 x 200 cm
New Collage (2), 1979/80, 101 x 136 cm
New Collage (4), 1980, 101 x 136 cm
In de Videowatercolors van de afgelopen 15 jaar maak ik gebruik van zelfgemaakte videofilms die vaak dicht bij het atelier worden opgenomen of in tegendeel juist ver weg een specifieke keuze uit natuur of cultuur als startpunt hebben. De combinatie van verschillende beelden uit deze filmpjes leidt tot een nieuw samengestelde werkelijkheid waarbij een geabstraheerd digitaal beeld van onze visuele wereld ontstaat, gebaseerd op pure waarneming.
Street Perception, 2013, 65 x 200 cm
Street Perception IV, 2013, 120 x 200 cm
In dit nieuwe werk (Night Lights, 2016) streef ik ernaar Licht, Tijd en Ruimte zo dicht mogelijk bij elkaar, geïntegreerd als het ware, ervaarbaar te maken. Ik doe dit door gebruik te maken van de “gestolde” beweging in digitale videobeelden (vooral de “video ruis”) alsmede door het registreren van een heel specifieke vorm van natuurlijk licht: het zomers nachtelijk weerlicht zoals dat gekleurd oplicht, vervolgens de omgeving fel verlicht en dan weer afzwakt, in absolute stilte, binnen een fractie van een seconde. Tijd, Licht en Ruimte worden een miniem ogenblik één fenomeen en een nieuwe picturale beleving.
Night Lights III, 2016, 140 x 160 cm
Night Lights VII, 2016, 140 x 160 cm
Other Artists
Throughout my career I've always followed the work of other artists with great interest.
Hereby a list of artists who's work I have advised for three, consecutive, collections which I helped to realize in the UK and Belgium, from 1979 until today.
The involvement in an intense learning process of looking, in-depth consideration and contemplation sharpened the eye and provided, next to more insight, a great joy.
Most of the artists were young and upcoming when I came to know their work. Over the years I had the pleasure to follow their steps and adventures.
| Painting | Conceptual Photography | Sculpture | Work on Paper |
| Jean-Michel Basquiat | Vanessa Beecroft | Allora & Calzadilla | Matthew Antezzo |
| Stephanie Bernheim | Matthew Barney | Hans Op De Beeck | Daniel Arsham |
| Koen van den Broek | aurizio Cattelan | Walead Beshti | Dirk Bell |
| Werner Büttner | Liz Dechenes | Angela Bulloch | Alighiero Boetti |
| Michael Byron | A.K. Dolven | Jean-Marc Bustamante | Patrick van Caeckenbergh |
| Francesco Clemente | Charlotte Dumas | St. Clair Cemin | René Daniels |
| Walther Dahn | Rineke Dijkstra | Jake & Dinos Chapman | Martin Disler |
| Georg Dokoupil | Alicia Framis | Olafur Eliasson | Tracey Emin |
| Marlene Dumas | Giuseppe Gabellone | Teresita Fernández | Angus Fairhurst |
| Slawomir Elsner | Daan van Golden | Michel François | Peter Halley |
| Matias Faldbakken | Noritoshi Hirakawa | Isa Genzken | Keith Haring |
| Craig Fisher | Job Koelewijn | Liam Gillick | Lothar Hempel |
| Futura 2000 | Sarah Jones | Felix Gonzales-Torres | Noritoshi Hirakawa |
| Katharina Grosse | Elad Lassry | Jeppe Hein | Damien Hirst |
| Wade Guyton | Sharon Lockhart | Roger Hiorns | Fabrice Hyber |
| Thilo Heinzmann | Hellen van Meene | Anish Kapoor | Raoul de Keyser |
