BALANCHINE
It goes without saying that Van Manen doesn’t just pull choreographies out of thin air. All choreographers build on the great masters that came before them. Van Manen once said “Everyone steals, the only thing that matters is who you steal from!” His undisputed mentor is George Balanchine, who he has succeeded in the last 10 years as the world’s leading choreographer. Balanchine’s influence on Van Manen is unmistakeable: they both demonstrate the same striking musicality in their work, and Van Manen’s piece, Sarcasm, can be seen as a tribute to Balanchine, with its light blue background and the grand piano on stage.
Nevertheless, Van Manen was quick to develop his own signature style at a young age, and carved his own path in the dance world. For instance, as early as 1965, Van Manen demonstrated in opus 13, Metaphors, that he had moved beyond the strict neoclassicism of his mentor, which was still prescribed at the time. And by the ‘70s, Van Manen injected a new kind of humanity into dance by having his dancers face one another – an aspect that had been slightly lost during the neoclassical movement.
Beyond Maps and Atlases — 2016
Where can it be found again,An elsewhere world, beyondMaps and atlases,Where all is woven intoAnd of itself, like a nestOf crosshatched grass blades?Seamus Heaney from the poem ‘Herbal’ in ‘Human Chain’At first, working in Ireland I wasn’t sure what I was looking for. My husband had died.I dispensed with the people and reflected on the atmosphere. I was guided by afeeling and a search, a longing for some kind of meaning in a place of myths and legends. There was mystery and endlessness at the edge of a land beyond which is nothingbut a vast expanse.Bertien van ManenAmsterdam, September 15th 2015
View photo’s
PHOTOGRAPHS IN THE COLLECTION OF (A SELECTION)
George Eastman House / International Museum of Photography USA
Stedelijk Museum Amsterdam the Netherlands
The Museum of Modern Art New York USA
The Metropolitan Museum of Art New York USA
San Francisco Museum of Modern Art USA
The Baltimore Museum of Art USA
The Metropolitan Museum of Photography Tokio Japan
Maison Européenne de la Photographie Paris France
Centre national des arts plastiques Paris France
The Swiss Foundation for Photography Switzerland
Fotomuseum Winterthur Winterthur Switzerland
Fotomuseum Antwerpen Belgium
Rijksmuseum Amsterdam the Netherlands
Collection ABN-Amro / La Salle Chicago USA
Huis Marseillle Amsterdam the Netherlands
Frans Hals Museum / de Hallen Haarlem the Netherlands
La Collection Neuflize Vie France
BOOKS GROUP
2021
‘Nachbilder’ Eine Foto Text Anthologie Zürcher Hochschule und Fotomuseum Winterthur
2018
‘The Low Countries’, page 256 ‘Intimacy without Borders’ by Tineke Reijnders
2016
‘A Matter of Memory: Photography as Object in the Digital Age’ George Eastman Museum
2016
‘Conversations 2’ Rémi Coignet
2015
‘Photography at MoMA 1960 to Now’ The Museum of Modern Art New York
2015
‘Une Collection’ MEP Paris
2015
‘The Chinese Photobook’ by Martin Parr and Wassink Lundgren
2014
‘The Photographers’ Playbook’ Aperture
2013
‘Le Regardeur’ Editions Xavier Barral
2013
‘Lost Home’ Super Labo’s Lost Home project, a set of ten artist books by Harvey Benge
2012
‘Thinking photography, Using photography’ by Jan Erik Lundström and Liv Stoltz, Centrum för Fotografi
2012
‘The Dutch Photo Book Since 1945’ by Frits Gierstberg and Rik Suermondt
2009
Fotografie in het Stedelijk de Geschiedenis van een collectie
2008
MoMA HIghlights since 1980
2007
Photographies Modernes et Comtemporaines La Collection Neuflize Vie
2007
Dutch Eyes New History of Photography in the Netherlands
2006
‘Netherlands Now, L’école du Nord’, MEP Paris
2006
‘The Photobook’, a History vol II by Martin Parr and Gerry Badger, Phaidon
2006
Contemporary Dutch Photography, Kumho Museum of Art Seoul
2005
‘In Sight’ Contemporary Dutch Photography from the Collection of the Stedelijk Museum Amsterdam
2003
‘Gestes’ Printemps de septembre ed. Actes Sud
2003
‘Tales from a globalizing world’ by Daniel Schwartz Ed. Thames Hudson
2003
Citibank Photography Prize 2003
THE ARCHITECT OF DANCE
It is this aspect in particular that gives Van Manen’s choreographies their endless allure, enabling them to stand the test of time. Even his early work from the 1960s, such as The Moon in the Trapeze (1959) or Metaphors (1965) – not to mention the brilliant Squares (1969) – has survived the ravages of time virtually unscathed, punctuated as they are by his idiosyncratic style and signature aesthetic.
