A special permanent addition to the Kasteel Wijlre estate’s presentation spaces is the Kamer Eijck. Jo Eijck furnishes the salon of the Koetshuis with documentation of exhibitions he previously realised at the headquarters of Verfindustrie Jac Eyck in Heerlen. The Kamer Eijck will present documentation of exhibitions by, among others, Peter Struycken, Ad Dekkers, Richard P. Lohse, and A. Cortier in the show cases by the architects Graatsma and Slothouber. The Kamer Eijck paints a remarkable picture of the artistic vision of the art collectors and founders of Kasteel Wijlre estate, Jo and Marlies Eijck.
The exhibition Colouring consists of a unique overview of twenty chalices which Guido Geelen (Thorn, 1961) has made during his artistic career.
Since the 1980s, sculptor Guido Geelen has consistently given new impetus to Dutch ceramics. Estate founders Jo and Marlies Eijck bought Geelen’s first chalice piece in 1988. This work in red baked clay formed the starting point for a series of now twenty chalices, presented together for the first time in this exhibition. For this occasion, Geelen has made four new chalices.
In the forest of the estate, a monumental installation is installed as a reflection of the exhibition in the Hedge House.
Conversations #1 is the first edition of a multi-year programme at the Coach House of Kasteel Wijlre estate. Each edition features two or three artists, filmmakers, architects, or designers, all born and raised in the Euroregion, at different phases of their careers.
Conversations #1 features the work of filmmakers Miriam Gossing (Siegburg (DE), 1988) & Lina Sieckmann (Engelskirchen (DE), 1988) and visual artist Esther Janssen (Maastricht, 1976).
Kasteel Wijlre estate presents a unique project about one of the greatest avant-garde legends of the twentieth century: Gordon Matta-Clark.
At the Hedge House contemporary art pavilion, the project includes a special selection of many previously unseen collages, personal objects, photographs, drawings, and video works. In the historic Coach House, there is a reconstruction of his culinary project FOOD (SoHo, New York (1971–1974)), including dinners and lectures.
On the occasion of the final weekend of Cut, Split & Eat, a festive finissage will be organised on 30 June at 17:30hrs. During this finissage, Marja Bloem (former conserver of the Stedelijk Museum Amsterdam) will talk about de relationship between food and art in the work of Gordon Matta-Clark and his colleagues, and Flor Bex will share his memories about the collaboration with Gordon Matta-Clark for the project Office Baroque. During the finissage, small dishes and drinks will be served in the spirit of the culinary artistic project FOOD, that Carol Goodden led with Gordon Matta-Clark from 1971 until 1973 in New York.
Please note the finissage is fully booked.
On May 19, Carol Goodden (FOOD co-founder, artist, and former dancer with the Trisha Brown Dance Company) talked about her artistic collaboration with Gordon Matta-Clark. During a conversation with art collector Harold Berg, she shared memories about the culinary project FOOD and living and working with Gordon Matta-Clark. Meanwhile, a three course dinner was served. The dinner lecture will took place in the Coach House, where a reconstruction of the FOOD project is shown with accompanying documentation and documentaries.
Until 2 July, Kasteel Wijlre estate presents the exhibition Cut, Split & Eat about Gordon Matta-Clark (1943–1978) – one of the avant-garde legends of the seventies. As part of this project, Kasteel Wijlre estate invited Carol Goodden, former partner of Gordon Matta-Clark and dancer with the Trisha Brown Dance Company, for a programme of events in Maastricht and Wijlre.
What About a Garden examines the significance of the garden for our thinking and agency. A garden can be enchanting; it can comfort, calm, and relax. However, gardens can also unsettle and provoke. The tension between growth and decline, awareness and unknowingness, and stagnation and life, unearths the garden’s inherent conflicts; a friction synonymous with one’s being and spirit.
Family Tree – Contemporary Chinese Art from the Sigg Collection was the first time Chinese art is shown at the Kasteel Wijlre estate.
In autumn 2014, as part of the artist residency programme at Contretype, the Brussels centre for contemporary photography, Maastricht-based photographer Kim Zwarts (1955) studied the genius loci of the peristyle of the Brussels Palais de Justice. The resulting 53 photographs were presented at the Hedge House in dialogue with a selection of 14 large-scale prints from his long-term American project, US.0916, which Zwarts worked on from 2009 to 2016.
This monumental installation by Stephen Wilks reflects on the balance between nature, humankind, and our living environment.
On the ground floor of the Coach House, Kasteel Wijlre estate in cooperation with the Plastic Soup Foundation presented the installation TruCost Super-M-Art by the artist duo Dirty Beach. The installation also provided the setting for an education programme. The TruCost Super-M-Art exhibition demonstrated, in a confrontational manner, how waste is removed from rivers and seas. At first sight, it seems like any other supermarket.
A solo exhibition of work by Lithuanian painter Ričardas Vaitiekūnas, featured paintings from different periods of his eventful career and curated by guest curator Kestutis Šapoka. Vaitiekūnas (1940) lives and works in Vilnius.
Despite being world aware, the ten artists in The Mystic Gardener exhibition explore, seemingly stoically, the inscrutability of art and their work in dialogue with nature.
The exhibition Ad Dekkers (1938–1974) marked Jo and Marlies Eijck’s strong commitment to the artist Ad Dekkers, whose work formed the heart of their collection. In a relatively short period from the mid-sixties to 1974, Ad Dekkers built an interesting and influential oeuvre of reliefs, sculptures, and drawings in which the means of the image (colour, shape, line) are brought back to its essence.
(T)HERE, curated by Ko van Dun, was an exhibition based on the collection of the ART21 collector’s group and is supplemented by loans from the collections G+W and the Bonnefantenmuseum (acquired from the Jo and Marlies Eijck Collection). (T)HERE was an exhibition about an increasingly complex and layered world, including images from far and near, real or virtual, and imagined and seen. The exhibition featured artists with a strong commitment to today’s world. Looking for new relationships, and using the imagination as a tool, they try to penetrate deeper into a complex reality.
Far from the Madding Crowd was an exhibition about paradoxical moments of isolation and exclusion in crowds.
A selection of graphic designer Baer Cornet’s calendars for Verfindustrie Jac Eyck (Jac Eyck Paint Industry), designed between 1978 and 2000, will be displayed in the Salon of the Coach House until 12 November. Baer Cornet’s designs are characterised by the use of primary colours and white and a restricted number of sans-serif typefaces such as Monotype Grotesque, Frutiger, Futura, and Gill.