Biography

Profession: Visual artist / curator / advisor
Education: Royal Academy of Art and Design in ’s-Hertogenbosch, 1969–1974
Award: Royal Grant, 1977

Sixt Dimension (Fine Sructure Constant), 2025, MultiMedia/Neon, 125 x 90 x 15 cm

Exhibitions:

Solo (selected):
2010 – Hooghuis Photo Exhibition, Heusden
2000 – WTC, Amsterdam
1995 – “Netwerken” (“Networks”), De Verschijning, Tilburg
1992 – Galerie De Pook, Hengelo
1992 – Museum Blankenstein / Noordelijke Kunsthof, Appingedam
1989 – Zaal Strauß, ’s-Hertogenbosch
1985 – Galerie Das Auge, Lauda, FRG (Federal Republic of Germany)
1984 – Stichting Kunstenaar en Konsument (Artist and Consumer Foundation), ’s-Hertogenbosch
1983 – Signalementen, Museum Het Kruithuis, ’s-Hertogenbosch

Structures for the Dharma (3 Gunas), 2025, Oil/Canvas, 2x 90 x 80 cm

Group (selected):
2025 – Plaatsmaken, Roermond
2024 – Nieuwe Kunstruimte, ’s-Hertogenbosch
2023 – Open Studio + Exhibition, ’s-Hertogenbosch
2022 – Noorderkunstlicht, ’s-Hertogenbosch
2021 – Art Route, ’s-Hertogenbosch
2019 – Poetry, Theater aan de Parade, ’s-Hertogenbosch
2018 – Cultural Centre Zwaneberg, Heist-op-den-Berg, Belgium
2005 – Art Centre KEG, Schijndel
2001 – Stokpunt, ’s-Hertogenbosch
1997 – Typeface Café, Melkfabriek, ’s-Hertogenbosch
1995 – BMW Project (+ Leon van den Bogaert), Airport, Munich, FRG
1995 – C. Factory, Turnhout, Belgium
1993 – Galerij Germinahof, Sterksel
1992 – Gallery Reinart, Oyen
1993 – Der Tufa, Trier, FRG
1990 – Gasthuis Gaanderij, ’s-Hertogenbosch
1986 – Wit, Krabbedans, Eindhoven
1978 – Museum Het Kruithuis, ’s-Hertogenbosch
1979 – Galerie Bouma, Amsterdam
1978 – Galerie Insaid, Oisterwijk
1977 – Royal Grant, Stedelijk Museum, Schiedam
1976 – Land in zicht (“Land in Sight”), De Beyerd, Breda
1974 – Provincial Government Building, ’s-Hertogenbosch

Study for a New Planet, 2024, MultiMedia/Video, 60 x 60 x 180 cmeo

Artist Statement

After a period in which I used various experimental techniques and materials for my mainly abstract work, I came to the conclusion around 1995 that my visual research had been in the interest and more or less at the service of a conceptual approach. The many possibilities from painting techniques to manipulable photography, became subordinate to the message in this way, which assured me that everything had fallen into place.

Future Street, 2024, Multimedia/Led, 70 x 70 x 76 cm

In my current conceptual work, image or stylistic characteristics play a subordinate role. After postmodernism, I consider such concepts to be an outdated concept. Image has become a common property of mass culture, as I wrote at the time. Only by providing an image with new codes or context can it escape this.

Human Rights, 2024, MultiMedia/Neon, 60 x 80 x 6 cm

I (un)borrow images and recompose them. This concerns representations of concepts that are regularly discussed in our contemporary visual world, but through manipulation, context-alienation, an associative reference yield a new visual meaning. Since then (1995) I have made conceptual work with various subjects to address a critical note with regard to human functioning.

The Z-Word, 2023, MultiMedia/Neon, 67 x 120 x 12 cm

In addition to the technical integration, it also gave me the inspiration to shape my intellectual objective. In this, applications of electronics, LED and neon light are also included as a possibility to achieve visual expression. The neon usually comes from old factory buildings that I had demolished in the 90s and thus saved from destruction.

Informatie Paradox, 2019, MultiMedia/Neon, 57 x 58 x15 cm

It does me good to give it a new life in my work, in a completely different context. In this way, the letter or a series of letters have a meaning that is detached from the purely lithographic aspect that it once had. In my current work, this letter, or other light effects, are composed into a total image.

Indoctrination Attache, 2022, MultiMedia/Neon, 35 x 43 x 6 cm

The substantive meaning can generally be traced back to how I experience the extreme contrasts of our time in my work. The world in which humanity lives is hypocritical and fake, which means that injustice has become an accepted phenomenon, so that it reflects a total illusion. I cannot separate this from my artistry, because it is my task to use my accentuated visual meanings to provide a focused stimulus to direct consciousness in a certain direction.

Universeel Bewustzijn, 2021, MulttMedia/Neon, 120 x 60 x 60 cm

In this I must state that the image, or the translation of meaning into the image, is always the most important driving force, taking the conceptual content with it, in order to be able to represent the image in its particularity.

website: www.hansvanwingerden.nl
Instagram: @h.vanwingerden
https://www.contemporaryartcuratormagazine.com/home-2/hans-van-wingerden-review
Other links on website