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Kees GoudzwaardTransitory2022acrylic on cardboard41,7 x 29,5 cm
Kees GoudzwaardOn Display2022oil on canvas70 x 60 cm
Kees GoudzwaardGaps and Dots2022oil on canvas70 x 50 cm
Kees GoudzwaardUntitled2021oil on canvas180 x 220 cm
Kees GoudzwaardSpacing2021oil on canvas100 x 80 cm
Kees GoudzwaardVery Light2020oil on canvas100 x 75 cm
Kees GoudzwaardField2019oil on canvas70 x 90 cm
Kees GoudzwaardExpansion2020oil on canvas110 x 120,3 cm
Kees GoudzwaardCultivation2019oil on canvas140 x 110 cm
Kees GoudzwaardArranged Fragments2019oil on canvas75 x 60 cm
Kees GoudzwaardFour Blue Lines2018oil on canvas180 x 220 cm
Kees GoudzwaardArrangement of Lines2017oil on canvas120 x 100 cm
Kees GoudzwaardContinuously Falling2017oil on canvas120 x 100 cm
Kees GoudzwaardLoosely Woven2016oil on canvas70 x 50 cm
Kees GoudzwaardPanorama2016oil on canvas140 x 280 cm
Kees GoudzwaardAscending / Descending2016oil on canvas180 x 150 cm
Kees GoudzwaardTransparency on Orange2015oil on canvas150 x 100 cm
Kees GoudzwaardArray2015oil on canvas100 x 150 cm
Kees GoudzwaardDiagonal Movement2014oil on canvas50 x 150 cm
Kees GoudzwaardBrushstroke Drawing2014oil on canvas100 x 80 cm
Kees GoudzwaardTwo Gaps2014oil on canvas80 x 60 cm
Kees GoudzwaardCollected Details2014oil on canvas70 x 60 cm
Kees GoudzwaardCollage2014oil on canvas60 x 80 cm
Kees GoudzwaardStudy2013oil on canvas50 x 60 cm
Kees GoudzwaardSlowly Rocking2013oil on canvas60 x 180 cm
Kees GoudzwaardAll plain, darker at the top than the bottom, gradually2012oil on canvas60 x 70 cm
Kees GoudzwaardShift2012oil on canvas60 x 80 cm
Kees GoudzwaardTemporary Order2012oil on canvas60 x 50 cm
Kees GoudzwaardScherenschnitt2012oil on canvas250 x 200 cm
Kees GoudzwaardGrisaille2011oil on canvas60 x 50 cm
Kees GoudzwaardHatch2011oil on canvas40 x 50 cm
Kees GoudzwaardSkirt2010oil on canvas90 x 120 cm
Kees GoudzwaardMirage2010oil on canvas50 x 40 cm
Kees GoudzwaardLift2009oil on canvas100 x 80 cm
Kees GoudzwaardSample2009oil on canvas80 x 60 cm
Kees GoudzwaardTransit2009oil on canvas120 x 90 cm
Kees GoudzwaardShielded2008oil on canvas
Kees GoudzwaardPosition2008oil on canvas100 x 80 cm
Kees GoudzwaardRib2008oil on canvas60 x 50 cm
Kees GoudzwaardAngular2008oil on canvas50 x 40 cm
Kees GoudzwaardCargo2007oil on canvas80 x 160 cm
Kees GoudzwaardOver Yellow2007oil on canvas100 x 80 cm
Kees GoudzwaardCoated2007oil on canvas100 x 80 cm
Kees GoudzwaardYellow Copy2006oil on canvas120 x 90 cm
Kees GoudzwaardExtent2005oil on canvas125 x 250 cm
Kees GoudzwaardOverleaf2004oil on canvas140 x 280 cm
Kees GoudzwaardBladspiegel2003oil on canvas90 x 55 cm
Kees GoudzwaardKlein Vanitas1996oil on canvas100 x 75 cm
Zeno X Gallery Antwerp South November 15 - December 23, 2023 Opening: Saturday November 11, 4-7 PM
KEES GOUDZWAARD
Collectie de Groen, Arnhem, The Netherlands January 14 - April 16, 2023
PETER LIVERSIDGE / KEES GOUDZWAARD
lxhxb, Eindhoven, The Netherlands July 15 - August 21, 2021
Kees Goudzwaard speaks about his practice in the context of his solo show at Club Solo, Breda.
