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![Showing Face]( "Showing Face")
infoThis work arose from research into the possibilities of risoprint, using photography and the possibility of working in layers. Muqarnas, networks of cellular structures used in Persian and Muslim architecture in domes and vaults, were used as a starting point for the image. What does three-dimensional muqarnas drawing do on the flat surface?
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![Isis Muqarnas]( "Isis Muqarnas")
infoThis work arose from research into the possibilities of risoprint, using photography and the possibility of working in layers. Muqarnas, networks of cellular structures used in Persian and Muslim architecture in domes and vaults, were used as a starting point for the image. What does three-dimensional muqarnas drawing do on the flat surface?
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![Upstairs/downstairs - Pink Moves]( "Upstairs/downstairs - Pink Moves")
infoThis year, it was impossible to travel. I went through my archive and selected camera obscura photos to capture a movement in pigment.
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![Nature Morte de Rembrandt]( "Nature Morte de Rembrandt")
infoThis camera obscura photograph has been taken in Rembrandt's studio at the Rembrandt House in Amsterdam.
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![L'atelier sans lui]( "L'atelier sans lui")
infoThis camera obscura photograph has been taken in Rembrandt's studio at the Rembrandt House in Amsterdam.
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![He (Rembrandt) must have crossed this bridge many times]( "He (Rembrandt) must have crossed this bridge many times")
infoThis camera obscura photograph has been taken next to the place where Rembrandt's birth house used to be. He must have crossed this bridge many times
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![Without Equal]( "Without Equal")
infoInk, pigment, print of a Rembrandt etching on paper in two old jewellery boxes
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![Prophecies and evocations]( "Prophecies and evocations")
infocamera obscura photography in liquid gloss
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![Dragons never die]( "Dragons never die")
infocamera obscura photography with crude pigments in liquid gloss
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![You are rich]( "You are rich")
infopinhole photography - photo taken with a camera obscura at Villa Kerylos - Beaulieu (FR)
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![Just when you want to wiggle your hips]( "Just when you want to wiggle your hips")
infopinhole photography - photo taken with a camera obscura at the harbour of Istanbul
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![Back in Town]( "Back in Town")
infoByzantine Blue Beyond
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![Byzantine Blue (Conversation)]( "Byzantine Blue (Conversation)")
infouit de serie 'Byzantine Blue'
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![Byzantine Blue (OMEN)]( "Byzantine Blue (OMEN)")
infouit de serie 'Byzantine Blue'
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![CAT]( "CAT")
infouit de serie Back to China
Spiegeler’s works are about an imaginary time which only exists in our minds: in the words of the art critic Philip Peters “a time without a time, vague with some details popping up, the memory is now, right here, but at the same time endlessly far away and intangible. She also has a passion for language.
SUCH BEWILDERING COMPLEXITY IN SPACE AND TIME IS REFLECTED BY THE MATERIALS USED FOR THIS WORK’. ‘Brigitte Spiegeler’s work is about an imaginary time, which exists only in our minds: a timeless, internal time. Like a memory: vague, with reappearing details (the memory is engraved in the present moment, but in the same time immensely distant and imperceptible (memories belongs to the past). The blue colour gives a different relation with the time: it is a modern time, with abstract forms, superimposed on a fixed past, a complement to what already existed.’...‘Just like the apparent iconoclasm of Malevich’s Black Square or the drippings from the real Pollock rather did not cancel the preceding images they were creating, a new image for the future…’ (Art Critic Philip Peters on the work Byzantine Blue)
Websites
personal website
www.bspiegeler.nlwebsite Anna Laudel Contemporary, Istanbul
www.artsy.net/anna-laudel/artist/brigitte-spiegelerwebsite Gallery ArtCN, Shanghai
www.annececilenoique-art.com/index.php/artists/brigitte-spiegelerThe Hague Art Society
www.haagsekunstkring.nl/index.php/leden-haagse-kunstkring/userprofile/Brigitte SpiegelerPulchri Studio Art Society
www.pulchri.nl/nl/kunstenaars/brigitte-spiegeler/Social media
Member of Artists’ Initiative/Collective/Incubator
Yes, INFINIIT
Member of a platform, digital or otherwise
