Joe Gilmore
(P)aintings

-

See more

FORM—25—24

FORM 04
When Form Becomes Attitude

At SUNSET in Scheveningen, situated in a former school building rich with history stands as an intriguing backdrop for our experiment. Marius Lut and Rob Knijn, the minds behind At SUNSET, have expressed a keen interest in transforming (...)

Read more

FORM—24—24

Sasha Sime
I Might Be Wrong

Sasha Sime presents an artistic residency that transcends the traditional boundaries of documentary output conventionally tied to artistic representation. The obtained prompts, conceived as concentrated descriptive blocks, transform into action poetry, creating a bridge between human and machine communication. (...)

Read more

FORM—23—24

Frédéric Platéus
Hybrid Structures

Frédéric Platéus’s artistic output originates from a fascination with technology, science, and motorsport aesthetics, creating an oscillating dialogue between historical traditions and contemporary perspectives. His sculptures, often described as having a high-tech veneer devoid of functional utility, evoke a sense of unreality—pristine yet untethered to practicality. (...)

Read more

FORM—22—24

Jan van der Ploeg
Dignity

Jan van der Ploeg is a Dutch artist, born in 1959 in Amsterdam, where he lives and works. His artistic training includes studies at the Rijksakademie van Beeldende Kunsten and Gerrit Rietveld Academie in Amsterdam, as well as the Croydon College of Art in London. Van der Ploeg is renowned for his large-scale wall paintings and editions of works on paper, marked by a distinctive graphic vocabulary
and expansive use of color. (...)

Read more

FORM—21—24

Facundo Jesus Lugea
Memories of the Future

Memories of the Future is a series of sculptures, made up of a sequence of white blocks measuring 200x32x35cm that have an internal light box at the top, which houses different objects. These pieces emerge in the exhibition space, repeating themselves and building with the internal images of each block, a narrative about a kind of future myth around the evolution and transformation of matter. (...)

Read more

FORM—20—24

Erris Huigens
Passer-by

Erris Huigens challenges conventional norms of perception. This project transcends a mere exhibition, unfolding in various phases that are both external and internal, revisiting different stages of a construction act. What is observed, in this documentation, is a work in progress, where it remains uncertain if the finished form is what is depicted in the photographs, or if there is ever a final form as opposed to phases relative to the viewer's observation. (...)

Read more

FORM—19—24

Manor Grunewald
Re-painting Class / Cobalt Blue

Manors Grunewald's works extend to painting, sculpture, and installation art. His primary focus is on printmaking, encompassing the imagery, materials, and technical approaches involved. Elements of archiving and installation, which interact with the environmental space, are also evident in his paintings. (...)

Read more

FORM—18—24

Miquel Ponce
Paintings

In the endeavor we undertook with Miquel Ponce, we painted the walls of a traditional white room, ideationally guiding the visitors from the customary gallery setting directly into his studio—the very birthplace of his artistry. This is an inverse approach to the customary act artists undertake, effectively "exhibiting" their work outwardly. (...)

Read more

FORM—17—23

Pedro Ventura Matos
Signature Paintings

Matos' "Signature Paintings" series, inaugurated in 2021, opens a window of analysis on the use and reproduction of the artistic signature. This series boldly showcases the signatures of well-known artists, painted on monochromatic backgrounds. (...)

Read more

FORM—16—23

Marcin Zonenberg
Deconstruction

“As the world continued with its perpetual demand for product, for outcome, for definition, here some form of construction prevailed.

The sculpture became a commentary on the intrinsic value of the object and the weight of its existence. (...)

Read more

FORM—15—23

Marius Lut
The Painter and the Sock

On the stairs in front of a studio building a sock had a conversation with a painter after he attempted to paint a monochrome.

Sock: I expected you here.
(The sock expected it to be strange for the painter to talk to him but as the sock had been there all the time it thought it felt
reasonable)
(...)

Read more

FORM—14—23

FORM 03
Outside the White Cube

The ‘White Cube’ theory, a phrase coined by artist and writer Brian O’Doherty in his seminal work, “Inside the White Cube: The Ideology of the Gallery Space”, has been a central tenet in the discourse of contemporary art since its inception in 1976. The white cube is characterized as an impartial, sterilized environment, a vacuum intended to neutralize context and highlight the autonomy of the artwork on display. (...)