Kees Goudzwaard Club Solo, Breda, The Netherlands November 19, 2020 - April 18, 2021
Club Solo, Breda, The Netherlands November 19, 2020 - April 18, 2021
ASCENDING/DESCENDING
Villa Croce, Museo d'Arte Contemporanea, Genoa, Italy July 14, 2017 - September 24, 2017
BETWEEN RED AND A TRANSPARENT PLANE
De Kabinetten van de Vleeshal, Middelburg January 18, 2014 - March 23, 2014
Kees Goudzwaard, born 1958, Utrecht (NL), lives and works in Antwerp (BE)
Kees Goudzwaard creates works which at first sight appear to be minimal colour studies constructed from rectangles of paper and masking tape. But seen close up, the works are revealed as painstakingly created trompe l’oeil paintings. Goudzwaard initially makes a model using paper sheets, transparent acetates and tape arranged over a coloured ground, often taking long periods to arrive at a final composition, before he makes a painted illusion of them to exact scale. Goudzwaard fuses art separated by three centuries - playfully precise 17th Century Dutch still-life paintings and pre- and postwar abstraction in Europe and America. (Ben Luke, 2009)
Kees Goudzwaard has had solo exhibitions at Collectie de Groen in Arnhem (2023), Club Solo in Breda (2020), Villa Croce, Museo d’Arte Contemporanea in Genova (2017), De Kabinetten van De Vleeshal in Middelburg (2014), Stedelijk Museum in Schiedam (2011), Museum of Modern Art in Arnhem (2010), Culturgest in Lisbon (2006), S.M.A.K. in Ghent (2005), amongst others.
His work was included in several group shows at Santa Barbara Museum of Art in Santa Barbara, Museum Kunstpalast in Düsseldorf, Kröller-Müller Museum in Otterlo, École Nationale des Beaux Arts in Paris, M HKA in Antwerp, Fondazione Giuliani in Rome, Palazzo Fortuny in Venice, Roger Raveelmuseum in Machelen-Zulte, Programa Art Center in Mexico City, Museum Het Valkhof in Nijmegen, etc.
Goudzwaard’s work can be found in the permanent collections of S.M.A.K. in Ghent (BE), Santa Barbara Museum of Art in Santa Barbara (USA), Museum Kunstpalast in Düsseldorf (DE), Mu.ZEE in Ostend (BE) and the Rubell Family Collection Miami (USA), amongst others.
Kees Goudzwaard joined the gallery in 2005.
Zeno X Gallery is proud to present a new solo exhibition, Walled Garden, by Kees Goudzwaard (°1958, Utrecht).
In contrast to most exhibitions in the gallery, Kees Goudzwaard’s already starts behind the reception desk. An entire wall is covered with a Risograph made by the artist himself. It requires patient observation on the part of the viewer to discern that it is not the repetition of a single pattern. The eye travels constantly to and fro, in search of similarities and differences, because memory lets us down. There is a desire to crack the code of this playful scene. Where is the beginning and where the end? The shapes of the elements recall torn pieces of tape, but also organisms that are drawn to one another only to be repelled, to mutiny or disband. The rhythmic alternation of the size of the particles gives the impression of depth. Some components are little more than dots that seem further away from us. Others betray the fact that this print was created in layers by superimposing colors and shapes, thus creating spatial tension.
In total there are 256 variations derived from six basic patterns and the possible color combinations within a color scheme comprising yellow, green, purple, orange and gray. To create them, Goudzwaard developed a numerical system akin to a musical score.
The composition is evenly spread across the surface but is not rigid. There are perceptible currents, as in the sea or the air. It is a stimulating representation that caresses our senses. The work of Kees Goudzwaard constantly balances in an ambiguous, interstitial space. There is order and disorder, peace and unrest, structure and chaos; the composition is both static and dynamic. The whitespace connects the whole and at the same time ensures rest and breathing room. Positive forms only exist thanks to the presence of negative forms.
This mural installation was originally created in Maastricht, where the Jan Van Eyck Academie invited the artist to install a permanent work. Several months ago, a variant was on view in an exhibition by ROMA publications in the National Museum of Modern and Contemporary Art in Seoul. Previously, he installed a temporary wall in the S.M.A.K. in Ghent, the Programa Art Center in Mexico and in Culturgest in Lisbon. Next year a new work will be shown in the entrance hall of Villa Croce in Genoa.
The exhibition continues in the two more intimate spaces of the gallery, where the viewer has to take different positions in order to look at one or several paintings. The artist wants to make the viewer slow down by means of his paintings, and in this way stimulate memories and emotions. His own frame of reference and sources of inspiration belong to the intimate atmosphere of the studio. Under no circumstances does he wish to influence the experience of viewing or interpretation, and as a consequence avoids any form of anecdote or narration. Goudzwaard constantly seeks to bridge the visual and mental experience of the here and now in time and space. A painting is for him like an object that carries a metaphor and representation within itself. The image comes together after a studio process in which time and doubt are allies.
