Accents of The Hague
Date: 9 January - 17 March 1991
To inaugurate the small upstairs room at Koninginnegracht 35, De Bovenkamer, in 1991, Stroom invited six The Hague-based art institutions that at the time were making a significant contribution to the city's cultural climate and demonstrated a mentality with which Stroom felt a kinship. Each was asked to present a small, short-term exhibition along with a lecture and/or performance.
Nederlands Dans Theater
9–19 January 1991
The NDT presented work by set designer Walter Nobbe, who showed models, drawings, photographs, and videos. Pianists Raymond Langewen and Jan Schouten spoke about their work accompanying daily ballet classes (9 January 1991). Arlette van Boven, NDT’s deputy managing director, sketched the development of a dance career (18 January 1991).
Het Gebeuren
23 January – 2 February 1991
Theatre-maker Johan Doesburg introduced percussionist Paul Koek and presented a stage set titled Watersnood, designed by Elly op 't Landt. This resulted in a ‘rhythmic installation’ consisting of a video recording of the live performance.
Royal Conservatory, Interfaculty of Image and Sound
6–16 February 1991
Dick Raaymakers, lecturer at the Royal Conservatory’s Interfaculty of Image and Sound, demonstrated a popular-scientific Warsaw Concerto. Frans Evers spoke about higher arts education in The Hague, and Joost Rekveld presented his light and sound installation No. 1.
Zeebelt
20 February – 2 March 1991
The Zeebelt board aimed to showcase the surprising qualitative versatility of Zeebelt through a constantly changing presentation that would only cohere on the final day.
HCAK, The Hague Center for Contemporary Art
6–16 March 1991
The artist initiative HCAK held open “consultation hours,” inviting public discussion on art and art presentation. According to HCAK, the method of presentation should serve the art and the artist, rather than illustrate the organizer’s ideas.
The Hague Municipal Museum
17 March 1991
Dr. J.L. Locher gave an analysis of Dick Raaymakers’ installation Tombeau de Glenn Gould, which had been part of the 1989 exhibition Anti Qua Musica: The ‘Open’ Musical Instrument in Art and Anti-Art at the Hague Municipal Museum.