The choreographer is a firm believer in the ‘less is more’ approach and feels young choreographers are far too partial to frills and frou frou. He is very emphatic on the subject: “Everything needs to be stripped bare. No decorations – the frills need to go. It has to be simple.” During his career, Van Manen frequently worked with set designers such as Jean-Paul Vroom and Keso Dekker, who were instrumental in bringing his notion of bold simplicity to life.
Van Manen often sees himself as an ‘architect of dance’, in which space is determined by movement, in a manner that is in line with Bauhaus principles. His choreographies embody Piet Mondriaan’s style, characterised as they are by clean lines and geometric shapes, while simultaneously meeting Michaelangelo’s criteria that the ‘perfect’ sculpture should be able to roll downhill and remain intact. The choreographer does not use any narrative in his work or rely on anecdotes – he wants the dance to be appreciated for what it is. In achieving this objective, Van Manen ensures none of the grace and beauty of ballet is lost. In fact, the opposite is true: he showcases the exquisite poetry of dance as no other – quite how he does this is one of the great mysteries inherent to any true work of art.
Archive — 2021
Since the 1970s, Dutch photographer Bertien van Manen has created intimate and poignant photographs of commonplace scenes, produced during extended trips to Europe, America, China and the former Soviet Union. Van Manen has established herself as a unique voice in documentary photography, her visual language imbued with empathy and respect for the everyday lives of her subjects. This book presents an extensive overview of Van Manen’s work, alongside diary entries and previously unpublished selections from her archive.
The book has been edited and designed by renowned Dutch designer Hans Gremmen to offer a unique insight and overview of Van Manen’s history, establishing this publication as the ultimate reference work on her oeuvre.
View photo’s
ABOUT Erwin Olaf
Erwin Olaf is an internationally exhibiting artist whose diverse practice centers around society’s marginalized individuals, including people of color, and the LGBTQ+ community. In 2019 Olaf became a Knight of the Order of the Lion of the Netherlands after 500 works from his oeuvre were added to the collection of the Rijksmuseum. Taco Dibbits, Rijksmuseum director, called Olaf “one of the most important photographers of the final quarter of the 20th century”.
In 2018, Olaf completed a triptych of monumental photographic and filmic tableaux portraying periods of seismic change in major world cities, and the citizens embraced and othered by their urban progress. Like much of his work, it is contextualized by complex race relations, the devastation of economic divisions, and the complications of sexuality. Olaf has maintained an activistic approach to equality throughout his 40-year career after starting out documenting pre-AIDS gay liberation in Amsterdam’s nightlife in the 1980s.
A bold and sometimes controversial approach has earned the artist a number of prestigious collaborations, from Vogue and Louis Vuitton, to the Stedelijk Museum Amsterdam. He served as the official portrait artist for the Dutch royal family in 2017, and designed the national side of the euro coins for King Willem-Alexander in 2013. He has been awarded the Netherlands’ prestigious Johannes Vermeer Award, as well as Photographer of the Year at the International Color Awards, and Kunstbeeld magazine’s Dutch Artist of the Year.
Erwin Olaf has exhibited worldwide, including Centro de Arte Contemporáneo de Málaga, Málaga, Spain; Museu da Imagem e do Som, São Paulo, Brazil; Martin-Gropius-Bau, Berlin, Germany; Southeastern Center for Contemporary Art, Winston-Salem, North Carolina, USA; and Museo de Arte Contemporáneo, Santiago, Chile. In the spring of 2019, Olaf’s work was the subject of a double exhibition at Kunstmuseum The Hague and The Hague Museum of Photography, as well as a solo exhibition at the Shanghai Center of Photography. In 2021, Erwin Olaf had his first solo exhibition Im Wald at Galerie Ron Mandos and mounted a large survey exhibition at Kunsthalle München, Germany.
