Harold de Bree

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Disciplines: Beeldhouwer, Mediakunstenaar, Mixed media/interdisciplinair kunstenaar

Omschrijving werk

The works of Dutch artist Harold De Bree evoke a long standing debate over whether the fine arts can adequately portray warfare. Yet the opacity of these works - whether they be mock-ups of military hardware, such as Air to Air Glaspaleis Heerlen (2008 – a glass cabinet housing replica missiles), or architectural features inspired by cold grey military buildings, such as Concrete Structure No.4 (2008) - somehow resist the emotional yet detached judgement often passed upon warfare by the onlooking artist. De Bree's sculptures and installations present replicas of objects associated with military conflict - which appear almost to be Readymades - in their banal reality. As such, what is portrayed is not the horror of a situation for which art can never be adequate, but, rather, a commonplace reality which artists generally fail to account for, as they tends to focus on the 'otherness' of warfare, thereby missing the complicity of the everyday world with military conflict: The base objectivity which binds – via the politico-economic structure – missiles to bicycles, soil, household goods, laptops, i-phones, and so on. From the comfort of the gallery or art fair the viewer may feel strangely at ease looking upon De Bree's copies of entrances to military bunkers such as Entrance 58c, Tobruk, or Nuclear Disaster Installation (both 2011), as if relieved to have evaded a real nuclear or conventional bombardment scenario. This could lead one to question the authenticity of De Bree's work. Yet anyone who has, for example, tried an earthquake simulator before experiencing their first real earthquake will have noticed that, rather than the earthquake simulator seeming on reflection to have been very similar to the experience of a real earthquake, it is the real earthquake that feels exactly like a simulated one. That is to say, there is a sense of belief being deferred, which characterises the real experience of danger, no less than the simulated one.max 175 worden.......

Werk

RECOGNISER
Titel RECOGNISER
Jaartal 2016
Omschrijving
Techniek beeld
Formaat 400x350x100
machines of loving grace
Titel machines of loving grace
Jaartal 2015
Omschrijving over beveiligings vraagstukken
Techniek performances
Formaat
machines of loving grace
Titel machines of loving grace
Jaartal 2015
Omschrijving over beveiligings vraagstukken
Techniek performaces
Formaat
Ruiterstandbeeld WILLEMII
Titel Ruiterstandbeeld WILLEMII
Jaartal 2012
Omschrijving beeld van sokkel
Techniek betonplex hout
Formaat 550x500x650
staalconstructie no1
Titel staalconstructie no1
Jaartal 2012
Omschrijving beeld staal van hout
Techniek mdf hout verf
Formaat variabel
burning camaro
Titel burning camaro
Jaartal 2015
Omschrijving antiek dienblad met marqueterie van brandende auto
Techniek marqueterie
Formaat 25 x 50 cm
Golden Kalf
Titel Golden Kalf
Jaartal 2013
Omschrijving in de sokkelgegaard gouden kalf
Techniek kalf bladgoud sokkel
Formaat 200x80x180
M1 SS Baileubrug
Titel M1 SS Baileubrug
Jaartal 2013
Omschrijving Beeld van een ingestorte Baileubrug
Techniek hout
Formaat 2700x450x300
GERONIMO
Titel GERONIMO
Jaartal 2016
Omschrijving wapenschild
Techniek Marqueterie
Formaat 85 x55
the moving landmark
Titel the moving landmark
Jaartal 2014
Omschrijving een beweegbaar oorlogs monument
Techniek aluminium composiet/hout
Formaat 2x2x3