https://www.artsy.net/artist/brigitte-spiegeler
https://www.saatchiart.com/bspiegeler
https://www.artnet.com/galleries/anna-laudel/brigitte-spiegeler-how-to-dance-with-butterflies?utm_source=sailthru&utm_medium=email&utm_campaign=gallery-network&utm_term=wkly&utm_content=artnet-galleries-091922
Member of a professional association/artists’ association
Haagse Kunstkring
BBK-HKK-Pulchri Studio
Curriculum vitae
Education
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2008 - 2008Masterclass Visual Culture Studies by Katharina Sieverding Summer Aacademy Salzburg
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2007 - 2007International Performance Summer Academy Berlin IPA (International Performance Art Organization,Venice
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2007 - 2007Masterclass Video Presentation by Walter Verdin De Vrije Academie Den Haag
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2007 - 2007Masterclass Storytelling by Eder Santos De Vrije Academie Den Haag
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2003 - 2008Beeldende Kunst Den Haag, Koninklijke Academie van Beeldende Kunsten diploma
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2001 - 2002Orientation class Rietveld Academy
exhibitions
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2022The Return Pulchri Studios The Hague, Netherlands The Return is an exhibition of international artists from Italy, Turkey, Germany, the United Kingdom and the Netherlands. The theme The Return, the return, the turnaround, to the beginning is a red thread in the work of these artists. www.pulchri.nl Group
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2022
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2021
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2020
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2019 Les Maîtres des Pays-Bas, Atelier néerlandais Paris, France Brigitte Spiegeler is an artist who graduated in fine arts from the Royal Academy of Arts, The Hague (The Netherlands) in 2008. Her art can be seen worldwide at international exhibitions in China, Turkey, Germany, Italy, Hungary, France and Switzerland. Amongst those have been exhibitions at Photofair Shanghai, Photo Beijing, Gallery ArtCN in Shanghai, the National Museum of Art Beijing and the International Contemporary Ceramic Art Symposium in De Hua. She has also participated in the Venice Biennial in 2017. For her art works she uses a photographical techniques, such as camera obscura, salt print and cyanotype, with sometimes pigments added. She also explores other techniques. Spiegeler’s works are about an imaginary time which only exists in our minds: in her words “a time without a time, vague with some details popping up, the memory is now, right here, but at the same time endlessly far away and intangible”. She is best known for her series of photographs using the camera obscura technique with a pinhole camera to capture this imaginary time (‘Tracing the Locus’, ‘Structures-Leisure’, ‘Byzantine Blue’, ‘1813’, ‘Back to China’ and ‘Budapester Straßen’). She also has a passion for language and her second volume of poetry entitled ‘ Plagiarism & Parody’ has just been published by Uitgeverij In de Knipscheer. Her first volume a of poetry entitled ‘The Art of War, langhuishing poems and other temporary cease fires’ has been published by Uitgeverij In de Knipscheer in 2015. Her third volume of poetry entitled ‘Without Equal’ is dedicated to Rembrandt’s life and work and will be published this autumn. Her works are in several international private and company collections and her poetry is in the collection of the Kröller-Müller Museum. Brigitte Spiegeler is an artist who graduated in fine arts from the Royal Academy of Arts, The Hague (The Netherlands) in 2008. Her art can be seen worldwide at international exhibitions in China, Turkey, Germany, Italy, Hungary, France and Switzerland. Amongst those have been exhibitions at Photofair Shanghai, Photo Beijing, Gallery ArtCN in Shanghai, the National Museum of Art Beijing and the International Contemporary Ceramic Art Symposium in De Hua. She has also participated in the Venice Biennial in 2017. For her art works she uses a photographical techniques, such as camera obscura, salt print and cyanotype, with sometimes pigments added. She also explores other techniques. Spiegeler’s works are about an imaginar atelierneerlandais.com/ Group
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2019Housewwarming Anna Laudel Contemporary Düsseldorf, Germany https://annalaudel.gallery/exhibitions/housewarming-iigroup-exhibitionmay-16-june-29-2019/ annalaudel.gallery/artists/ Group
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2019
