Alle Jong

Stromende Oergedachten in geel, 430×200 cm, now on display in the solo exhibition “OER” at DeAfslag – Museum Bélvèdere. Runs from 5 march to 21 may 2023.

Solo  “Sketchy Fables” at Museum Drawing centre Diepenheim. (Was until 30-10-2022)

Now: From 27 August 2022 to 19 February 2023, the Fries Museum presents contemporary art from its own collection, with recent acquisitions and previously unseen works. The landscape is the main theme. What is our relationship with our surroundings, on a local and global scale? The artists share different artistic perspectives on the subject, from personal relationships with a specific place to political and technological reflections.  This exhibition includes work from artists such as Astrid Nobel, Oscar Santillán, Eric Giraudet de Boudemange, Cristina Lucas, Aàdesokan, Alle Jong, Ellen Mandemaker, Jananne Al-Ani, Witho Worms, Johan Nieuwenhuize and B.C. Epker.

My work can be seen at the Coach House during the group exhibition ”for the Love of the MASTER, 25 artists fascinated by Piranesi. Participating artists: Sue Williams A’Court (United Kingdom), Emily Allchurch (United Kingdom), Pablo Bronstein (Argentina/United Kingdom), Léo Caillard (France), Seliena Coyle (Northern Ireland), Matt Davis (United Kingdom), Grégoire Dupond (France/Canada), Michael Eden (United Kingdom), Nick Ervinck (Belgium), Bernard Heesen (The Netherlands), Zoë Hillyard (United Kingdom), Amy Jayne Hughes (United Kingdom), Agnes Jones (United Kingdom), Alle de Jong (The Netherlands), Anouk Mercier (France/United Kingdom), Gareth Neal (United Kingdom), Mark Newman (Ireland/United Kingdom), Evert Nijland (The Netherlands), Kate O’Kelly (Ireland), Petter Rhodiner (Sweden), Maria Rivans (United Kingdom), Robocoop (Italy/United Kingdom), Slava Seidel (Ukraine/Germany), Matt Smith (United Kingdom/Ireland), Jo Taylor (United Kingdom)

Solo Exhibition at Drawing Centre Diepenheim! 03.07 to 23.10.2022

Zielenzee 5.5×2 meter Charcoal & acrylics on paper, 2021.

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Now: Exhibition BonnenfantenMuseum, Group Show SAY IT LOUD, with participating artists; Kent Chan, Brian Elstak, Quinsy Gario, Ni Haifeng, Raquel van Haver, Hans van Houwelingen, Alle Jong, Kahlil Joseph, Patricia Kaersenhout, Kerry James Marshall, Tuan Andrew Nguyen, Otobong Nkanga, Alison Saar, Betye Saar, Juul Sadée, Henry Taylor, Kim Zwarts.

”SAY IT LOUD is an international group exhibition by contemporary artists whose work explores subjects related to diversity and the colonial past, and their representation or interpretation.”

More information on the website of the Bonnenfanten Museum: https://www.bonnefanten.nl/en/exhibitions/say-it-loud?set_language=en

 

(Above image!) Alle Jong in front of an monumental drawing now in the collection of the Drents Museum, november 2019

 

’The aura of G.F.Jefferson (1831-1902)’’ Original painting by Jefferson in old gilt frame on paper, with charcoal drawing by Alle Jong. 2020, 100×70 cm.

‘’Nachtgedachten’’ 100x57cm charcoal & ink on paper 2019

Sign Petition against destruction Etty Hillesum House here: https://petities.nl/petitions/stop-sloopplannen-etty-hillesum-s-panden-aan-het-museumplein?locale=nl

+ Now! “Mijne Kinderlijke Traanen”

Solo exhibition at Kink in the Drents Museum 24 september – 22 Februari 2020

More information:

https://drentsmuseum.nl/nl/kink/mijne-kinderlijke-traanen-installaties-en-tekeningen

Tina in authentic dress from 1780

Tina wandering in front of drawing in My solo exhibition at the Drents Museum

Overview solo exhibition at the Drents Museum in Assen, (photography by Anton van Daal 2020)

 

Portrait of Etty Hillesum: sign petition here: https://petities.nl/petitions/stop-sloopplannen-etty-hillesum-s-panden-aan-het-museumplein?locale=nl

 

‘’Waiting for the approaching storm’’ 100x57cm charcoal & ink on paper 2019

Tina in authentic dress from the 18th century, 1780, an unique performance piece during the opening for My solo exhibition in the Drents Museum.

 

Installation drawing by Alle Jong at the Geertruiden Church in Geertruidenberg. 2019

“The Procession” On 17th century paper, ink and charcoal, Pieter Nolpe sc. 2019.

