the Volkskrant Visual Arts Prize*

*Young talent in the spotlight.

1 Febrary till 22 March 2020

Five specialists from the Dutch art world have each nominated a nominee for the thirteenth edition of the Volkskrant Beeldende Kunst Prijs. The five young artists are Isabelle Andriessen, Sharelly Emanuelson, Özgür Kar, Wouter Paijmans and Philip Vermeulen.

An exhibition of the five artist opens at Stedelijk Museum Schiedam on the first of February. The winner will be announced early March. The prize consist of €10.000,- (made available by Rabobank) and a book publication (supported by the Jaap Harten Fund) also worth €10.000,-

Ever since 2006 the Volkskrant Beeldende Kunst Prijs is an annual prize. It is intended for artists up to and including 35 years old. The prize’s history has an illustrious list of winners, including Floris Kaayk, Femmy Otten, Funda Gül Özcan and Guido van der Werve. There is also a public prize: visitors of Stedelijk Museum Schiedam, where the exhibition can be seen until 22 March, can vote for their favorite.

Isabelle Andriessen (1986), nominated by Ko van ‘t Hek and Yuki Kho from ‘Kunst kijken met Ko & Kho’. About their choice: “We think it is great how – in a time where everything seems to be feasible – Isabelle Andriessen extends the boundaries of life just a little further. With her sweaty, crystallizing and dripping sculptures, she explores the twilight zone between living and not living.”

Sharelly Emanuelson (1986), nominated by curator and writer Vincent van Velsen. He chose Emanuelson because she is able to “visualize the beauty and complexity of life on the Caribbean islands.” According to Van Velsen, her multimedia work contributes to the knowledge about “our ongoing relationship with the overseas territories.” Van Velsen also praises the valuable boost she fulfills with her art platform UniArte.

Sharelly Emanuelson, En Mi Pais, 2019. Fotografie: Aad Hoogendoorn

Özgü Kar (1992), nominated by Rein Wolfs, director of Stedelijk Museum Amsterdam: ‘’Wolf sees how Özgür Kar manages to enlarge his ‘’cinematic animations’’, which seem made for the modest dimensions of a smartphone, to “oppressive installations on large screens’’. Private becomes public, small becomes large and intimate becomes existential, while the image is constantly trapped within the compelling limits of the screen.”

Özgür Kar, At the end of the day, 2019. Fotografie: Aad Hoogendoorn

Wouter Paijmans (1991), nominated by the photographer duo Maurice Scheltens and Liesbeth Abbenes. They are touched by Paijmans almost obsessive enthusiasm. This shows for example when he made his identical quilted jackets, which are arranged into rhythmic sculptures and what he himself calls clothing paintings made of textile. The repetition in his art “is what makes the work striking and raises questions about originality versus reproduction. It creates curiosity.”

Wouter Paijmans, Lightbox (red), 2019. Fotografie: Aad Hoogendoorn

Phillip Vermeulen (1986), nominated by Suzanne Swarts, director of Museum Voorlinden. ‘’Phillip’s work is about looking, but even more about feeling.’’ says Swarts. ‘’Vermeulen creates compelling performative installations in which he stimulates all senses with sound, light and movement. In each creation, he again allows science, technology, visual arts and theater to merge into unforgettable sensations.’’

Philip Vermeulen, TLLLLLLLT, 2020. Fotografie: Aad Hoogendoorn

Jury

Barbara Visser leads the professional jury. She is an artist and former chairman of the Royal Netherlands Academy of Arts. The other members are Anna van Leeuwen, art journalist at Volkskrant, Bram de Jonghe, artist and former winner of the Volkskrant Prize, Verily Klaassen, head of art affairs at Rabobank and Sjoerd Kloosterhuis, curator at art center Rozenstraat – a rose is a rose is a rose in Amsterdam.

Edge programming

There are four meetings specially for artists. This concerns the usefulness of book publications (21 February), the subsidy landscape (28 February) and the showing and selling of art (6 March). There are also smARTdates with curators, collectors and exhibition makers (20 March). For more info, read below.

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