On view in Het Nieuwe Instituut's foyer is a series of murals, part of the Dissident Gardens programme
The Landscape in the Garden
On show from 4 March to 10 June 2018
We often mix the terms landscape and nature. The concept of the 'three natures' in sixteenth-century Italian garden theory draws a clear distinction between nature, landscape - and a third layer: the garden. In 1705 the French physicist Abbé de Vallemont depicts the concept of the 'three natures' in a drawing. At the top of his drawing he depicts a wild, mountainous landscape with trees, caves and a waterfall: first nature. At the foot of the mountain is the cultivated, agricultural landscape: second nature. A tightly cut hedge forms the transition to the formally furnished garden: third nature.
Now, more than 450 years on, artist Iwan Smit has created a contemporary version of the Vallemont drawing from 1705 based on an idea by architectural historian Lara Voerman and garden designer and researcher Joost Emmerik. To what extent have the relationships between the three natures and nature and culture changed completely, both in physical form and in our experience? The mural by Iwan Smit is part of the Dissident Gardens programme and can be seen in Het Nieuwe Café.
Ingrid Bittar | Britta
On show from 21 June to 23 September 2018
As part of the Dissident Gardens programme, Brazilian artist Ingrid Bittar | Britta developed a collage for the mural in the café of Het Nieuwe Instituut.
Immersed in the private universe of domesticity and family, Ingrid Bittar started working with collage, a technique through which she developed and matured key aspects of her work, such as domestic life, family origins and migration history. In 2015 her production unfolded into embroidery and in 2017 into watercolour. While embroidery and watercolour were rationally chosen techniques, collage remains rooted in gut feelings."
Ingrid Bittar | Britta Ingrid Bittar aka Britta (1989) acquired a Bachelor’s Degree in Design from PUC-Rio in 2013 and complemented her artistic formation with courses at the School for Visual Arts Parque Lage. In 2014 she was selected for Hans Ulrich Obrist’s and Simon Castets’s 89plus project held in Rio’s MoMA. On the same year her work became part of the Chateaubriand collection and a permanent part of Rio’s MoMA collection, having been included in two group shows at the museum; New Acquisitions 2012 – 2014 and Ver e Ser Visto. In 2016 the Bittar was nominated for the PIPA Prize.