Kees Goudzwaard’s studio is a large, white space filled with neutral northern light. Tubes of paint are arrayed on a long table. The floor is covered with small and large stacks of colored paper, transparent acetate held together with tape. This is how he makes sketches and models in preparation for his paintings. First he assembles the palette and then he experiments with shapes and formats in order to arrive at a composition in which the desired tension is constructed. Goudzwaard is not an artist who speaks in extremes, but one who tests the possibilities with an open mind and goes to work with an intuitive, philosophical attitude. Nothing is one-sided. Although he has formulated a number of parameters for organizing the layers and shapes, it remains a primarily intuitive process driven by doubt. Time ensures that this doubt is focused. The artist starts from a model because on the one hand it involves positing an example and on the other because it stands for the temporary.
The image dominates the material, which is flat – at least, at first sight. Painting is a process that Goudzwaard links to pleasure and freedom. Considerations concerning things like composition, movement or temporality are first examined from a variety of perspectives and investigated in a paper model that is subsequently captured permanently in paint. This gives him the opportunity to nuance the intensity of the color, for example, which he can temper or amplify. Although it is crucial that he paint the work himself, he erases all trace of his own involvement that might be caused by extroverted or emphatic brushwork. His paintings are not only about himself, but also about the viewer, becoming a balancing act between the personal and the distant in order to make encounters possible. Goudzwaard says the following of the painted surface:
‘The representation forms a sensible layer, a transition zone between the material reality before the image and an invisible but probably imaginable reality behind it. You could look at what is painted as a sort of skin, in the factual and the metaphorical sense. Like a garment, the façade of a house or a curtain. Something that can conceal or actually reveal, offer access. In a comparable way, my paintings function as dividing and projection screens between the real, observable space where individual desires or memories form a counterweight.’ (Kees Goudzwaard)
Kees Goudzwaard has already had solo exhibitions at S.M.A.K. in Ghent, Culturgest in Lisbon, Museum voor Moderne Kunst in Arnhem, Stedelijk Museum Schiedam and the Kabinetten van De Vleeshal in Middelburg. In 2013 he was invited to participate in the Biennale of Rennes. His work belongs to museum collections including: S.M.A.K. in Ghent, Mu.ZEE in Oostende and Museum Kunstpalast in Düsseldorf.
It is a pleasure to announce the third solo exhibition of the Dutch artist Kees Goudzwaard (born 1958, Utrecht), for whom in the meantime Antwerp has become a second home.
Everything starts with paper, tape and transparent acetates. Using a collage technique, the artist links all elements and organizes the image. This is Goudzwaard’s way of drawing and sketching. Later he transfers the entire scene to canvas with oil paint. The sketch loses its status and is processed for another work. The transient character and fragility of this stage turn into a durable, finished painting. The translation process involved is fascinating and confronts us with questions concerning originality, copying and authenticity. The individuality of each painting prevails, yet the paintings also remain part of a larger whole.
Collected Details is an exhibition at which the glance spans the gap between past, present and future. Goudzwaard’s oeuvre is a slow flux, and within it every shift potentially affects the whole. All elements present define the emptiness in-between and vice versa. At the heart of this oeuvre, there is movement, gesture and a handwriting—not to be mistaken with the concept of signature. This is manifest not just in the sketching and painting process, but also in the image itself. Especially in Brushstroke Drawing (2014) we see a torrent of brushstrokes, which, despite the interruptions, convey an impression of unity.
There is a great deal of duality in Goudzwaard’s work. It is rigid and structured, but at the same time it is organic and playful. The rhythmical compositions are structured according to a logic he seeks to elude time and again, and the images are as abstract as they are concrete. Are we looking at a superposition of voids or at a concatenation of colour areas? Perhaps we need not choose—it is simultaneity that prevails.
The artist himself refers to his work as doors rather than windows. For him, the material reality of the canvas and the space it carries within itself are at least as meaningful as the suggestion of a reality through paint. The canvas itself not only serves as a framework or as the bearer of an image—it is part of the image itself. Like in the case of a door, there is the object, i.e. that which we see, but there is also the hint of a world beyond, that which stirs our imagination. Colour, structures and shapes evoke memories that broaden the aesthetic experience. The personal is the point of departure for the creation of universal images, which in turn, after observation and interpretation, appeal again to the personal.
Goudzwaard puzzles over things, doubts, and organizes meetings. He paints various gradations of light and constructs spaces by combining volumes of colour. The intensity of the colour is the result of the superposition of several layers of paint. Like so many other artists, Goudzwaard engages in a dialogue with the history of art. He interprets and translates, in order to create his own language. Every translation involves a loss, but also results in a creative force. Each painting is therefore a collection of memories, discoveries, impressions and shifts—all this influenced by time, space and the hand of the artist. From nothing there comes something and thus meaning and involvement originate.