| Damien Hirst | Anna Mendieta | Ann Veronica Janssens | Peter Land |
| Olaf Holzapfel | Mark Morrisroe | Donald Judd | Gabriel Orozco |
| Nathan Hylden | Vik Muniz | Allan Mc Collum | Chris Ofilli |
| Jessica Jackson Hutchins | Shirin Neshat | Jonathan Meese | Laura Owens |
| Jacob Kassay | Catherine Opie | Tatsuo Miyajima | Jorge Pardo |
| Imi Knoebel | Gabriel Orozco | Navid Nuur | Raymond Pettibon |
| Jutta Koether | Lisa Oppenheim | Julian Opie | Andrei Roiter |
| Bill Komoski | Richard Prince | Virginia Overton | Karin Sander |
| Guillermo Kuitca | Robin Rode | Manfred Pernice | Anne-Marie Schneider |
| Resi van Lankveld | Anri Sala | Jack Pierson | Kiki Smith |
| Margherita Manzelli | Stephen Shore | Giuseppe Pietroniro | Luc Tuymans |
| Michel Majerus | Collier Schorr | Rirkrit Tiravanija | Frank Van den Broeck |
| Fabian Marcaccio | Thomas Struth | Oscar Tuazon | Jorinde Voigt |
| Paul Morrison | Hiroshi Sugimoto | Richard Tuttle | Rachel Whiteread |
| Viktoria Morton | Vibeke Tandberg | Zhan Wang | Yukinori Yanagi |
| Carl Ostendarp | Wolfgang Tillmans | Bill Woodrow | |
| Joyce Pensato | James Turrell | Andrea Zittel | |
| Alessandro Pessoli | Gillian Wearing | ||
| Elisabeth Peyton | Marijke van Warmerdam | ||
| Seth Price | |||
| Anselm Reyle | |||
| Pieter Schoolwerth | |||
| Pablo Siquier | |||
| Josh Smith | |||
| Nedko Solakov | |||
| Billy Sullivan | |||
| Niele Toroni | |||
| Rosemarie Trockel | |||
| Dondi White | |||
| Jacub Julian Ziolkowski |
Solo Exhibitions
| The Henry Art Gallery | Seattle | 2011 |
| Gemeentemuseum | The Hague | 2000 |
| Galerie Rolf Ricke | Cologne | 1999 |
| Galerie 121 | Antwerp | 1989 |
| Vereniging van het S.M.A.K | Ghent | 1987 |
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| Folkwang Museum | Essen | 1986 |
| Groninger Museum | Groningen | 1985 |
| Hedendaagse Kunst | Utrecht | 1983 |
| Mercato del Sale | Milan | 1981 |
| Peter Stuyvesant Foundation | Amsterdam | 1980 |
| Galerie Joost Declerq | Knokke | 1978 |
| Van Abbemuseum | Eindhoven | 1977 |
| Galerie Durand - Dessert | Paris | 1977 |
| Galerie Müller-Roth | Stuttgart | 1976 |
| Galerie Swart | Amsterdam | 1975 |
| Galerie Müller-Roth | Stuttgart | 1975 |
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| Folkwang Museum | Essen | 1974 |
| Stedelijk Museum | Amsterdam | 1974 |
| Galerie Charles Kirwin | Brussels | 1973 |
| Galerie Swart | Amsterdam | 1972 |
| La Polena | Genova | 1972 |
| Galerie Nouvelles Images | The Hague | 1972 |
| Technische Hogeschool Twente | Enschede | 1970 |
| Hengelose Kunstzaal | Hengelo | 1970 |
| Galerie Swart | Amsterdam | 1969 |
| Stedelijk Museum | Schiedam | 1969 |
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| Galerie Tardy | Enschede | 1969 |
Group Exhibitions
| Bij nader inzien – Accenten uit de collectie Cleveringa, PARTS PROJECT 06 | The Hague | 2017 |
| with: Rob van Koningsbruggen, Leo Vroegindeweij | ||
| Rueb Modern and Contemporary Art, Tefaf 2013 / 2014 / 2016 / 2017 | Maastricht | 2017 |
| Rueb Modern and Contemporary Art, Art Miami 2014 / 2015 | Miami, FL | 2015 |
| Schneider Museum of Art | Ashland, OR | 2012 |