Olaf’s work is included in numerous private and public collections, such as the Rijksmuseum and Stedelijk Museum, both in Amsterdam, The Netherlands; Fonds National d’Art Contemporain, Paris, France; Museum Ludwig, Cologne, Germany; Museum Voorlinden, Wassenaar, The Netherlands, North Carolina Museum of Art, Raleigh, United States; Art Progressive Collection, United States, and the Pushkin Museum, Moscow, Russia.
Erwin Olaf was born in 1959 in Hilversum, The Netherlands
He lives and works in Amsterdam, The Netherlands
Visit the artist’s website here.
GO TO THE ARTIST PAGE
EXHIBITIONS GROUP (A SELECTION)
2022
‘Accrochage – Rouge’ La Petite Galerie, MEP Paris
2022
‘Le langage silencieux’ — MEP — Rencontres D’Arles, Grand Arles Express, Aix-en-Provence
2021
‘One Artist One Minute’ Fotohof Salzburg
2021
‘Paris Photo’ In Camera Galerie
2021
‘Unseen’ Gallery Annet Gelink Amsterdam The Netherlands
2020
2017
Paris Photo Robert Morat ‘I will be Wolf’ France
2017
‘Unseen’ Gabriel Rolt Amsterdam the Netherlands
2017
Stedelijk Museum Amsterdam ‘I am a native foreigner’ the Netherlands
2017
Nederlands Fotomuseum Rotterdam Jan Cremer the Netherlands
2017
Art Rotterdam (exhibitor Caroline O’Breen) the Netherlands
2016
George Eastman Museum Rochester USA
2015
Foto Istanbul Turkey
2014
in camera Paris France
2014
Paris Photo at Robert Morat ‘Moonshine’ France
2014
Gana Art Center with Boris Michaelov, Nan Goldin and others Seoul South Korea
2014
‘The Thing Itself’ Yancey Richardson New York USA
2014
‘Us and Them’ Noorderlicht Groningen the Netherlands
2014
Paris Photo at Yancey Richardson France
2013
Moscow Biennale Russia
2013
‘Lost Home’, Colette rue st Honoré Paris France
2013
Andrea Meislin Gallery New York ‘Perchance to dream’ USA
2013
Fotomuseum Winterthur ‘This Infinite World’ selection Paul Graham Switzerland
2013
Paris Photo at in camera galerie ‘Let’s sit down before we go’ France
2013
Paris Photo at Robert Morat ‘Easter and Oak Trees’ France
2013
‘From Holland with Love’ Nederlands Fotomuseum Rotterdam the Netherlands
2012
Paris Photo 2012 France
2012
Dutch Doc Award Tropenmuseum Amsterdam the Netherlands
2012
Unseen Photo Fair Amsterdam the Netherlands
2012
Centre culturel de Liège 8ème Biennale Internationale des Arts Visuels Belgium
2011
NMWA and Bank of America USA
2011
MoMA Steichen Gallery New York USA
2011
Paris Photo France
2010
Incognito Yancey Richardson New York USA
2010
Minneapolis Institute of Arts USA
2010
Fototriennale Esslingen Germany
2009
Paris Photo France
2009
Bildmuseet Umea Sweden
2008
Bucharest Biennale Romania
2007
Howard Gilman Gallery, ‘Hidden in Plain Sight’/Contemporary Photographs from the Collection of the Metropolitan Museum of Art New York USA
2007
‘Scenes and Traces’ Collection Stedelijk Museum Amsterdam the Netherlands
2007
‘InsideOut’ Collections of Amsterdam Institutes FOAM Amsterdam the Netherlands
2006
‘Op het tweede gezicht’ Frans Hals Museum Haarlem the Netherlands
2006
‘L’esprit du Nord’ Maison Europèene de la Photographie Paris France
2006
‘Frames revisited’ De Hallen, Frans Hals Museum Haarlem the Netherlands
2006
‘Dutch insight’ Kumho Museum of Art Seoul South Korea
2006
‘Stories, Histories’- from the Collection of the Fotomuseum Winterthur Suisse
2005
‘In Sight’ Contemporary Dutch Photography’ Art Institute of Chicago USA
2005
‘Marks of Honour’ FOAM and van Zoetendaal Amsterdam the Netherlands
2005
Palais des Beaux Arts Bruxelles Belgium
2005
‘Récits d’une Mondialisation’ Palais des Nations Genève Switzerland