‘’The Bird’’ 100x57cm ink & charcoal on paper 2019

Detail from installation piece at my solo exhibition at the Drents Museum, (photography by Anton van Daal, 2020)

‘’The Hermit’’ 100x57cm ink & charcoal on paper 2019

Above; Detail of drawing below, Harlingen Coastline 2019. Ink &charcoal on paper 152×67 cm

The full drawing  Harlingen Coastline.

“The Monk” 101×58 cm, ink, charcoal & aquarel on paper 2019

Detail “The Monk”

Landscape, 53x32cm charcoal on paper.  (An larger version of this work 150×100 cm is in an private collection)

”De Brief” (The Letter), Ink, charcoal and aquarel on paper, 58×100 cm, 2019 by Alle Jong

Detail of ”De Brief” (The Letter)

 

Anna Dirks-Veth 260x160cm – authentic painting by Jan Veth of his wife Anna (ca. 1880-1900), who was an good friend of Jo Bonger, wife of Theo Van Gogh. Anna insisted Johanna Bonger moved to Bussum after Van Gogh died. From there Johanna could start promoting the hundreds of works by Van Gogh. This artwork is an illustration of the Historical Sensation, first talked about by Johan Huizinga, also an personal friend of Anna and Jan Veth. Huizinga explained the sensation of an historical artefact, how this can create an direct link and experience trough time into the past. Im this artwork the painting by Veth is integrated within an large contemporary charcoal drawing Cartouche.

Landscape, 64x48cm ink, charcoal & aquarel on authentic 17th century paper, 2019 by Alle Jong

“Sitting against fading darkness” 58×18.5 cm charcoal on paper 2019

“No title” 152x84cm charcoal & pencil on paper 2019

Harlingen Coastline, Waves. 58×100 cm ink & charcoal on paper 2019.

From the story ”We visited Her in the evening, during Dinner She told Us her plan” 2018

The Man and Woman, dryneedle on paper. 21.3×15 cm 2018

Installation at Art Noord, Museum Belvedere Heerenveen, presented by Fred Wagemans 2017

Installation with 18th century Jewel for an Woman I lost at an Museum. An monument for an short moment in this life. 2018

The Jewel that is waiting for an woman lost at the Museum. This Jewel Waiting for an whole life in rememberance towards this small but powerfull moment in life.

Charcoal on paper in Frame, 73.5x64cm incl. frame 09-05-2017

Sitting against the Darkness by Alle Jong 470x130cm charcoal & ink on paper 2017

Detail from artwork Sitting against the darkness by Alle Jong

Landscape, 45.5x18cm charcoal on paper.

 

Installation 17th century prints mixed with contemporary drawings by Jong and vlack gate towards history. Beurs van Berlage.

Exhibition at Kunstruimte Wagemans, Beetsterzwaag feb 2017 with Alle Jong

Drawing 2017

100×39 cm charcoal & ink on paper 2017

100×58 cm Ink & Charcoal on paper 2017 by Alle

Installation of work by Dirk Arnoldus Tavenraat ( 1845 Berchem, Antwerpen – 1930 Den Haag) drawings which I discovered and rescued, together with the drawing i made during this adventure meeting Tavenraat. Picture taken during the This Art Fair at the Beurs van berlage in Amsterdam 2016, with Alle Jong.

 

 

Installation of work by Dirk Arnoldus Tavenraat ( 1845 Berchem, Antwerpen – 1930 Den Haag) with my drawing during the This Art Fair at the Beurs van berlage in Amsterdam 2016

340×150 charcoal & ink on paper 2016, with authentic slave-trade from the 19th century

Stone-like light landscape 54x60cm incl. frame

Detail Painting by David Van der Kellen, co-founder and first director of the Rijksmuseum in Amsterdam. This painting was saved by me and was part of an installation at an exhibition in the Beurs van Berlage in Amsterdam in december 2017.

Lykbussen, Eertekens, Gedachteheuvels (Hills of thoughts), Terpen. Ca. 100x49cm charcoal & ink 2017 by Alle Jong

375×150 cm 2016

Detail

Art Rotterdam, installation with drawing including original slave trade document, with handwritten signatures. With in front an 17th century archive that has never left the press, some packages with ropes around them.

 

Detail of the archive, with handwritten documents also.

Exhibition view of the Curated show by Alle Jong ”The Fugue Of play”, with videogame artworks by Alle Jong, Bill Viola, Jason Rohrer, Jeremy Couillard, Sander bos, Pippin Barr, Dan Pinchbeck and others. Held at the Minerva Gallery Nov-Dec 2016, See Curatorial in the menu for more information about this project.

330×150 cm charcoal & ink on paper 2016 by Alle Jong drawing.

Thought Chamber with Boudewijn Büch, Installation ca. 300x150cm Alle Jong 2016, integrated are authentic handwritten and original artefacts from boudewijn Büch.