| Rueb Modern and Contemporary Art, Tefaf 2012 | Maastricht | 2012 |
| Cornell Fine Arts Museum | Winter Park, FL | 2011 |
| Center for Creative Photography, The Edge of Vision | Tucson, AZ | 2010 |
| China Pingyao Festival | Pingyao | 2009 |
| Aperture Foundation,The Edge of Vision: Abstraction in Contemporary Photography |
New York | 2009 |
| Kunstraum | Innsbruck | 2002 |
| Staatliche Kunsthalle | Baden-Baden | 2001 |
| Gemeentemuseum: the Beauty of Intimacy | The Hague | 2001 |
| Blue Horizon - The Loudon Collection | London | 1998 |
| Up & Co | New York | 1997 |
| W139: Lagoo 2 | Amsterdam | 1995 |
| Artis: Tools & Tales | Den Bosch | 1994 |
| Museum Beeckestijn, Galerie Tanya Rumpff | Haarlem | 1993 |
| Elga Wimmer Gallery | New York | 1992 |
| Systema Galleries: Multiple Grounds | Baarn | 1992 |
| with: Charline von Heyl, Bill Komoski, Fabian Marcaccio | ||
| Danforth Museum: Vision and Revision-Recent Art from the Netherlands | Boston | 1989 |
| with: J.C.J. vander Heyden, Roos Theuws, Guido Geelen, Ton van Summeren, Bart Domburg, Hans van Houwelingen, Karien Vervoort. | ||
| Kunsthalle: Similia/Dissimilia | Düsseldorf | 1988 |
| Columbia University, Leo Castelli Gallery, Sonnabend Gallery: Similia/Dissimilia |
New York | 1987 |
| with: Richard Artschwager, Joseph Beuys, John Chamberlain, Dan Flavin, Eva Hesse, Jasper Johns, Donald JuddYves Klein, Piero Manzoni, Duane Michals, Robert Ryman, Günther Uecker, Joseph Amar, Alighiero e Boetti, Saint Clair Cemin, Francesco Clemente, Peter Halley, George Herold, Roni Horn, Anish Kapoor, Imi Knoebel, Peter Nadin, Tim Rollins & K.O.S., Philip Taaffe, Nahum Tevet, Rosemarie Trockel, Not Vital |
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| Galerie 't Venster: Towards the End of the Century | Rotterdam | 1984 |
| with: Francesco Clemente, Rebecca Horn, Robin Winters, Jean-Michel Basquiat, Miriam Cahn, Nicola deMaria, Chris Kohlhöfer, Barbara Kruger, Gordon Matta-Clark, Georg Dokoupil, Jenny Holzer, Rammellzee,Bas Jan Ader, Sigurdur Gudmundsson, General Idea, Blade, Volker Tannert, Lin Felton, Julian Opie, Joe Zucker |
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| Provinciaal Museum: A Choice within a Choice | Hasselt | 1982 |
| Wiener Secession: Erweiterte Fotografie | Vienna | 1981 |
| Galleria Civica: Enciclopedia: il magico primario in europa | Modena | 1981 |
| Aktuelle Kunst aus den Niederlanden | Stuttgart | 1980 |
| with: Leo Vroegindeweij, Rob van Koningsbruggen, Kees Smits, Rudi van de Wint, Bob Bonies, Peter Struycken, Sigurdur Gudmundsson, Paul van Dijk, herman de vries |
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| The University of Michigan Museum of Art: Works of the Collection of Dorothy and Herbert Vogel |
Ann Arbor | 1978 |
| Museé d'Art et d'Industrie | St. Etienne | 1977 |
| Kunsthistorisch Instituut, Kunstenaar en Fabriek | Amsterdam | 1970 |
| with: Woody van Amen, Rik van Benthum, Sjoerd Buisman, William Graatsma, Franck Gribling, Robert Grosvenor,Donald Judd, Sol Lewitt, Robert Morris, Jan van Munster, Jan Slothouber, Robert Smithson,Ray Staakman |
Collections
| Stedelijk Museum | Amsterdam |
