Galerie de Waker

KunstSteun and Galerie de Waker originated in Papendrecht in the late seventies. People who found themselves in the seventies of the last century in the happy side of social work, construction work, visual and dramatic formation, political activity and, last but not least, each other. Around 1980, this led to the establishment of the Institute for Byloptology in Rotterdam. An equally important name (as a counterweight to the emergence of the most peculiar agoochelar initiatives that emerged at that time), including activist activities at the cutting edge of visual arts and theater, focused on awareness and confrontation of students and neighborhood residents. Ludieke actions ...

Themes were immigrants (who were still called guest workers), junks and bitches, women / homosexuals.

At the same time, there was a shattering collection of visual arts, which unlabeled, especially, under the denominator of abstract realistic and human and society. This theme was the guide to the art presented by HetAMaam (display for visual arts) under the motto 'Other words for the passers-by in the streets ...' (Hans Lodeizen). The exhibition of art resulted in the creation of Galerie de Waker (whose name was a reflection of the views of visual arts), which took place alongside 'de Dromer' (art and decor) and 'de Slaper' (artists' logies ) in the renovated old post office of Laag-Keppel.

Until 2015, the Waker organized exhibitions of contemporary visual arts. As well as exhibitors and experiences in work and friendship relationships with (novice) artists, there was a growing need for incidental or structural feedback. In addition, the question arose about information and / or flooring on the themes of the exhibitions and the offered by Dromer or by her mediated art. Reason for Laag-Keppel after 15 years to find the challenge in both a more urban environment (Utrecht) and for a fixed location.   The Waker is not dead, live the Waker. She advises, organizes and / or supervises exhibits on site and works together in (educational, awareness-raising) secondary programs.

In addition, there is KunstSteun, which focuses on the concrete guidance and support of (individual) artists. In both cases, "human and society" remains a core concept, which surrounds the circle.

KunstSteun and the Waker work from the view that art is more than reproducing and interpreting reality. Roles that people play in reality, they also like to portray and educate, for recognition and for relaxation. The playing of a social role always consisted: new is the multitude and the complexity of the roles and the way in which they stand in the way of self-realization and change. There is visual art and, for example, (psycho) drama that confirms adapted, conventional, socially integrated behavior. Coaches and courses are often inclined to focus only on subject matter, technique and / or sales optimization and self-esteem.

In addition, there is art in which the viewer or beleverer can find broader meaning, relevance and change perspective. Like people such as Brecht and Augusto Boal for whom theater suppressed and "contemptuous" others, should show and be able to test new roles; The latter are then ready when the viewer needs them in reality.

Social, social or political involvement is true in almost every visual or dramatic work, but few artists are ultimately only on their own, and they usually derive their work from the reality of which they themselves belong, but at a time That beauty has burned her face (Lucebert), the artist's task in the views of KunstSteun and the Waker is also to place his or her work in a social context.

KS and dW avoid the discussion of political activist art, as it also questioned concepts such as female arts and homo art, but judges art and artists in addition to authenticity and technology partly in relevance to disadvantaged groups in society. Remco Campert: "Ask yourself a question, that's the resistance. and then ask that question to another. '

KunstSteun and the Waker feel connected with and be led by their work by art and artists who do not address more or less political or social issues.

"By asking questions and giving new perspectives to everyday life, artists make a contribution where society has more than a world-class art sector, but in its own society has become meaningless. The art must be liberated become the best of the international art scene, as politics must be liberated from efficiency thinking. When artists want to change the world and find politicians looking for imagination, the world is open again. "

Erica Meijers (editor-in-chief de Helling)