 | |  | |  | |  | |  | |  |
| MATHIJS LIESHOUT |
EDUCATION
2000-03 Philosophy, University of Amsterdam
1995-00 Autonomous Design (Fine Arts), Hogeschool voor de Kunsten Utrecht
EXHIBITIONS
2006
U kunt nu bellen! (The lines are open!) a new collaboration with Maurice Bogaert
2006
Sequence the Space, London
2005
Home Improvement, Mathijs Lieshout, BasementArtProject.com
Sequence de Roode Bioscoop, Amsterdam
Almacht! Of het plezier van het scheppen, Galerie Minimaal Twee Weken
Subgoed, Kunsthuis Syb
The toothbrush fairy, Stadsgalerij Heerlen
Project Basis, Artis Den Bosch
2003
tent. Galerie Podion, Amsterdam
2000
Who are we? Znojmo, Czech Republic
The live Room. Central Museum Utrecht
1999
Fresh, Academiegalerie, Utrecht
CURATORIAL PROJECTS
2006 Sequence the Space, London
2005 Sequence de Roode Bioscoop, Amsterdam
AWARDS
2006–10 Startstipendium, Fonds BKVB
2004–05 Startstipendium, Fonds BKVB
2002 Theoretical programme Rietveldacademy (during studying philosophy) Grants
www.mathijslieshout.nl
2000-03 Philosophy, University of Amsterdam
1995-00 Autonomous Design (Fine Arts), Hogeschool voor de Kunsten Utrecht
EXHIBITIONS
2006
U kunt nu bellen! (The lines are open!) a new collaboration with Maurice Bogaert
2006
Sequence the Space, London
2005
Home Improvement, Mathijs Lieshout, BasementArtProject.com
Sequence de Roode Bioscoop, Amsterdam
Almacht! Of het plezier van het scheppen, Galerie Minimaal Twee Weken
Subgoed, Kunsthuis Syb
The toothbrush fairy, Stadsgalerij Heerlen
Project Basis, Artis Den Bosch
2003
tent. Galerie Podion, Amsterdam
2000
Who are we? Znojmo, Czech Republic
The live Room. Central Museum Utrecht
1999
Fresh, Academiegalerie, Utrecht
CURATORIAL PROJECTS
2006 Sequence the Space, London
2005 Sequence de Roode Bioscoop, Amsterdam
AWARDS
2006–10 Startstipendium, Fonds BKVB
2004–05 Startstipendium, Fonds BKVB
2002 Theoretical programme Rietveldacademy (during studying philosophy) Grants
www.mathijslieshout.nl
| Ornament 2004 |
For New Life and the Dream Garden, Lieshout will present his new work commissioned for the show. It is a new version of a
series of works all titled “Anteroom”. These works are installations with screens, reorganising private spaces, like an artist’s
studio or living room. This version consists of a 24-panel screen, decorated with flowery wallpaper, folded up, hinged on both
sides of a doorway and placed on wheels. When pushed open the screen creates a space unfolding from the doorway. The work
explores the idea of an anteroom occupying the space in limbo between two rooms. Lieshout’s interest in the notion of space and
decoration applies to various aspects of the household, including furniture carpentry, curtain and dress garnishing, and pastry
baking. He uses sugar icing to decorate/cover the main subject of found paintings and postcards. Hiding behind the decoration
is the issue of concealment. The absence of the subject therefore has become the new subject of the work. The layers of
concealment he creates are often hermetic. They tend to overgrow objects or cover up interior spaces as an impenetrable
boundary, letting nothing in or out.
series of works all titled “Anteroom”. These works are installations with screens, reorganising private spaces, like an artist’s
studio or living room. This version consists of a 24-panel screen, decorated with flowery wallpaper, folded up, hinged on both
sides of a doorway and placed on wheels. When pushed open the screen creates a space unfolding from the doorway. The work
explores the idea of an anteroom occupying the space in limbo between two rooms. Lieshout’s interest in the notion of space and
decoration applies to various aspects of the household, including furniture carpentry, curtain and dress garnishing, and pastry
baking. He uses sugar icing to decorate/cover the main subject of found paintings and postcards. Hiding behind the decoration
is the issue of concealment. The absence of the subject therefore has become the new subject of the work. The layers of
concealment he creates are often hermetic. They tend to overgrow objects or cover up interior spaces as an impenetrable
boundary, letting nothing in or out.