Drawing by Alle Jong 100×70 cm charcoal & ink on paper 2017

The drawing is 370x116cm made with charcoal on paper 2015 by Alle Jong

237×150 cm charcoal, ink & antique prints on paper 2016

344cm charcoal, ink & antique prints on paper 2016

Detail, 340x150cm charcoal on paper 2016, by Alle Jong

 

305x35cm, charcoal on paper 2015

 

detail

Ca 100×49 cm, gedachteheuvel (Hill of thoughts) or Ancient Stones.

285x150cm charcoal & ink on paper 2016

Installation view, hundreds of real drawings by Tavenraat.

360?x150cm charcoal on paper 2015 by Alle Jong drawing

Detail

     ….     –   340×150 cm, charcoal on paper 2016 by Alle Jong

100x59cm Charcoal & ink on paper 2017 by Alle Jong

360×150 cm, charcoal on paper, 2016

Alle Jong Meeting Goethe, Buch & Huizinga 350x150cm charcoal on paper 2016

detail.

380 x 96 cm charcoal on paper by Alle Jong nov 2015

Detail.

290x137cm charcoal on paper feb 2016

Alle Jong with WIlliam Shenstone & the Destruction of Palmyra 310x150cm charcoal on paper 2016

detail.

315x150cm charcoal on paper 2016

Detail.

The Wren’s Nest” 140x330cm charcoal on paper 2016

380x150cm charcoal on paper august 2015 by Alle Jong

420x150cm charcoal on paper ”Last letter received from Fred” 2015

detail

 

365?x127cm charcoal on paper 2015 by Alle Jong Drawing

 

detail

420x150cm charcoal on paper ”Last letter received from Fred” 2015

detail

 

 

Watervloed 287×150 cm Charcoal, ink & authentic historical documents on paper 2016

 

 

Special stereoscopic trailer for my Vr Moviegame ”At The Border Of Darkness”.
”At The Border Of Darkness” is a 20 minutes short motion picture moviegame narrating the biographic and personal journey trough Alle Jong his experiences being an artist. 2016, for more information www.allejong.com

You can Use an VR Cardboard and any other Vr device for viewing this trailer.

By coincidence i started collecting old books with dried flowers in them – One postincunable from 1561, or flowers in a book from 1660 about the history of Frisia, even a catalogue by herman de Vries with a dried flower in the cover. This is ”the” historical Sensation! – Nature bound together with human knowledge – hiding in mankinds memory of a lost generation. Conservation of worlds, fragile.

I did make a drawing about dried flower by mind mining about the idea. I created an VR experience in which the collections of dried flowers are reborn, multiplying around you! And at the end there is the pure Historical Sensation, the real historical books themselves who gave birth to one present mind..

Drawing below 360×150 cm, charcoal on paper, 2016

 

 

360x150cm charcoal on paper, 2016, Flower Island.

Above detail of drawing, below selection old books in which i found flowers.

 

 

 

An audience over three hundred people is watching the ending  of the day, Afke Berger organizer is sharing her story. The closing did exist full of Poetry Music and more, with the portrait of Rosette van Beugen placed at the center

On may 4th people could hear many story’s for the ”Open Jewish Houses” project troughout Groningen at different places were once lived Jewish family’s. I told the story of Rosette van beugen who was murdered in the second world war at the age of nine in Sobibor with her entire family. I created a portrait of Rosette wich is being exhibited in the center of the great synagoge of Groningen. Rosette her story coincidental developed into this apotheosis that ended somehow in the Synagoge of Groningen were you can see her portrait for the next few weeks. Rosette her life and story was remembered by many on may 4th 2014, this touches me deeply, Rosette came home in the Synagoge and was welcomed by hundreds of people.

Together with Simon Niks we walked for the guide from the synagoge to the house were Rosette lived and played, just around the corner of the Synagoge. Simon installed a subtle artwork at the house wich you could see from the outside from the streets.

Rosette is alive, her story’s float around in many people’s heads. May 4th ended intense with Poetry from Jannes Heidinga, Jan Glas, and also the philharmonic Chamber Choir Grønn, directed by Jeroen Helder. The ending resulted in Jannes Heidinga naming out loud the names of Jewish victems. The philharmonic Chamber Choir Grønn did repeat these names by whispering them troughout the Synagoge.

