The first exhibition of the new season, which for us kicks off in October,
comprises recent paintings by Anneke van Brussel. Anneke has been through a
lot over the past two years, most of which is none of your business. While
in France in the course of her peregrinations, she almost accidentally (the
twists and turns of fate, and all that) entered a regional competition for
artists. This is not something terribly Dutch - our immediate response would
be that each work of art is an incomparable entity which cannot therefore
win or lose from any other, even though official art circles (whatever they
may be) most certainly operate a scrupulous distinction between what is and
what is not artistically correct, but I admit that that is not quite the
same as first or second prize. Anyway, Anneke van Brussel, who herself had
qualified her entering the competition as more of a "When in Rome …"
gesture, was mortified to be awarded first prize. For the sake of
completeness, I should tell you that all of this happened in the village of
Chateau Arnoux, Saint Auban (Alpes de Haute Provence)and that the entry consisted of a room
full of artists, all of whom attended the award ceremony in deep silence.
Anneke van Brussel, "Blue Bowl" 1999, acrylic/paper on panel, 74 x 54 cm
This is a typically Dutch commentary: pummelling into perspective, mocking,
lampooning to our heart's content, squeaking just before the fatal blow,
look at that, that's not half bad, is it, being amazed at finding we're
actually good at something, only to play down our success as quickly as we
can. What an awful thing to do to Anneke van Brussel, and to all my other
artists! But let me explain. You see, the average Dutch reader would not
believe a word I said if I waxed lyrical, and so I have to resort to
understatements. Unfortunately, like most contemporary journalists - who
have in fact evolved into columnists - I too suffer from that deplorable
inclination towards being funny, and let me assure you that that's not
nearly as easy as it sounds. But don't worry, I'll keep plugging away (at
understating, that is).
Anneke van Brussel, "Beetroot Harvest" 1999, acrylic/paper on panel, 74 x 54 cm
The beetroots shown here were grown on the Van Brussel allotment. Although
the poetic aura of Dutch agricultural and horticultural produce leaves
something to be desired, these beetroots nevertheless harbour a secret - a
complex collection of mysteries and associations whose mere presence says it
all. Any attempt to elaborate is destined to yield more question marks. Once
you have gained access, the mere act of looking provides you with everything
you need. This is precisely what Anneke van Brussel is so good at: turning
the unassuming into something essential.
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