| Fleming Museum of Art | Burlington |
| Groninger Museum | Groningen |
| Gemeentemuseum | The Hague |
| Louisiana Museum | Humlebaek |
| Lakenhal | Leiden |
| Städtliches Museum | Mönchengladbach |
| Museum of Modern Art | New York |
| Kröller-Müller Museum | Otterlo |
| Centre Georges Pompidou | Paris |
| Stedelijk Museum | Schiedam |
| Henry Art Gallery | Seattle |
| Centraal Museum | Utrecht |
| National Gallery | Washington |
| Museum Voorlinden | Wassenaar |
| Cleveringa Collection | |
| Mc. Crory Collection | |
| Sammlung Etzold | |
| George Loudon Collection | |
| Piet and Ida Sanders Collection | |
| Peter Stuyvesant Collection | |
| Dorothy and Herbert Vogel Collection |
Books + Catalogues
| Books | ||
| Perceptual Poetics: Carel Balth | 2012 | |
| Heart Beat | 2007 | |
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| The Beauty of Intimacy | 2000 | |
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| The Touch of Light | 1993 |  |
| Balth | 1990 | |
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| Perception of the Line - artist's book | 1975 | |
| * * * | ||
| Lyle Rexer, The Edge of Vision | 2009 | |
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| Rainer Crone, Similia / Dissimilia |
1987 |  |
| Jean-Luc Daval, La photographie Histoire d'un Art | 1982 | |
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| Willy Rotzler, Constructive Concepts | 1977 | |
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| Catalogues | ||
| Videowatercolors: Carel Balth among his Contemporaries | Henry Art Gallery Seattle, WA |
2011 |
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| The Next Stage of Knowing | Groninger Museum, Groningen/ Museum Folkwang, Essen |
1986 |
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| Towards a Monumental Lyricism | Peter Stuyvesant Foundation, Amsterdam | 1980 |
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| Light-Photo Works | Van Abbemuseum, Eindhoven | 1978 |
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| The Art of Seeing | Stedelijk Museum, Amsterdam |
1974 |
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Articles
| Upchurch, Michael 'Videowatercolors' play with time and space |
The Seattle Times | 2011 |
| Brian Miller, The Henry's Two Big Fall Shows. Brain art vs. body art |
The Seattle Weekly | 2011 |
| Heingartner, Douglas Videowatercolors: the Perception of Meaning | 2007 | |
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Brehm, Margrit
Die Verwandlung von Potenzialität in Realität. Einige Gedanken zu den Videowatercolors von Carel Balth |
Heart Beat | 2005 |
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Jansen, Gregor
Die Errettung der äußeren Wirklichkeit. Medientheoretische Überlegungen zu den Videowatercolor |
Heart Beat | 2005 |
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Mac Giolla Léith, Caoimhín
Carel Balth's The New Collages and the psychodynamics of vision |
Heart Beat | 2005 |
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Wieczorek, Marek
From Magneple to Videowatercolors: The Heart Beat in Balth's Oeuvre |