Read more

FORM—13—23

Francesco De Prezzo
Placeholder Sculptures

“(…)”A” ask to “B”: How does one continue to believe in an artwork when there are so many reasons to doubt?

Doesn’t the propensity to define, close off, schematize, or rather to categorise, coincide with a distinct Western push for ‘visualization’? (...)

Read more

FORM—12—23

Diogo Tudela
Motordromo Sintético

Motordromo sintético as diagrammatic intervals.
— Fourteen Inconclusive Techno-Logical Notes on the Work
The following text configures a series of sequential notes that try, miserably, one might add, to convey an account of incidental thoughts brought by the tooling of materials in Motordromo Sintético’s construction process. (...)

Read more

FORM—11—23

Nicolás Lamas
Digital Anomalies

Form is pleased to announce ‘Digital Anomalies’, our first project entirely produced with artificial intelligence, which includes works and documentation in a unified form. Through the use of AI, Nicolás Lamas creates intersections of previously produced works presented in past exhibitions, reconfiguring and crossing old works to obtain new versions. (...)

Read more

FORM—10—23

Joe Gilmore
ARS

The project of Joe Gilmore for FORM features his series of ARS book collages. By folding and combining pages from art magazines, he creates new references and meanings through the use of overlays and formal and conceptual countercircuits. The advertisements for exhibitions become active elements, contributing to creating a new experience where practical information reported on posters such as the place, title and date of exhibitions, lose their function and intermittently create new promotional dimensions that explore the subtle relationship between graphic and art. (...)

Read more

FORM—09—23

Raphael Pohl
I know nothing about the Weather

Three objects between the four birch trees
( five months earlier),
they talked about a place,
a place where they forgot themselves,
time slowed down between the four birches,
they wondered about the silence,
the view outside made the time pass,
between the four birches still the autumn. (...)

Read more

FORM—08—22

Ben Cullen Williams
OHM

Strange systems. Verdant green, verdant youth, electrified cables. Existing on the precipice neither here nor there, energy runs through us, vibrating with currents. Current activity, current thought, current life. Rejoicing in the uncertainty, a celebration of death, in the face of danger. Unguarded optimism or naivety, unaware of the looming black clouds, or potential euphoria. It could go either way. (...)

Read more

FORM 07—22—23

FORM 02
Nothing

In today's fast-paced world, doing nothing never seems to be an option. Even brief periods of inactivity can feel odd. However, sometimes enjoying a moment of inactivity while letting your mind wander and daydream can be more productive than being busy all the time.

Are the dangers and pains of your work a means of magnifying the present? (...)

Read more

FORM—06—22

Manuel Fois
Remodel

Translation is the communication of the meaning of a source-language text by means of an equivalent target-language text. The process of translating involves both the retrieval and the transmission of information. Retrieval refers to the process of finding and selecting the relevant information from the source text. Transmission refers to the process of conveying the meaning of the target text through the use of language. (...)

Read more

FORM—05—22

S. Mercure
EVERYTHING MEANS SOMETHING WHEN SOMEONE IS LOOKING

We see certain features that we are used to encountering,
such as light switches, door handles, power outlets, etc.
We tend not to notice them.
We look for them, but we do not see them.
They can be different. We notice their absence. (...)

Read more

FORM—04—22

Jan Domicz
Platforms

Although it is based on physical objects, it comes together online. Down the pipeline. Most art presented online becomes content. Art as content. Art as content is a merger of: art as information (emotional?) and art as commodity. The context of the content is the platform. The content needs a platform to function. Each platform, despite the pronounced openness, requires formatting to specific requirements specified in the scenario. Endless possibilities, until it fits. (...)

Read more

FORM—03—22

FORM 01
Underground Sound

A technical set up of large screens randomly placed inside a dark hidden (literaly underground) space. Various online music documentaries are streamed simultaneously and mixed up in various ways. Image and sound are clustered into a complex and chaotic mix of styles and musical cultures. The surreal atmosphere created is that of an underground music festival, where we look back into history, and history is in the making. Yet there is nu public. (...)

Read more

FORM—02—22

Erris Huigens
Transformation

This project shows a hybrid of classic and contemporary paintings transformed into architectural objects by means of artistic physical interventions, diagonal placement and a historical material based context. The physical translation of the non-commissioned monochromatic architectural forms the artist has spray painted all over the world, are placed inside minimalistic space. Contrary to these historical abandoned locations, this anonymous space lacks historical context. (...)

Read more

FORM—01—22