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2018Tracing the Locus PIN YAO Photo Festival Pin Yao, China BRIGITTE SPIEGELER, TRACING THE LOCUS Brigitte Spiegeler’s new solo exhibition ‘Tracing the Locus’ shows the material result of her voyages between countries, cities, spaces and diverse localities. Spiegeler is moving; from one place to another and searching to depict the ‘genius loci’ (the protective spirit of a place) as well as the ‘non-places’, in Marc Auge’s description, ‘’if a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place.’’ In our post-modern world, we move faster and our relations with places could be defined as disconnected; the non-places are the places of supermodernity and the world that moves faster day by day. Spiegeler uses these places of transcience that in a certain way do not hold enough significance to be regarded as ‘places’ in her photos; a station, a motorway, an alley or a hotel room might appear as a captured image. People who take place or take action in these places have no connection except of their purposes, and by this, they create an indirect connection with each other and also with these places. Although one might think that a non-place does not have a genius loci, Spiegeler’s pinhole photographs show otherwise. As you see these images made by the artists, you are aware of the genius loci, yet at the same time most of the pinhole photographs are taken from typical non-places. In a way, as the artist describes, she is in a search like Gaston Bachelard mentioned in his book ‘The Poetics of Space’; “We are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.” A place, according to Spiegeler, is not very simple as a locality, but consists of concrete things which have material substance; a shape, texture and colour, for instance. These all together form the environments’ whole character or its atmosphere. It is in this very atmosphere, which allows certain places with similar or even identical functions, to embody very different properties, in accordance with its unique cultural and environmental conditions. Spiegeler shows us the places of our everyday lives. We pass through the streets, the areas, the spaces that we never think of their identities or functions in the daily rush of our lives. When we stop and think about the effects of these spaces on our feelings, expressions and emotional status, these place Solo
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2018Great Walls of Chongqing City Walls in the city of Chonqing Chongqing, China Group
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2017Evolving Memories Gallery ArtCN at PHOTOFAIR Shanghai Shanghai Photofair Shanghai www.annececilenoique-art.com/index.php Solo
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2017Hidden Sceneries- Floating Memories Gallery ArtCN Shangai, China Hidden Sceneries- Floating Memories is a duo show with works by Brigitte Spiegeler and Adriaan Rees ArtCN Gallery, in cooperation with the Consulate General of the Kingdom of the Netherlands, is pleased to present “Hidden Sceneries – Floating Memories”, a unique exhibition that brings together for the first time the work of Brigitte Spiegeler and Adriaan Rees, as part of the “Dutch Artists in Shanghai No.3”. Initiated by the Consulate General of the Kingdom of the Netherlands in Shanghai, the “Dutch artists in Shanghai” series, first launched in September 2016, is an on-going program to introduce and promote both established and emerging Dutch visual artists from various disciplines to the Shanghai public. The selection of artworks by the two artists, although very different in terms of media, is interconnected by a similar exploration of the ever-changing urban landscape at a time when people are questioning economic, political and spiritual values. Through a distinct aesthetic language, photographs and ceramic sculptures, both artists are united into their ability to create a narrative that is implanted in the material itself. “The fewer visual elements an artist uses the more important they become." In this body of work Brigitte Spiegeler uses only two elements: a black and white photo and a colored pigment (liquid gloss). The pictures are her own and captured with a pinhole camera. The black and white emphasizes the idea that we are confronted with a historical place, vague and almost timeless, as with the pinhole technique, no image really exists in the present moment. Spiegeler’s works are about an imaginary time which only exists in our minds: in her words “a time without a time, vague with some details popping up, the memory is now, right here, but at the same time endlessly far away and intangible”. As it is, it seems as if the pigment was thrown onto the picture plane as an act of aggression that seems to have taken place only seconds ago and consequently happens as if in a contemporary context. So we may have simultaneously a clash of cultures and images. One could propose that the pigment can be ‘read’ vertically, and like calligraphy, fluid while the rest of the picture remains undisturbed. Part of the subject is hidden from view but never to the point of missing the major visual elements, which are not destroyed but transformed like in the process of working with ceramics: the original image is brought up in nuances and layers like in a three www.annececilenoique-art.com/index.php Duo
