Académique Documents
Professionnel Documents
Culture Documents
Pourquoi choisissez-vous comme thme central de votre uvre la relation entre lindividu, lenvironnement urbain et les obstacles que cette relation entrane ?
Cest dans cet environnement urbain rempli de contradictions, de sources dinspiration et de possibilits que je rencontre les tensions les plus fortes.
What has been your career path as an artist to-date? Immediately after completing my studies in 1988 at the St. Joost Academy in Breda, I moved to Rotterdam. I graduated in painting and sculpture, but soon drawing and 3-dimensional work began more and more to take precedence over painting. I was into music first and only later discovered the visual arts. Pop music shaped my aesthetic. Through the music, I discovered Burroughs, started reading more, got hooked on fanzines and underground comicsit was in those circles that I got to know visual artists. You can still find traces of the media promoted by international pop culture, such as collage, comics, cartoons, fanzines, installations, noise and psychedelica in my drawings and installations. It was because of this interest that I initiated in 1998 I Rip You, You Rip Me with the Rotterdam-based artist Ben Schot. This was an inter-disciplinary project around the band Destroy All Monsters, formed by American artists Mike Kelley, Cary Loren and Jim Shaw. In the light of this project, the context in which my work should be viewed became clearer to a lot of people and it started getting more and more attention. Drawing has always played a major role in my work, including the creation phase of my installations. It was also my love of drawing that inspired me to publish the first edition of Wormhole, a magazine that focused on drawing, in February 2000. Thanks to the contacts I made through Wormhole I exhibited in Milan (2007), Detroit (2001 and 2008) and Miami (2008). My first exhibition in Paris was in 2006, as part of a group show at the Bernard Jordan gallery, and the gallery has been representing me since 2008. In the Netherlands, I had never worked with any specific gallery, so to a large extent I shaped my own career through initiatives such as Wormhole and I Rip You, You Rip Me. Why do you choose the relationship between the individual and the urban environment, and the problems this relationship entails, as a central theme in your work? Its in the urban environment, with all its contradictions, stimuli and overwhelming choices, that tensions are the strongest.
What is your biggest source of inspiration? The here and now. To me its the most obvious source of inspiration. What is your own vision of your drawings? I see my drawings as a reflection of what I see around me. Not just registrations thoughcriticism and humour are also essential elements in my work. What materials and techniques do you use? I mostly use ink, pencil, sepia and watercolour. Very occasionally, I use gouache. I also use photos which I have taken myself or copied and which I place in my drawings and then rework. What does the Canson brand mean to you? I work primarily on Canson paper; for my large drawings, I use Canson paper on a roll. I prefer the heaviest weight, its really smooth, the smoothest Ive been able to find on a rolland the smoother my paper is, the happier I am. Its good material, and good material is important. is winning an award important to you? Lets start off by saying that its wonderful to win an award. The importance of it, depends on the spin-off after having won the prize. Its often money, which is very useful of course, but in the case of the Prix Canson it also presents a great opportunity to show my work. It comes at a very good time for me. Interview by Marlise van der Jagt.
DCoUVerte de larTISTe
DiSCOverY OF thE ARtiSt La ville, avec son architecture qui peut parfois tre intimidante et impersonnelle, ainsi que linvasion toujours grandissante de notre espace vital, est un thme important dans mon travail.
the city, with its sometimes intimidating, impersonal architecture and the increasing invasion of our personal, private space, is an important theme for me.