Omschrijving werk

The works of Dutch artist Harold De Bree evoke a long standing debate over whether the fine arts can adequately portray warfare. Yet the opacity of these works - whether they be mock-ups of military hardware, such as Air to Air Glaspaleis Heerlen (2008 – a glass cabinet housing replica missiles), or architectural features inspired by cold grey military buildings, such as Concrete Structure No.4 (2008) - somehow resist the emotional yet detached judgement often passed upon warfare by the onlooking artist. De Bree's sculptures and installations present replicas of objects associated with military conflict - which appear almost to be Readymades - in their banal reality. As such, what is portrayed is not the horror of a situation for which art can never be adequate, but, rather, a commonplace reality which artists generally fail to account for, as they tends to focus on the 'otherness' of warfare, thereby missing the complicity of the everyday world with military conflict: The base objectivity which binds – via the politico-economic structure – missiles to bicycles, soil, household goods, laptops, i-phones, and so on. From the comfort of the gallery or art fair the viewer may feel strangely at ease looking upon De Bree's copies of entrances to military bunkers such as Entrance 58c, Tobruk, or Nuclear Disaster Installation (both 2011), as if relieved to have evaded a real nuclear or conventional bombardment scenario. This could lead one to question the authenticity of De Bree's work. Yet anyone who has, for example, tried an earthquake simulator before experiencing their first real earthquake will have noticed that, rather than the earthquake simulator seeming on reflection to have been very similar to the experience of a real earthquake, it is the real earthquake that feels exactly like a simulated one. That is to say, there is a sense of belief being deferred, which characterises the real experience of danger, no less than the simulated one.max 175 worden.......

Persoonsgegevens

Voorletters
Kunstenaarsnaam/alias
Samenwerkingsverband
Website www.harolddebree.nl

Opleidingsgegevens

Andere opleiding

Instituut / docent & plaats (studie)richting periode van / tot
Koninklijke Academie van Beeldende Kunsten, Den Haag
Willem de Kooning

Overige gegevens

Lid van Beroeps / Kunstenaarsvereniging
Deelnemer van Kunstenaarsinitiatief

Curriculum vitae

Tentoonstellingen

jaartal naam tentoonstellingsruimte korte omschrijving solo / duo / groep
2016 NEST ,Happy Like Yesterday' TRON recogniser GROEP
2016 Read my Lips Castrum Peregrini GROEP
2015 Venice Biennale Machines of Loving grace performance GROEP
2014 gemeente museum de grote oorlog in beeld GROEP
2014 Çanakkale Bienali 'ONLY THE DEAD HAVE SEEN THE END OF WAR' GROEP
2014 Charlie Smith London The great war, installation, beeld GROEP
2013 55th Venice Bienale Maldives Pavilion The Golden Calf SOLO
2013 Twente bienale Stelth Bath Drone GROEP
2013 gemeente museum ruined Baileybridge SOLO
2013 55Venice Bienal SOS sauna boat sauna boat at Maldives Pavillion performance GROEP

Vertegenwoordiging

naam plaats & land
galerie west den haag

Projecten

jaartal instelling titel & typering project

Internationale uitwisseling

jaartal instelling
2012 (dragonheads
2010 9dragonheads

Opdrachten

jaartal opdrachtgever plaats / land typering opdracht uitgevoerd
2015

Aankopen / werken in collecties

jaartal naam collectie plaats / land omschrijving aankoop
2014 gemeente museum den haag 3 schilderijen
2014 gemeente museum den haag 5 werken
2014 gemeente museum den haag 2 assemblages
2010 particulier londen 2 instructie bakken met geweer en bom
2010 Heden Den Haag 3 instructiebakken met bom en wapens

Publicaties

jaartal titel publicatie uitgever / samensteller, plaats typering
2015 bienale van venetie 9dragon heads catalogus
2010 de nieuwe
2009 dh2009
2008 manifesta7 catalogus

Prijzen en stipendia

jaartal instantie, plaats omschrijving
2015 mondriaan fonds project sub
2013 stroom golden calf sub.
2012 Fvbka basisstipendium
2011 CHARLIE SMITH London “ANTHOLOGY” Juried Exhibition
2007 mondriaanfonds basisstipendium
2007 Stroom Premium

Artistieke nevenactiviteiten

nevenactiviteit van tot
quartair 1991 2015