Purpose and Practicality
Janna Schoenberger
Entering its seventh year, Contemporary Art Twente (CAT)–named after the eastern region of the Netherlands–may be considered one of the most important events in Dutch art. Contemporary art is struggling for existence in the Netherlands, and an art fair like this will help promote the survival and progression of local talent and interest in this field. The two sole organizers of CAT understand the economics of an art fair, and rather than giving up and creating yet another dull art fair filled with dusty 30 year-old gems that are a guarantee sale, they found a way to financially thrive and exhibit art they believe in at the same time.
Organizers Astrid Berens and Maarten Bodt split CAT into two sections: the first consists of 30 or so galleries which have reign over only part of the show in a standard art fair manner, while the other segment is made up of three large rooms which contain the contemporary art by up-and-coming artists. The form and design of the galleries and exhibition halls are the highlights of the fair. Berens and Bodt brilliantly found a way to ease the never-ending tension in art: the conflict between principle and practical, between idealism and rationalism. The selected galleries at CAT have traditional work that economically support the fair, while the three more alternative spaces let Berens and Bodt accomplish their ultimate goal of bringing contemporary art to Twente.
This year the organizers again left the typical art fair venue, usually some multi-purpose exhibition hall, in exchange for a warehouse, which follows contemporary art trends. Furthermore, a key difference between this and other art fairs is the small number of galleries; Berens explains that she wants to keep the show intimate, and a bigger show may just be overkill, a thought that many organizers often overlook. The galleries, like in other art fairs, sell their neatly packaged artwork and draw crowds of people and are held like a carrot in front the average Dutch visitor’s face. Once they arrive, they can peruse the expected work and be hopefully surprised and fascinated by the video and installation pieces in the three separate exhibition spaces.
In these rooms, current artists and the most promising art students are highlighted. Most notable is the room curated by Pim Trooster with the theme Alle goeds komt van boven. There, artists Anky van der Heijden with a video piece/computer animation and Paul Baartmans light sculptures will excite fair-goers. The galleries exhibiting should also have some worthwhile bits; look out for Galerie Arti Capelli featuring photographer Margriet Smulders, and others, as well as Galerie Jan van Hoof, including up and coming photographer Ruud van Empel.
Contemporary Art Twente’s success is in its balance and check with the practical and realistic aspects that go into creating an art fair. A delicate ratio is necessary, and a shift in either direction could lead to either a weak show made for buyers in one extreme case or, in the opposite circumstances, one with more interesting content yet unsustainable. Contemporary Art Twente’s design should set an example for future interpretations and improvements on the art of the art fair.
