{"id":4725,"date":"2023-10-11T13:05:52","date_gmt":"2023-10-11T11:05:52","guid":{"rendered":"https:\/\/badreljundigallery.com\/?page_id=4725"},"modified":"2023-10-18T16:45:30","modified_gmt":"2023-10-18T14:45:30","slug":"exhibitions","status":"publish","type":"page","link":"https:\/\/badreljundigallery.com\/en\/exhibitions\/","title":{"rendered":"Exhibitions"},"content":{"rendered":"

Exhibitions<\/h1><\/div><\/div><\/div><\/div><\/div><\/div>

Current<\/b><\/a> Past<\/a><\/p><\/div><\/div><\/div><\/div><\/div><\/div>

Catch the light when it\u2019s cloudy<\/h1><\/div><\/div><\/div><\/div><\/div><\/div>


23 November 2023 \u2013 13 January 2024<\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

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Since Marilyn Sonneveld told me about a recurring nightmare of hers, involving a hypnotic colourful circle and a painfully piercing needle, I can\u2019t stop thinking about Junji Ito\u2019s horror manga Uzumaki. The Japanese 90s series tells the story of a fictional city plagued by a supernatural curse concerning spirals. In Kurouzu-cho everyone is obsessed with this symbol, whose contagious nature soon renders the psychological paranoia of one of the main characters into a collective transformation, and reality itself becomes a vortex. From nature and objects Junji Ito\u2019s spirals start propagating on hairs, cheeks, eyes and, in the end, the totality of bodies whorl: twisting and intertwining together, to then disperse into the abstract form and the cosmos.
A similar dissolution effect has characterised Marilyn Sonneveld\u2019s recent paintings, in which previous figurative body compositions \u2014 already orgiastic \u2014 have left space to less representational atmospheres. Colour, personal and emotive, sprawls into ghostly layers that render the canvas territories of encounters. From these, at times, figuration emerges. The new paintings lack a sense of centrality and instead propose inner landscapes, entrancing like the flames of a fire. The body \u2014 previously represented in agglomerated groups \u2014 is here seemingly fragmented and distinguishable in body parts, which become fleeting apparitions. Hands prevail, caresses on an autumnal Sunday, and a sense of softness pervades the show.
There is one painting with a more defined figure: it\u2019s a baby whose unsteady contour is held in a hug by an adult, just as spectral. The background lives on their skin, surpassing the trembling edges of figuration, and selfhood is lost into sensorial grounds. It’s certainly not a coincidence that Sonneveld has recently become a mother, but the loss of defined individual boundaries it\u2019s something that now belongs to the increasing collective awareness on the permeability of things. Compartmentalisation into categories does not hold anymore, thus rendering subjectivity a dynamic and evolving concept, registered as such in the artist\u2019s practice.
The inclusion of glass sculptures and paintings feels essential in such a context. Transparency absorbs one medium into the other allowing for fragile coexistence, but glass is a sharp material: it carries tension. Under such (darker) light one could interpret these works as monstrous foetuses whose unformed shape and murky colour combinations manifest the anxieties rising from notions of loss, of oneself in this instance. After all, the bright purple and acid green tones which characterise some of the canvases belong to the realm of nightmares. The fog pervading the works is an eerie presence. Sonneveld\u2019s works could be thought of as alive, with an agency of their own.<\/p>\n

In the essay “The Value of Liveliness: Painting as an Index of Agency in the New Economy”, Isabelle Graw does indeed register the vitality that a painting can possess, going beyond representation. Her argument is that the work may be influenced by a network of ideas, references, and cultural contexts, rather than solely by the artist’s own intentions. In Graw\u2019s words “the ghostlike presence of the absent author” reflects the evolving nature of art in the post-medium condition, where traditional boundaries and roles in art-making have become more fluid, and the focus shifts from the artist as an individual creator to the complex web of influences, references, and contexts that contribute to the meaning of a painting. Such a notion could be extended to a post-individual condition, in which Sonneveld situates her practice.
There is a detail of one of the canvases that I like particularly: among fields of orange, lilac and pink, a series of brush strokes gives origin to slender fingers. They are velvet flames retiring sinuously like a pianist after a successful concert: exposed, exhausted. When the subject is lost, what happens to figuration?<\/p>\n

 <\/p>\n

Text by Caterina Avataneo.<\/em><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

\"BADR<\/span><\/div>
MARILYN SONNEVELD, Untitled, 2023<\/div>
Glass, 23 x 31,5 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"A<\/span><\/div>
MARILYN SONNEVELD, A blurry night to remember, 2023<\/div>
Oil on canvas, 70 x 80 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"BADR<\/span><\/div>
MARILYN SONNEVELD, Soap 9, 2022<\/div>
Glass, 41 x 15 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"Misty<\/span><\/div>
MARILYN SONNEVELD, Misty Roses, 2023<\/div>
Oil on canvas, 140 x 180 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"May,<\/span><\/div>
MARILYN SONNEVELD, May, 2023<\/div>
Oil on canvas, 25 x 30 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"Secondback,<\/span><\/div>
MARILYN SONNEVELD, Secondback, 2023<\/div>
Oil on canvas, 70 x 80 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"Magda,<\/span><\/div>
MARILYN SONNEVELD, Magda, 2023<\/div>
\u00d3leo sobre lienzo, 90 x 110 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"Jol,<\/span><\/div>
MARILYN SONNEVELD, Jol, 2023<\/div>
Oil on canvas, 90 x 110 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"Underneath,<\/span><\/div>
MARILYN SONNEVELD, Underneath, 2023<\/div>
Oil on canvas, 35 x 45 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"Vibrations,<\/span><\/div>
MARILYN SONNEVELD, Vibrations, 2023 <\/div>
Oil on canvas, 35 x 45 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"BADR<\/span><\/div>
MARILYN SONNEVELD, Soap 8, 2022<\/div>
Glass, 41 x 15 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"Sunshine<\/span><\/div>
MARILYN SONNEVELD, Sunshine in the bedroom, 2023 <\/div>
Oil on canvas, 120 x 140 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"Touchable<\/span><\/div>
MARILYN SONNEVELD, Touchable skin, 2023 <\/div>
Oil on canvas, 120 x 140 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div>
\"Together<\/span><\/div>
MARILYN SONNEVELD, Together we are not alone, 2023 <\/div>
Oil on canvas, 140 x 180 cm<\/div><\/figcaption><\/figure><\/div><\/div><\/div><\/div><\/div><\/div><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

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