2004
Artist Opening, Museum of Modern Art New York USA
2004
‘Cold Play’ Présence Suisse Paris Photo Paris France
2004
‘Take Five’ Huis Marseille Amsterdam the Netherlands
2004
Dunaujváros ICA Budapest Hungary
2004
‘D Foto’ San Sébastian Spain
2004
‘Ce que j’ai vu’ Fondation Cartier Bresson Paris France
2004
‘LINK’ Stedelijk Museum Amsterdam the Netherlands
2003
Fundación Carlos de Amberes Madrid Spain
2003
Centre national de la photographie Jeu de Paume Paris France
2003
Photos from the collection Fotomuseum Winterthur Switzerland
2003
‘Zwart Wit Kleur’ Amsterdams Historisch Museum Amsterdam the Netherlands
DIFFERENT PHASES
Hans van Manen’s work cannot be pigeonholed into a specific category. He has gone through many different phases in the half century that he has been a choreographer, and no single style defines him completely, which demonstrates the breadth of his mastery. His choreographies in the ‘70s such as Grosse Fuge (1971), Adagio Hammerklavier (1973) and Lieder ohne Worte (1977) were inspired by Ludwig van Beethoven and Felix Mendelssohn Bartholdy. They showcase his love of German and Austrian 19th century chamber music. Anyone who thought these pieces could not be surpassed would have had to eat their words in the ‘90s and the early years of the 21st century. Choreographies such as Sarcasm, Visions Fugitives, Polish Pieces and Chamber Ballet (1995), not to mention Solo (1997), in which three male dancers perform an astonishing choreography in relay, all match the Beethoven and Mendelssohn ballets in terms of talent and prowess.
But Van Manen’s most recent pieces, such as Frank Bridge Variations (2005) – a marvel of elegant and beautiful choreography – and Six Piano Pieces (2006) should not be overlooked either. They remain unparalleled in the dance world in demonstrating how movement can be used to lay bare music’s underlying structure.
Even Van Manen’s very early years should not be disregarded – and these are, generally speaking, the years in which a choreographer is still learning. In Van Manen’s case, by opus 10 – at the very latest – he had demonstrated his skill as an accomplished professional, presenting a compelling interpretation of Symphony in Three Movements by Igor Stravinsky, his favourite musician. What’s more, just two years later, he managed to choreograph his first masterpiece opus 13, Metaphors.
Yet, it is Van Manen’s later work which truly reflects how innovative he was throughout the different phases of his career, particularly in the realm of dance duets – his speciality. This can be observed in how deftly he incorporated tense and conflict-ridden relationships in Twilight (1972) and how brilliantly he showcased the almost sacred synergy between dancers themselves and the music in Adagio Hammerklavier, but also the novel and critical perspective he offered on relationships and human interaction, personified by such peculiar, despondent and wistful characters as those in Two (1990) and Chamber Ballet.
Moonshine — 2014
‘…Van Manen’s point and shoot style of photography is one of allowing imperfections in technique stand. In many of her images there is often an unearthly quality to the light; for instance the unnatural glow of the girls’ back in the book’s cover image as she runs from the camera; in an early black-and-white image of four children sitting on a sofa, the two girls in the center dissolve in the glow of the window light; fiery light leaks stain an image of a man in a coffin at a funeral.