Early in 2014 Goudzwaard presented a solo exhibition in the Cabinets of the Vleeshal in Middelburg (NL). Earlier the artist showed his work in the Stedelijk Museum in Schiedam (NL), the Museum of Modern Art in Arnhem (NL), the Culturgest in Lisbon (PT) and the S.M.A.K. in Ghent (BE). His work has also been on view at group exhibitions at the Rennes Biennial (FR), Castillo/Corrales in Paris (FR), Roger Raveel Museum in Machelen-Zulte (BE), Museum Kunst Palast in Düsseldorf (DE) and Programa Art Center in Mexico City (MX). Goudzwaard’s work has found a place in numerous public collections, including Mu.ZEE in Ostend (BE), S.M.A.K. in Ghent (BE) and Museum Kunst Palast in Düsseldorf (DE).
The paintings by Kees Goudzwaard are bright, controlled and hide any emotional presence of its maker. Being a Dutch painter, Goudzwaard can’t deny the influence of Dutch Modernism. Especially De Stijl was inspiring for the development of his oeuvre. Each painting by Goudzwaard is based on a model. He combines colored paper, transparent acetates and tape just the way a collage would be organized. It’s a slow process of shifts and superpositions. Scale, color, form and composition challenge each other on a formal level. Goudzwaard acts according to his own logic. Finally he aims for a balance between all the components of the painting. In ‘Slow Rocking’ and ‘Collected’ we recognize the discipline and the almost mathematical structuring of the surface as we see in earlier work. This in contrast to the more playful, organic and open composition in ‘Grisaille’, ‘Study’ & ‘Assembling the Smaller Parts’. In those works the borders determine the tension within the painting.
Solo exhibitions by Kees Goudzwaard where installed at S.M.A.K. in Ghent, Culturgest in Lisbon, the Museum of Modern Art in Arnhem and at the Stedelijk Museum Schiedam. In 2003 he was invited to create a site-specific installation in Mexico City. His work was part of group exhibitions at Kröller-Müller Museum in Otterlo, Museum Kunst Palast in Düsseldorf, Roger Raveel Museum in Machelen-Zulte, Ecole des Beaux Art in Paris, Lokaal 01 in Breda, De Vleeshal in Middelburg and Castillo Corrales in Paris. Last year his work was included in the Biennial for Contemporary Art in Rennes.
BART STOLLE
Time and motion, that’s the start of the oeuvre of the young Belgian artist Bart Stolle (°1974). In the eighties he experienced as a teenager the introduction of commercial television and how images accumulate. Especially the personal computer and the internet change the gaze and the references. Since the invention of smart phones and tablets contemplation becomes even more difficult. Our society is saturated by speed, information and high-tec. Stolle investigates this phenomenon and choses to slow down. He focuses, mingles and (re)constructs. This leads to an oeuvre hold together under the flag ‘Low Fixed Media Show’, an advertising agency for himself or an alternative entertainment company. Despite all evolutions, Stolle is still convinced human beings dominate the machine. Creativity is a human thing that’s currently not mechanical. Stolle observes the world and translate it into humorous animations in which human figures are reduced to an arrangement of geometrical forms. Handicraft is high valued. He doesn’t want to pass on calculations to the computer. He prefers an intensive stop-motion practice over the input of parameters.
The same happens when Stolle paints, when he makes a static image. The result is a slow construction of essential units. Here we notice the influence of Modernism. Especially De Stijl, Suprematism with Malevich and the work by Kandinsky animate him. The personal alphabet of forms and colors Stolle creates is a means to express larger structures without illustrating them. He investigates the similarities between the logic of a computer and of a human and analyzes different society structures. Also his interest in communication systems, music, science, architecture and urbanization echoes through his oeuvre. He reconciles poles such as the virtual with reality, black with white, the organic with mechanics and so on. As much interesting for Stolle is the moment where the viewer attempts to put his images into words. Poetry, philosophy and fantasy emerge while translating.
Solo exhibitions by Bart Stolle were on view in S.M.A.K. in Ghent, De Brakke Grond in Amsterdam and STUK in Leuven. He was invited for group shows at MUHKA in Antwerp, De Loketten of the Flemish Parliament in Brussels, Coup de Ville in Sint-Niklaas, Buda Art center in Kortrijk, Centrum for Contemporary Art in Warsaw and the Museum of Contemporary Art in Shanghai.
JACK WHITTEN
Beginning of the seventies Jack Whitten (°1932) makes a decision that determines his complete oeuvre. He takes a distance of Abstract Expressionism, a movement that inspired him strongly during his years at Cooper Union in New York. He interchanges brush and figuration for instruments and abstraction. From that moment on a painting is no longer painted but constructed. Whitten investigates the characteristics of acrylic by boiling it, freezing it, laminating it, crushing it, casting it and spreading it all over. After collecting all his material and his tools, he starts building up the image as a collage. Since the eighties the sculptural and topographical quality of his paintings rises. His works on paper are always ahead of his paintings. He works with the concept of ‘working drawings’. The painting is not an illustration of an idea nor is the painting a reproduction of a drawing. The drawings operate as scouts always advancing ahead using process to search for new possibilities. Process as subject matter gives him a freedom to explore uncharted territory. In his work he reflects about philosophy, science, technology and use it as a mean to honor and commemorate people. Whitten’s abstract paintings aren’t cold, geometrical, anonymous and predictable. They are innovative, full of live, directed by controlled coincidences and strive for universality.