Heart Beat | 2005 |
| Van Hasselt, Kai / van Zeil, Wieteke “Dit is mijn meta-kunstwerk” |
Volkskrant |
2005 |
| Bronwasser, Sacha Dicht op de huid van de kunstenaar |
Volkskrant | 2001 |
| Piller, Micky Intensiteit en bravoure |
Het Financieële Dagblad | 2001 |
| Put, Roos van Intimiteit van de gedachte |
Haagsche Courant | 2001 |
| Smallenburg, Sandra De charme van ontluikende seksualiteit |
NRC Handelsblad | 2001 |
| Stiemer, Flora De jaren negentig: vrijheid en betrokkenheid |
Algemeen Dagblad | 2001 |
| Velde, Paola van de Intimiteit van de jaren negentig |
De Telegraaf | 2001 |
| Wieczorek, Marek Sky Lines: recent work of Carel Balth |
2001 | |
| Roos, Renate Vogelflug im Bild |
Kölner Stadt-Anzeiger. | 1999 |
| Wieczorek, Marek Reflections: The World Writ Large with Carel Balth |
1997 | |
| Ooms, Toine The Interactive Exhibition; Tools and Tales, CD-Rom Catalogue |
Artis, ‘s-Hertogenbosch |
1994 |
| Wieczorek, Marek The Touch of Light: Laser Paintings by Carel Balth |
1993 | |
| Ostrow, Saul "Shifting Ground, Unstable Territories" |
Sytsema Galleries, Baarn | 1992 |
| Van Mulders, Wim "Permutations of Unveiled Realities" |
Kunst Nu 87-5 | 1987 |
| Norden, Linda Similia/Dissimilia:"Carel Balth" |
Similia/Dissimilia, pp. 69-73 | 1987 |
| Kouwenhoven, Frank "De schilderijen van Carel Balth, het vangen van licht" |
Cicero nr. 8. Leiden | 1986 |
| Stachelhaus, Heiner Foto oder Malerei - das ist die Frage |
Neue Ruhr Zeitung, Essen | 1986 |
| Van Mulders, Wim "Fictions of a Clear Conscience" Groninger Museum, Groningen. Museum Folkwang Essen |
Carel Balth: The Next Stage of Knowing pp. 7-24, 31- 53 |
1986 |
| Scheers-Simons, Marijke "Carel Balth" |
De Bouwadviseur, nr. 7/8 pp. 28-31 |
1985 |
| Balth, Carel "A way in painting?" |
Arte Factum, nr. 6, Antwerp, pp. 48-50 |
1984 |
| Daval, Jean-Luc | In: La Photographie, Histoire d'un Art. Albert Skira, Geneva, pp. 249 | 1982 |
| Caroli, Flavio |
Enciclopedia, il magico primario in Europa. |
1981 |
| Piller, Micky “The Light and Dark Side of Carel Balth’s Reality” |
Carel Balth: Towards a Monumental Lyricism. pp. 5-14 | 1980 |
| Art Actuel. Editions d’Art Albert Skira, Geneva | Skira Annuel 5. | 1979 |
| Debbaut, Jan / Liat, Kwee Swan / Wintgens, Doris / Balth, Carel |
Carel Balth, Light-Photoworks, Transitions and Diptychs. Van Abbemuseum, Eindhoven | 1978 |
| Peters, Phillip “Tekenen met Licht” |
Kunstbeeld. Amsterdam | 1978 |
| Rotzler, Willy “Calculated Phantasy”. Rizzoli, Inc. New York |
Constructive Concepts, pp. 203 | 1977 |
| Balth, Carel Catalogue |
Museum Folkwang, Essen | 1974 |
| Kerber, Bernhard “Carel Balth” |
Art International XVIII nr. 4, pp. 48-49 | 1974 |
| Daval, Jean-Luc In: La Photographie, Histoire d'un Art. Lugano |
Edition d'Art Albert Skira, Geneva, pp. 249 | 1974 |
| Stachelhaus, Heiner “Seeing and Understanding Light. Notes on the Work of Carel Balth” |
Carel Balth: The Art of Seeing pp. 1-20 | 1974 |
| Kerber, Bernhard “Works between painting and relief” |
Carel Balth: The Art of Seeing, pp. 20-25 | 1974 |
| Odenhausen, Helmut “Giochi di luce e di superfice” |
Acciaio, Acier, Stahl, Steel, nr. 1 | 1970 |