…It is said that in the distilling of ‘moonshine’ whisky, the clearer the liquid looks the more powerful the alcohol. In Bertien van Manen’s Moonshine the opposite may be true, imperfection handled with a fierce respect and admiration has allowed for a stronger more powerful drink than few have been able to produce…’Jeffrey LaddTimeLightBox ‘…It wasn’t until I spent some time with the work that it really began resonating with me. I see my own life and family in many of these photographs.’Roger MayAppalachian photographer
View photo’s
EXHIBITIONS SOLO (A SELECTION)
2022
Solo exhibition at L’appartement, Espace Images Vevey, september 2022
2022
‘Wish I Were Here’ FOMU Antwerpen — 1.4.2022 — 28.08.2022
2021
‘Archive, Bertien van Manen’ Enter Enter — A Space For Books, Designed by Hans Gremmen
2021
‘Moonshine’ Annet Gelink Gallery Amsterdam
2020
Galerie Robert Morat Berlin Germany
2020
In camera Paris France
2020
Gabriel Rolt HE.RO Amsterdam the Netherlands
2020
Stedelijk Museum Amsterdam ‘Beyond the Image’ Bertien van Manen and Friends
2019
‘De collectie belicht’ Nederlands Fotomuseum curated by Bertien van Manen the Netherlands
2018
‘I will be Wolf’ Gabriel Rolt Amsterdam the Netherlands
2016
In camera Paris ‘Beyond Maps and Atlases’ France
2016
Photo London ‘Beyond Maps and Atlases’ UK
2016
Post Tokio ‘Beyond Maps and Atlases’ Japan
2016
‘Beyond Maps and Atlases’ Landskrona Art Gallery Sweden
2016
Paris Photo ‘Beyond Maps and Atlases’ France
2016
Gallery Belfast Exposed, Belfast Ireland
2016
Boston Museum of Fine Arts USA
2015
Gallery Pedro Alfacinha Lisbon Portugal
2014
Paris Photo Los Angeles with Gabriel Rolt Paramount Studio’s L.A. USA
2014
Landskrona Art Gallery with Rinko Kawauchi and Nan Goldin Sweden
2013
Galerie Gabriel Rolt Amsterdam The Netherlands
2012
Yancey Richardson Gallery New York USA
2012
FOAM Amsterdam the Netherlands
2012
Galerie Robert Morat Berlin Germany
2011
in camera galerie Paris France
2009
LX Factory Lisbon Portugal
2008
Museum fur Gestaltung Zurich Switzerland
2008
Yancey Richardson Gallery New York USA
2008
Galerie Robert Morat Hamburg Germany
2008
Museum Ludwig Budapest Hungary
2008
Fotohof Salzburg Austria
2008
Prague Festival of Art Czech Republic
2007
Central European House of Photography Bratislava Slovakia
2006
‘Mois européen de la photographie’ CNA Luxembourg
2006
Yancey Richardson Gallery New York USA
2006
‘de Hallen’ Haarlem the Netherlands
2006
Galerie van Zoetendaal Amsterdam the Netherlands
2005
MoMA New York ‘New Photography’ New York USA
2005
Photo España Circulo de Bellas Artes Madrid Spain
2005
Walter Gropius Bau Berlin, Berlin Photofest ‘After the Fact’ Germany
2004
Photo Museum Ulm Germany
2003
Yancey Richardson Gallery New York USA
2003
The Photographers Gallery, Citibank Photographers Prize 2003 London UK
2003
Centre Photographique d’Ile-de-France Pontault-Combault France
2003
Museum Kunst Palast Düsseldorf Germany
2003
Photo España Madrid Spain
2003
Printemps de septembre Toulouse France
2002
Galerie du Jour, Agnès b Mois de la Photo Paris France
2002
‘East Wind West Wind’ Photographers Gallery London UK
1995
Photographers Gallery London UK
I Will Be Wolf — 2017
In December 1975 Dutch photographer Bertien van Manen made a series of black-and-white photographs capturing daily life in metropolitan Hungary. I will be Wolf brings together many of these beautiful and never-before-seen images with the editorial direction of renowned British photographer Stephen Gill. Her snapshots of commuters, grocers, chemists, café workers, and street vendors contain all the hallmarks of a bygone era, before the grip of globalisation was able to make its mark on the country. Imbued with an air of ambivalent nostalgia, the book takes its title from the poem Grief by the 20th century Hungarian poet József Attila.