Ronald Cornelissen
Vogelenzang ii 2004 Encre, crayons et aquarelle sur papier 71 x 97 cm Collection du Museum Boijmans van Beuningen
Vogelenzang ii 2004 ink, pencil and watercolour on paper 71 x 97 cm Collection Museum Boijmans van Beuningen
descent into the Maelstrom ii 2008 Encre, crayon, aquarelle, sepia et collage sur papier 97 x 72 cm
Descent into the Maelstrom ii 2008 ink, pencil, watercolour, sepia and collage on paper 97 x 72 cm
Hell Yes : Funhouse 2010 Encre, crayon, sepia et collage sur papier 110 x 70 cm
hell Yes: Funhouse 2010 ink, pencil, sepia and collage on paper 110 x 70 cm
While large areas of Cornelissens drawings are often left white, their atmosphere is nevertheless usually one of night. People are rare presences in these works, and are often confined to their beds or to their cars. As with his images of urban life, humour is central to his critique, although it does not and perhaps cannot point to a model of a better world. This is art thats aware that even when a particular moment of crisis has passed, deeper and perhaps inescapable problems remain. A bombed city may be rebuilt. A Pope or President may be replaced. What though, of the monsters that live in our hearts? Maybe all we can do is to greet them with a half-hopeful, half-hopeless laugh.
extract of tom Morton on the drawings of ronald Cornelissen
expositions personnelles
2010 roHr, Galerie Bernard Jordan Zurich, suisse the Horsemens Kitchenette (when demons Cook), Muse Boijmans van Beuningen, rotterdam. K13, Velp (rencontre avec Wouter Venema). the Good Book, Centre des arts plastiques, rotterdam. Moth, instituto Buena Bista, Curaao, antilles nerlandaises. recent drawings, de Hallen, Haarlem.
solo exhibitions 2010 roHr, Gallery Bernard Jordan Zurich, swiss. the Horesemens Kitchenette (when demons Cook), Museum Boijmans van Beuningen, rotterdam. K13, Velp (met Wouter Venema). the Good Book, Centre for the Visual arts, rotterdam. Moth, instituto Buena Bista, Curacao, netherlands antilles. recent drawings, de Hallen, Haarlem.
2008 2006
expositions collectives
2010 acquisition presentation Contemporary drawings. Muse Boijmans van Beuningen, rotterdam. in the Backyard of Kings, artBox, Kodra 10, thessalonique, Grce. Maison dart Contemporain Chailloux, Fresnes, France.
2008 2006
2009
rsidences
2008 2007 Fountainhead, Miami, Etats-unis. instituto Buena Vista, Willemstad, Curaao, antilles nerlandaises.
Group exhibitions 2010 de nieuwe Collectie, Museum Boijmans van Beuningen, rotterdam. in the Backyard of Kings, Kodra 10, 10th visual arts festival, Kalamaria, thessaloniki, Greece. Maison dart Contemporain Chailloux, Fresnes, France.
2009
enseignement
2010 professeur 3d lacadmie des Beaux arts dutrecht, facult des arts plastiques et du design. professeur invit de lacadmie des Beaux arts dutrecht, facult des arts plastiques et du design. atelier lEcole suprieure dart et de design de reims. professeur 3d lacadmie des Beaux arts dutrecht, facult des arts plastiques et du design. professeur invit de lacadmie des Beaux arts dutrecht, facult des arts plastiques et du design. instituto Buena Bista, Willemstad, Curaao, antilles nerlandaises.
residency 2008 2007 Fountainhead residency, Miami, usa. instituto Buena Bista, Willemstad, Curacao, dutch antilless.
teaching 2010 docent 3d for, the utrecht school of the arts, faculty Visual arts and design. Guest teacher the utrecht school of the arts, faculty Visual arts and design. Workshop lEcole suprieure dart et de design de reims, France. docent 3d for, the utrecht school of the arts, faculty Visual arts and design. Guest teacher the utrecht school of the arts, faculty Visual arts and design. instituto Buena Bista, Willemstad, Curaao, dutch antilles.
2009
2009
2007
2007
Couverture : Charonica - 2004 - Encre, sepia, crayon et collage sur papier - 71 x 97 cm Cover : Charonica - 2004 - Ink, sepia, pencil and collage on paper - 71 x 97 cm dernire de couverture : Black oak - 2006 - Encre, crayon, sepia et collage sur papier - 97 x 71 cm Back cover : Black oak - 2006 - Ink, pencil, sepia and collage on paper - 97 x 71 cm Copyright : ronald Cornelissen imprim pour la couverture sur Arches Aquarelle, Grain fin (185g/m2), lintrieur sur Canson Mi-Teintes, Blanc (160g/m2).