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2017Personal Structures Venice, Italy Biennale di Venezia Group
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2016Beijing World Art Museum Beijing Tracing the Locus @Photo Beijing Solo
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2015Fire Break A Gallery Named Sue The Hague, Netherlands Fire Break Solo
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2015Tracing the Locus Gallery ART350 Istanbul, Turkey BRIGITTE SPIEGELER, TRACING THE LOCUS Brigitte Spiegeler’s new solo exhibition ‘Tracing the Locus’ shows the material result of her voyages between countries, cities, spaces and diverse localities. Spiegeler is moving; from one place to another and searching to depict the ‘genius loci’ (the protective spirit of a place) as well as the ‘non-places’, in Marc Auge’s description, ‘’if a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place.’’ In our post-modern world, we move faster and our relations with places could be defined as disconnected; the non-places are the places of supermodernity and the world that moves faster day by day. Spiegeler uses these places of transcience that in a certain way do not hold enough significance to be regarded as ‘places’ in her photos; a station, a motorway, an alley or a hotel room might appear as a captured image. People who take place or take action in these places have no connection except of their purposes, and by this, they create an indirect connection with each other and also with these places. Although one might think that a non-place does not have a genius loci, Spiegeler’s pinhole photographs show otherwise. As you see these images made by the artists, you are aware of the genius loci, yet at the same time most of the pinhole photographs are taken from typical non-places. In a way, as the artist describes, she is in a search like Gaston Bachelard mentioned in his book ‘The Poetics of Space’; “We are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.” A place, according to Spiegeler, is not very simple as a locality, but consists of concrete things which have material substance; a shape, texture and colour, for instance. These all together form the environments’ whole character or its atmosphere. It is in this very atmosphere, which allows certain places with similar or even identical functions, to embody very different properties, in accordance with its unique cultural and environmental conditions. Spiegeler shows us the places of our everyday lives. We pass through the streets, the areas, the spaces that we never think of their identities or functions in the daily rush of our lives. When we stop and think about the effects of these spaces on our feelings, expressions and emotional status, these place annalaudel.gallery/artists/ Solo
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2013Byzantine Blue Gallery ART350@Contemporary Istanbul Istanbul, Turkey yzantine Blue does not exist, at least not a standard manifestation of a known colour, such as yellow ochre, burnt Siena or Prussian blue. Nevertheless, it does exist, namely as title of a series of works by Brigitte Spiegeler, in which Byzantine elements like the colour blue creates occuren- ces and interactions without the relationship being necessarily congruent and where nowhere Byzantine becomes a function or gradation of the colour blue. Something of the non-existence of the title is reflected in her work, it remains a paradoxical combination: herein something clashes, variables are put together in a complex relationship towards each other. annalaudel.gallery/artists/ Duo
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2012Tracing the Locus Gallery ART350 Istanbul, Turkey Tracing the Locus annalaudel.gallery/artists/ Solo
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2012Nomade ChâChâteau de Montcherand Montcherand, Switzerland L’artiste a d’abord photographié en noir et blanc des lieux représentatifs, en utilisant un appareil photographique à sténopé. Une ancienne technique de capture d’images, qui permet d’obtenir volontairement des photographies sur lesquelles on distingue peu de détails, et dont les traits sont parfois flous. L’artiste, une fois les clichés agrandis, dépose dessus un mélange d’eau et d’encre de couleur. Celle-ci peut être appliquée sur toute une partie de l’image, ou bien simplement masquer quelques détails, en étant étalée de façon éparse, au goutte à goutte. Alors que l’image est encore humide, Brigitte Spiegeler la prend en photo, mais cette fois-ci avec un appareil numérique ordinaire. Cette photographie sera le résultat final de son travail. La collection d’images « Nomade » reflète le visage complexe de nos cités d’aujourd’hui Solo