Work by Jack Whitten was part of important exhibitions such as the ‘Annual Exhibition of Contemporary American Painting’ (1969,1972) in the Whitney Museum of American Art in New York and ‘Afro-American Abstraction: An Exhibition of Contemporary painting and sculpture by Nineteen Black American Artists’ (1980) organized by the Institute for Art and Urban Resources and MoMA P.S.1 Center for Contemporary Arts in New York. In 1974 he got his first solo show at the Whitney Museum of American Art in New York. More recently MoMA P.S.1 Center of Contemporary Arts in New York and Atlanta Contemporary Art Center organized a solo exhibition. The Museum of Contemporary Art in San Diego is preparing a retrospective for 2014.
His work is in the collection of museums amongst which Museum for Modern Art (MoMA) in New York, Whitney Museum in New York, Studio Museum in Harlem, Metropolitan Museum in New York, Wadsworth Atheneum Museum of Art in Hartford, Museum for Contemporary Art Chicago, Dallas Museum of Art and Tate Modern in London.
Kees GoudzwaardComposed Blue2023acrylic on canvas110 x 90 cm
Kees GoudzwaardScale and Distance2023oil on canvas125 x 100 cm
Kees GoudzwaardAround The Middle (sketch)2022acrylic on cardboard39,8 x 33,5 cm
Kees GoudzwaardLooking Up2023acrylic on canvas180 x 150 cm
Kees GoudzwaardRearranging Green2023oil on canvas140 x 110 cm
Kees GoudzwaardCasual Movements2022acrylic on cardboard48 x 40 cm
Kees GoudzwaardThe Right Moment2023acrylic on canvas90 x 75 cm
Kees GoudzwaardDaytime2022oil on canvas145 x 115 cm
Kees GoudzwaardField Setup2023acrylic on cardboard61,6 x 40,5 cm
Kees GoudzwaardUntitled2023acrylic on cardboard50 x 40,5 cm
Kees GoudzwaardAccumulation2023acrylic on cardboard50 x 40 cm
Kees GoudzwaardNotes on Yellow2023acrylic on cardboard59 x 45 cm
Photo: Peter CoxCourtesy Zeno X Gallery - AntwerpKees Goudzwaard - installation view
Photo: Koen KievitsCourtesy the artist and Collectie de GroenInstallation view
Martin MargielaBodypart b&w2018 - 2020oil pastel on projection screen123 x 222 x 8 cm
N. DashUntitled2022earth, acrylic, canvas, fabric, silkscreen ink, jute151,13 x 78,74 cm59,5 x 31 in
Pietro RoccasalvaStudy for Giocondità2022oil on canvas48 x 64 cm
Kim JonesUntitled2001 - 2007acrylic and ink on photograph45,7 x 30,5 cm
Jenny ScobelAmanda (II)2011pencil, watercolour and wax on gessoed wood81,3 x 61 cm
Pélagie GbaguidiCare2020dry pastel and wool on paper21 x 29 cm
Pélagie GbaguidiCare2020dry pastel on paper29 x 21 cm
Mircea SuciuStudy for "Empathy for Destruction"2022oil, acrylic, liquin, charcoal and varnish on linen70 x 50 cm
Marina RheingantzSexy X2022oil on canvas130 x 110 cm
Jockum NordströmCat Dog Cat2016collage, watercolour and graphite on paper40 x 50 cm
Hyun-Sook Song9 Brushstrokes2017tempera on canvas130 x 70 cm
Jan De MaesschalckImpersonation (based on a photo by Johan Jacobs)2022oil on canvas65,2 x 55,2 cm
Yun-Fei JiThe Dead Are also Moving2007mineral pigments and ink on rice paper89,5 x 97 cm
Grace SchwindtGuard2022ceramic and bronze (edition of 3 + 1 AP)53 x 9 x 9 cm
Susan HartnettOct. 11 2011 #2, Blue-joint grass (Calamagrostis canadensis)2011charcoal on paper56,5 x 76 cm
Jack WhittenSilver Centerfold2015acrylic on panel3 x (30,5 x 30,5 cm)
Philip Metten2203222022oil and thread on canvas23,1 x 23,2 cm
Paulo MonteiroUntitled2016oil on bronze (edition of 3 + 1 AP)56 x 2 x 4 cm
Paulo MonteiroUntitled2018oil on bronze (edition of 3)16,6 x 10,5 x 4,8 cm
Paulo MonteiroUntitled2016bronze (edition of 2 + 1 AP)18,5 x 62 x 22,5 cm
Naoto KawaharaNaked Girl2022oil on canvas72,8 x 53,4 cm