View photo’s
East wind, west wind — 2001
‘…To penetrate the privacy of other people’s lives would take a great deal of tact anywhere. For a Dutch photographer to have found her way into the intimate corners of Chinese lives must have taken more than that. China, for all its hospitality, can be an intensely private place.It is traditionally a country of walled cities, walled palaces, walled gardens, and walled family compounds. The family is still the basic unit that dominates most Chinese lives.And Bertien van Manen has penetrated those units, to show us how Chinese live, eat, touch, talk, and sleep in private. To have done this she must have been not only tactful, put persistant, curious and symphathetic. You can tell from her photographs that she was trusted. Even if she never sees them again, you feel that her subjects are her friends.Bertien van Manen’s pictures do not have an overtly political message. She is an artist, not an activist. But the political history of China is visible in almost every photograph…’Ian Buruma
Работает [ править ]
- Оле, Оле, ла Маргарита (1955)
- Качели (1956)
- Feestgericht (1957)
- Пастораль д’Эте (1958)
- Симфоническое движение (1958)
- Де Маан ин-де-Трапез (1959, музыка Бенджамина Бриттена )
- Клаар Аф! (1960)
- Концертино (1961)
- Каин ан Абель (1961)
- Эвридика (1962)
- Воет бий Стук (1962)
- Симфония в трех частях (1963; Игорь Стравинский )
- Омнибус (1964)
- Опус Тваальф (1964)
- Повторение (1965)
- Эссе на Стилте (1965)
- Метафорен (1965; Д. Лесур )
- Terugblik op Morgen (1966)
- Точка невозврата (1966)
- Вийф Шетсен (1966; Пол Хиндемит )
- Готово (1967)
- Dualis (1967)
- Без названия (1968)
- Вариоматик (1968; Леннокс Беркли )
- Три пьесы (1968)
- Соло для голоса 1 (1968)
- Квадраты (1969; З. Силассы)
- Ситуация (1970)
- Мутации (1970)
- Снипперы (1970)
- Дважды (1970)
- Grosse Fuge (1971; Людвиг ван Бетховен )
- Продолжай (1971)
- Аякабоемби (1971)
- Наклон (1972)
- Сумерки (1972)
- Opus Lemaitre (1972; И. С. Бах )
- Дафнис и Хлоя (1972; Морис Равель )
- Септет экстра (1973)
- Адажио Хаммерклавир (1973)
- Ассортимент (1973)
- Le Sacre du Printemps (1974; Игорь Стравинский)
- Квинтет (1974)
- Четыре пьесы Шумана (1975)
- Благородный и сентиментальный (1975)
- Коллективная симфония (совместно с Руди ван Данцигом и Тоером ван Шайком, 1975; музик Игорь Стравинский)
- Ebony Concerto en een Tango (1976)
- Октет опус 20 (1977)
- Lieder ohne Worte (1977)
- 5 танго (1977; Астор Пьяццолла )
- Унисоно (1978)
- Думбартон-оукс (1978)
- Премьер Гранд Трио (1978)
- Воспоминания о теле (1979)
- Живой (1979)
- Концерт для фортепиано в блейзерах (1979)
- Эйнлаге (1980)
- Пиановариаты I (1980; И. С. Бах, Луиджи Даллапиккола )
- Иззи М. (1980)
- Сарказмы (1981; Сергей Прокофьев )
- Пять рассказов (1982)
- Trois Gnossiennes (1982; Эрик Сати )
- Поза (1982; Клод Дебюсси )
- Портрет (1983)
- В и из (1983)
- Разоблаченные (1984; Клод Дебюсси)
- Биты и кусочки (1984)
- Новая программа (1985)
- Balletscènes (1985; Игорь Стравинский)
- В Корте Брук (1985)
- Корпус (1985)
- В концерте (1986)
- Открытие (1986)
- В будущем (1986)
- Лицо (видео) (1987)
- Symphonieën der Nederlanden (1987)
- Иззи ан Олли в een Hemelbed (1987)
- Сабо (1987)
- Флаги (1987)
- Мокрая пустыня (1987)
- Шейкер петли (1988; Джон Адамс )
- Звуки музыки (1988)
- Черный торт (1989)
- Мозговой штурм (1989)
- Видения беглецов (1990)
- Интермеццо для музыкантов и танцоров (1990)
- Два (1990; Ферруччо Бузони )
- Тема (1990)
- Анданте (1990; В. А. Моцарт )
- Вечнозеленые растения (1991)
- В движении (1992)
- Стенография — Шесть пьес Стравинского (1993)
- Фантазия (1993; адаптация Бузони И. С. Баха )
- Разные партнеры (1993)
- Концертант (1994)
- Композитный (1994)
- Ночь (1994)
- Польские штуки (1995)
- Дежавю (1995)
- Каммербалет (1995)
- Старик и я (1996)
- Кляйнес Реквием (1996)
- Соло (1997)
- Три пьесы для HET (1997)
- Пара (1998)
- Нулевой час (1998)