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2008
Projects
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2017
Blickfeld Nanjing Art University workshop geven en expositie
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2016
Tracing the Locus Photo Beijing expositie
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2016
Dragon's Alchemy WanQi Art Museum expositie naar aanleiding van werkperiode
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2015
Seminar on International Contemporary Ceramic Art, 'Maritime Silk Route' WanQi Art Centre seminar, artist talks & exhibition
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2013
Gallery Art 350 @ CI Contemporary Istanbul expositie
International exchanges/Residencies
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2019Residency MAPRA, Lyon, Frankrijk Ayvalik, Turkey By invitation, I stayed for six weeks in the Barbara Residency in Ayvalik, a beautiful and very fascinating city. www.barbararesidency.com/artist-archive.html
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2009Hungarian Cultural Center, Boedapest, Hongarije Boedapest, Hungary Stay at an international artist residency in Boedapest
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2008Sommerakademie Salzburg, Class Katherina Sieverding Salzburg, Austria Followed a masterclass by Katharina Sieverding www.summeracademy.at/
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2008Sommerakademie Salzburg, Class Katherina Sieverding
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2008Sommerakademie Salzburg, Class Katherina Sieverding
Commissions
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2008Communicatie bedrijf Den Haag Ontwerp kast
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2008Particuliere opdracht Utrecht Foto finished
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2008Internationale organisatie Den Haag Film finished
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2007Ministerie van Economische Zaken Den Haag Installatie en muurschilderingen finished
Sales/Works in collections
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2016Collectie WanQi Art Museum De Hua, China werken in keramiek en fotografie
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2015Collectie Victor Hwang Hong Kong, China fotografie
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2015Verschillende particuliere verzamelaars Istanbul, Turkije fotografie
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2012Particuliere verzamelaar, collectie Wagener Berlijn, Duitsland fotografie
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2012Verschillende particuliere verzamelaars Den Haag, Amsterdam fotografie
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2011Havenbedrijf Rotterdam Rotterdam gedichten & fotografie
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2008Particuliere verzamelaar Utrecht fotografie
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2003Particuliere verzamelaar Amsterdam schilderij
Publications
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2018Kinderroof & Bijzang Uitgeverij In de Knipscheer, Brigitte Spiegeler, Haarlem dichtbundel
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2015Krijgskunst; verluierde gedichten en andere vuurpauzes Uitgeverij In de Knipscheer, Brigitte Spiegeler, Haarlem dichtbundel
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2015Tracing the Locus Gizem Gedik, Gallery ART 350, Istanbul catalogus bij expositie
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2014The one thing you never sing of or hang in a tree Ries Rowaan, Atrium, Den Haag catalogus bij tentoonstelling
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2012Byzantine Blue Philip Peters, Gallery ART 350, Istanbul catalogus bij expositie
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2011Zomerexpo Catalogus D'Jonge Hond, Gemeentemusem Den Haag catalogus bij expositie
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2008Eindexamenboek 2008 Koninklijke Academie van Beeldende Kunsten catalogus
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2008NO EXIT Kunsthaus Essen, Dr. Uwe Schramm catalogus bij expositie
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--Without Equal www.indeknipscheer.com/?s=Brigitte+Spiegeler For her ode to Rembrandt 'Without Equal', Brigitte Spiegeler opted for a more direct tone of voice than in her previous books of poetry.
Representation
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--
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--Gallery ArtCN Shanghai, China http://www.annececilenoique-art.com/index.php/artists/brigitte-spiegeler
Secondary art-related activities
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2020 - 2021Palais des Lettres et de Beaux-Arts On-going
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2010 - 2021Co-founder Foundation De Verbeelding On-going