Bart StolleUntitled (Heat upon Heat)2022acrylic on canvas40 x 40 cm
Photo: Peter CoxCourtesy Zeno X Gallery, AntwerpInstallation view
Photo: Peter CoxCourtesy Club Solo, BredaInstallation view
N. DashCommuter (2)2019 - 2020acrylic, paper52,4 x 37,8 cm20,63 x 14,88 in
N. DashCommuter (1)2019 - 2020acrylic, paper39,4 x 51,6 cm15,51 x 20,31 in
Luc TuymansThe Owl2019acrylic ink on polyester tracing paper27 x (28,7 x 15,8 cm) animated video: variable dimensions
Michaël BorremansThe Feast2019pencil and white ink on paper26,7 x 21,2 cm
Mark MandersUntitled1994pencil on paper29,6 x 21 cm
Mark MandersUntitled2000pencil on paper42 x 29,5 cm
Mark MandersDrawing with a Glass functioning as an O1999pencil on paper29,7 x 42 cm
Mark MandersUntitled2009pencil on paper21 x 29,7 cm
Mark MandersUntitled1994paint and pencil on paper32 x 25 cm
Mark MandersUntitled1995pencil on paper29,7 x 21 cm
Kees GoudzwaardTwo Connected Flag Fragments2015acrylic on cardboard29,6 x 21,1 cm
Anne-Mie Van KerckhovenZonder Commentaar2019collage on coloured paper3 x (32 x 24 cm)
Hyun-Sook SongUntitled2014 - 2018tempera on paper22,5 x 27,4 cm
Hyun-Sook SongUntitled2011tempera on paper30,8 x 20,5 cm
Hyun-Sook SongUntitled2018tempera on paper30,8 x 23,5 cm
N. DashUntitled2019acrylic, paper55,9 x 32,4 cm22,01 x 12,76 in
N. DashUntitled2019graphite, paper54,6 x 53,3 cm21,5 x 20,98 in
Marlene DumasSleeping Nymph2003acrylic and ink on paper62 x 85 cm
Kees GoudzwaardWorking Materials2019acrylic on cardboard50 x 40 cm
Kees GoudzwaardUntitled2019acrylic on paper65,1 x 49,9 cm
Anne-Mie Van KerckhovenZonder Woorden2019collage on coloured paper3 x (32 x 24 cm)
Anne-Mie Van KerckhovenZonder Uitleg2019collage on coloured paper3 x (32 x 24 cm)
Photo: Peter CoxCourtesy Zeno X Gallery, Antwerp
Dirk BraeckmanE.V.-S.E.-182018gelatin silver print reversibly mounted on aluminium180 x 120 cm
Luc TuymansPigeons2018oil on canvas
Kees GoudzwaardFieldnotes2018oil on canvas 150 x 300 cm
Dirk BraeckmanN.E.-S.C.-182018gelatin silver print reversibly mounted on aluminium (edition of 3)180 x 120 cm
Kees GoudzwaardSketch2018oil on canvas120 x 90 cm
Jan De MaesschalckUntitled (Rite)201736 x 41,4 cm
Dirk BraeckmanO.C-A.T /7- 20182018gelatin silver print reversibly mounted on aluminium (edition of 5)90 x 60 cm
Luc TuymansThe Return2018oil on canvas228,1 x 166 cm
Jan De MaesschalckUntitled (Passers-by)2018acrylic on paper79,8 x 58 cm
Jan De MaesschalckHow he became a foundling2018acrylic on paper42 x 31 cm
Jan De MaesschalckThe Young Giant and His Disciples2017acrylic on paper65 x 60,5 cm
Photo: Anna PositanoCourtesy Museo D'Art Contemporanea di Villa Croce, GenovaInstallation view
Kees GoudzwaardWalled Garden2016wall installation (edition of 4 + 1 AP)variable dimensions
Kees GoudzwaardAtmospheric Perspective II2016oil on canvas180 x 150 cm
Kees GoudzwaardDocumented Colours2016oil on canvas100 x 80 cm
Kees GoudzwaardThree Horizons2016oil on canvas140 x 280 cm
Kees GoudzwaardLarge Sketch2016oil on canvas140 x 380 cm
Kees GoudzwaardDefining Green2016oil on canvas120 x 100 cm
Kees GoudzwaardMouches Volantes2016oil on canvas150 x 120 cm
Photo: Peter CoxCourtesy Zeno X Gallery - Antwerp
Kees GoudzwaardCatalogue Page2014oil on canvas150 x 100 cm
Kees GoudzwaardBlue Strokes2014oil on canvas50 x 150 cm
Kees GoudzwaardGreen On Top2014oil on canvas50 x 40 cm
Kees GoudzwaardExpanded View2014oil on canvas150 x 300 cm
Kees GoudzwaardConfiguration2014oil on canvas50 x 40 cm
Kees GoudzwaardBuilt-Up2014oil on canvas240 x 150 cm
Kees GoudzwaardAccumulated2014oil on canvas150 x 120 cm