- Короткая стрижка (1999)
- Два золотых вариатона (1999)
- Пьесы Баха (2000)
- Анданте Фестиво (2000)
- Трилогия (2000)
- Два лица (2000)
- Простые вещи (2001)
- Монолог, Диалог (2003)
- Липкая штука (2003)
- Вариации Фрэнк Бридж (2005; Бенджамин Бриттен )
- Шесть пьес для фортепиано (2006)
- Мечтая о тебе (2006)
- Слезы (2008), часть In Space
- Набережная (2009)
- Без слов (2010)
- Вариации для двух пар (2012)
- Танцы с арфой (2014)
- Alltag (2014)
AN INFLUENTIAL CHOREOGRAPHER
Van Manen – who incidentally has also made a name for himself as a well-respected photographer, with exhibitions in several famous museums – more than deserves the numerous honours and important prizes bestowed on him during the course of his impressive career, including the German Dance Prize, the Duisburg Music Prize, the Prix Benois de la Danse and, last but not least, the highly prestigious Erasmus Prize.
Perhaps most noteworthy of all, at an advanced age, he is still creating choreographies that contain the energy, creativity and vision of a young man. At an age when most would have retired, Van Manen’s choreographies are not only more elegant and musical, but are also more powerful, perceptive and consistently outstanding than that of any other choreographer. Fortunately, Van Manen’s creativity shows no sign of waning, which his friends and admirers, as well as the author of this text, are grateful for and we hope it will remain so for a long time to come.
Jochen Schmidt (1936 — 2010) was one of the most esteemed dance critics in Germany. He was a dance critic for Frankfurter Allgemeinen Zeitung from 1968 to 2003 and wrote ‘Tanzen gegen die Angst’. Pina Bausch (1998). This article appeared in the book ‘Meer dan een halve eeuw dans’, published by De Arbeiderspers in 2007. We would like to extend our thanks to Schmidt’s heirs for making this possible.
ABOUT THE EXHIBITION
This year, the grand master of Dutch dance Hans van Manen will turn ninety years old. To honor him, The Dutch National Ballet will present an extensive and diverse program of his work. Alongside, the exhibition Dance in Close-Up at Galerie Ron Mandos celebrates a forty-year friendship between Hans van Manen and Erwin Olaf. The project includes a series of photographs and videos in which Hans van Manen directs moments from thirteen different choreographies, captured in detail by Erwin Olaf himself.
Olaf was only 24 years old when he first met Van Manen working on a photoshoot for the Dutch magazine Sek – the official publication of LGBTQ+ activist organization COC. At the time, Van Manen was not only one of the world’s leading choreographers, but also a celebrated photographer. Taking Olaf by the hand, Van Manen introduced him to the world of fine art. The American photographer Robert Mapplethorpe was one of their biggest inspirations. This influence reappears in the series, exemplified in the square photographs shot with a Hasselblad camera – the same camera Olaf brought with him when first photographing Van Manen in 1983.
EASTER AND OAK TREES — 2013
‘….It is surprising to see how in essence all the qualities of her riper work are present in these family-snapshots: the lyrical looseness, the sensuality and the melancholy but also a feeling for balance and composition. They seem free, sturdy improvisations on themes, which later, in ‘A Hundred Summers a Hundred Winters’ or in ‘East Wind West Wind’ more outspokenly took shape. Of course especially the contactprints thanks to their grafic imperfections have the seductive aura of authenticity but much more interestitng is the search for form, however spontanuous and intimate the scenes may be. This is most explicitely visible in the attention for the pose. In a single case this is purposefully being created but more often it is very precisely being seen and captured in all its artless liveliness and almost painfull beauty.’Hripsimé Visser
View photo’s