Kees GoudzwaardBook Cover Model2014oil on canvas120 x 90 cm
Photo: Leo Van KampenCourtesy De VleeshalInstallation view
Bart StolleFixed media language valley2007 - 2009acrylic and varnish on canvas150 x 100 cm
Device #12012acrylic on wood40 x 37 cm
Kees GoudzwaardStratified2009oil on canvas60 x 180 cm
Kees GoudzwaardPhotogram2009oil on canvas120 x 150 cm
Kees GoudzwaardLightweightoil on canvas200 x 160 cm
Kees GoudzwaardFair Share2010oil on canvas80 x 60 cm
Kees GoudzwaardArticulate2010oil on canvas100 x 150 cm
Photo: Peter CoxCourtesy Zeno X Gallery - AntwerpInstallation view
Kees GoudzwaardDepot2007oil on canvas190 x 380 cm
Kees GoudzwaardSmoke2007oil on canvas80 x 60 cm
Kees GoudzwaardFilm2007oil on canvas80 x 60 cm
Kees GoudzwaardSkin over2006oil on canvas100 x 150 cm
Kees GoudzwaardLoosely2006oil on canvas100 x 70 cm
Kees GoudzwaardHeading2006oil on canvas50 x 150 cm
Kees GoudzwaardClose Up2005oil on canvas125 x 280 cm
Kees GoudzwaardWindow2006oil on canvas80 x 240 cm
Cristof YvoréLe tapis d'Edward1993oil on canvas33,5 x 31 cm
Raoul De KeyserUntitled1987oil on canvas48 x 30 cm
John KörmelingGlass Bridge, Ponte dell'Academia, Venice1985scale model: glass, plexi dome, marble and blue limestone21,5 x 65,0 x 21,0 cm
Marlene DumasGive the People What They Want1992oil on canvas40 x 30 cm
Luc TuymansDer Diagnostische Blick IV1992oil on paper57 x 38 cm
Yun-Fei JiThe Water Buffalo2006mineral pigment on rice paper33 x 32,8 cm
Anton CorbijnBjörk, Los Angeles1994gelatin silver print handprinted on oriental Seagull paper (edition of 20)68 x 69 cm
Dirk BraeckmanA.D.F.-B.E.-032003gelatin silver print mounted on aluminium support (edition of 3 + 1 AP)180 x 120 cm
Dirk BraeckmanHinge #12006ultrachrome inkjet print on Fuji photo rag paper mounted on aluminium support (edition of 5 + 1 AP)49 x 36 cm
Mark MandersFragment from Self-Portrait as a Building1986 - 1992painted bronze, mixed media (1 of 3)variable dimensions
Anne-Mie Van KerckhovenHomo Bulla1983 - 1984acrylic on plexi, mounted on steel plate100,3 x 201,5 cm
Patrick Van CaeckenberghSchildpad (Turtle)1990turtle shell, mixed media15 x 20 x 30 cm
Michaël BorremansThe Resemblance2006oil on canvas2 x (36 x 42 cm)
Michaël BorremansWeight200535mm, 9'44", continuous loop (edition of 3 + 1 AP)35,5 x 27,5 x 4 cm
Miriam CahnKrieg1998oil on canvas(90,5 x 56,8) + (105 x 60,5) cm
Raoul De KeyserDisaster2006charcoal, oil and gesso on canvas56 x 48 cm
Raoul De KeyserFlow2006oil on canvas36 x 30 cm
Jan De MaesschalckUntitled2002acrylic on paper27,3 x 36 cm
Jan De MaesschalckUntitled2003acrylic on paper27 x 35,7 cm
Stan DouglasRookery, Burnaby2001C-print (edition of 7)125 x 171 cm
Marlene DumasTina2006oil on canvas110 x 130 cm
Marc GoethalsUntitled1986oil on canvas18 x 24 cm
Kees GoudzwaardScreen2006oil on canvas120 x 80 cm
Mary HeilmannJohngiorno1995oil on canvas196 x 146 cm
Arturo HerreraUntitled (Dia Collage)1998mixed media on paper30,5 x 22,8 cm
Yun-Fei JiTwo Men with Bags2006mineral pigment on rice paper50,5 x 39,5 cm
Kim JonesUntitled (war drawing)2005 - 2006pencil on paper63,6 x 96,3 cm
Johannes Kahrsuntitled (origine du monde)1997charcoal and pastel on paper118 x 84 cm
Johannes KahrsMik's hand2005oil on canvas52 x 62 cm
John KörmelingMeeting point2005scale model, metal11 x 38 x 20 cm
Bernd LohausUntitled1984wooden crate with silver paper44,5 x 35 x 6 cm
Mark MandersFragment from Self-Portrait as a Building1993mixed media(12 x 90 x 15,5 cm) + (24,5 x Ø11,5 cm) + (12,5 x Ø10 cm)
Arno Nollendoped at anna's Barcelona2002colour photograph (edition of 5)45,5 x 30 cm
Arno NollenTrainingsjasje2004colour photograph (edition of 5)45 x 30 cm
Avery PreesmanUntitled2000wood, concrete95 x 70 x 45 cm
Gert Robijns26 x 26 alphabet1985mixed media32,5 x 110 x 130 cm
Jenny ScobelMackerel Sky2006graphite, watercolour and wax on gessoed wood107 x 61 cm
Maria SerebriakovaUntitled1989wood161 x 41 x 53 cm
Maria SerebriakovaUntitled1989wood160 x 70 x 31 cm
Maria SerebriakovaUntitled1989wood160 x 49 x 48 cm
Maria SerebriakovaUntitled1992book sculpture with house20 x 37 x 25 cm
Maria SerebriakovaLandscape2006oil on wood45 x 35 cm
Miroslav TichyUntitled (inv.nr.4-6-121)black and white photograph16,8 x 12,4 cm
Miroslav TichyUntitled (inv.nr.4-6-133)black and white photograph17,9 x 7,9 cm
Miroslav TichyUntitled (inv.nr.4-6-199)gelatin silver print27,2 x 19,6 cm
Luc TuymansImperméable2006oil on canvas224 x 94 cm
Anne-Mie Van KerckhovenRewritten, It Was Later to Become2005digital print, plexi and Forex41 x 75 cm
Anne-Mie Van KerckhovenChippendale (Angel in the House)2005digital print, plexi and Forex35 x 75 cm
Anne-Mie Van KerckhovenRewritten, It Was Later to Become2005Lambda print integrated in plexi lightbox41 x 75 x 14,5 cm
Cristof YvoréUntitled2006oil on canvas68,5 x 86 cm
Photo: Peter CoxCourtesy Zeno X Gallery, Antwerp25 years Zeno X Gallery - installation view
Photo: Dirk PauwelsCourtesy S.M.A.K., GhentInstallation view
AXA Art Collection, Brussels, Belgium Bouwfonds Art Collection, The Netherlands Collectie Gemeente Nijmegen, Nijmegen, The Netherlands de Groen – Fine Art Collection, Arnhem, The Netherlands De Nederlandse Bank, Amsterdam, The Netherlands Frac des Pays de la Loire, Carquefou, France Provincie Gelderland, Gelderland, The Netherlands Museum Het Valkhof, Nijmegen, The Netherlands Mu.ZEE, Ostend, Belgium Rubell Family Collection, Miami, United States of America Santa Barbara Museum of Art, Santa Barbara, United States of America S.M.A.K. Municipal Museum of Contemporary Art, Ghent, Belgium Stiftung Museum Kunstpalast, Düsseldorf, Germany
“Het oog verleiden met afplaktape” Museum Tijdschrift, article by Edo Dijksterhuis (online) February 2023
“Poëtische leegte – Kees Goudzwaard in Club Solo” Metropolis M, article by Linda Köke (online) April 2021
“Kees Goudzwaard – Between red and several transparent planes” Club Solo, Breda (NL), text by Philip Van den Bossche November 2020 – March 2021
“Kees Goudzwaard – Between Red and a Transparant Plane” Roma Publications 227, text by Lorenzo Benedetti January – March 2014
“Kees Goudzwaard: Setting for White” Mousse Contemporary Art Magazine, article by Ilaria Bonacossa (online) June 2012
“Kees Goudzwaard. Tuning” Bulletin Stedelijk Museum Schiedam, Schiedam (NL), article by Colin Huizing (p.8-10) April/June 2011
“Kees Goudzwaard. Assembling the right model is as intensive as the painting process that follows it. If necessary I take months or years of pondering” Art World, no.10, article by Ben Luke (p.72-75) April/May 2009
“Kijken is een werkwoord – De schilderijen van Kees Goudzwaard in het S.M.A.K.” KunstNu, article by Bart Geerts (p.22-27) July 2005
Club SoloBreda, Netherlands, 202030 pages, ISBN 9789493119123
Roma PublicationsAmsterdam, Netherlands, 201632 pages
Roma PublicationsAmsterdam, Netherlands, 201430 pages, ISBN 9789491843259
Roma PublicationsAmsterdam, Netherlands, 201194 pages, ISBN 9077459607
CulturgestLisbon, Portugal, 200671 pages, ISBN 9077459162
S.M.A.K.Ghent, Belgium, 200595 pages, ISBN 9075679211
Roma Publications 50Arnhem, Netherlands, 200487 pages, ISBN 9077459073