Jannes Heidinga (poet) and Jeroen Helder (choir master, director) , with the painting from Alle Jong of Rosette van Beugen in the background.   photograph: Diderik Prak

Jannes Heidinga

Alle Jong shares his story about Rosette van Beugen and her family with the audience before they walk to the painting Alle made of Rosette

Alle Jong in the front of his painting of Rosette van Beugen, sharing her story with the audience

Read the rest of this entry »

”The Wren’s Nest” 140x330cm charcoal on paper 2016
It started with a real handmade drawing by the world famous poet ”William Wordsworth”, this beautiful concentrated drawing of the Willow Wren is now embedded within my drawing, call it a monument or folly where this real historical drawing meets the present mind. Next to the freedom of late Rococo is myself sitting against a tree meeting a Willow Wren, dreaming away in poems by Wordsworth; ”The Wren’s Nest”,

AMONG the dwellings framed by birds
In field or forest with nice care,
Is none that with the little Wren’s
In snugness may compare.

No door the tenement requires,
And seldom needs a laboured roof;
Yet is it to the fiercest sun
Impervious, and storm-proof.

So warm, so beautiful withal,
In perfect fitness for its aim,
That to the Kind by special grace
Their instinct surely came.

And when for their abodes they seek
An opportune recess,
The hermit has no finer eye
For shadowy quietness.

These find, ‘mid ivied abbey-walls,
A canopy in some still nook;
Others are pent-housed by a brae
That overhangs a brook.

There to the brooding bird her mate
Warbles by fits his low clear song;
And by the busy streamlet both
Are sung to all day long.

Or in sequestered lanes they build,
Where, till the flitting bird’s return,
Her eggs within the nest repose,
Like relics in an urn.

But still, where general choice is good,
There is a better and a best;
And, among fairest objects, some
Are fairer than the rest;

This, one of those small builders proved
In a green covert, where, from out
The forehead of a pollard oak,
The leafy antlers sprout;

For She who planned the mossy lodge,
Mistrusting her evasive skill,
Had to a Primrose looked for aid
Her wishes to fulfill.

High on the trunk’s projecting brow,
And fixed an infant’s span above
The budding flowers, peeped forth the nest
The prettiest of the grove!

The treasure proudly did I show
To some whose minds without disdain
Can turn to little things; but once
Looked up for it in vain:

‘Tis gone—a ruthless spoiler’s prey,
Who heeds not beauty, love, or song,
‘Tis gone! (so seemed it) and we grieved
Indignant at the wrong.

Just three days after, passing by
In clearer light the moss-built cell
I saw, espied its shaded mouth;
And felt that all was well.

The Primrose for a veil had spread
The largest of her upright leaves;
And thus, for purposes benign,
A simple flower deceives.

Concealed from friends who might disturb
Thy quiet with no ill intent,
Secure from evil eyes and hands
On barbarous plunder bent,

Rest, Mother-bird! and when thy young
Take flight, and thou art free to roam,
When withered is the guardian Flower,
And empty thy late home,

Think how ye prospered, thou and thine,
Amid the unviolated grove
Housed near the growing Primrose-tuft
In foresight, or in love.
William Wordsworth

 

 

One year ago i bought 200 letters without knowing from who they where. It seemed they where written between Nella Vos Delmar and her husband Fred between 1947-1966. Nella was an Jewish woman who fled Italy during the war, she was the only Italian woman who joined the English army and published her diary from that period. After the war she went to Rotterdam & married Fred, an Dutch captain who travelled al over the world, he died young and Nella kept widower for the rest of her life until she died a few years ago. The last overseas letter send by Fred to Nella is from 1966 send from Bahrain, it is the only envelope out of 200 that has never been opened. Written on it is ”Last letter received from Fred” …

420x150cm charcoal on paper ”Last letter received from Fred” 2015 by Alle Jong

 

The last overseas letter send by Fred to Nella is from 1966 send from Bahrain, it is the only envelope out of 200 that has never been opened.

Above; whole drawing ”last letter recieved from Fred”, 420x150cm charcoal on paper 2015

Above; Detail from drawing ”Last letter recieved from Fred”

We live around the darkness of death, and on the border of life. These drawings are an personal search to expose our existence between the cradle of birth and eternity. It is this heartbreaking truth and harsh reality that one day we all have to face an ending. It is the most problematic element in our lives, the final destiny into the unkown, into the eternal darkness.

 

Above; 365?x127cm charcoal on paper 2015 by Alle Jong Drawing

300x140cm charcoal on paper 2015

 

380x150cm charcoal on paper august 2015 by Alle Jong

 

Above: Detail of previous photograph of drawing. 380x150cm charcoal on paper august 2015

Ankersmit Terp. Meeting between Philosopher Frank Anksrsmit & Alle Jong, 30x19cm charcoal and ink on paper 2015

 

The above drawing shows a man standing in what looks like an forest. The drawing is 370x116cm made with charcoal on paper 2015 by Alle Jong

 

Sitting against the darkness, 305x35cm, charcoal on paper 2015

Detail of last photograph, Sitting against the darkness, 305x35cm, charcoal on paper 2015

 Above; Against the border of darkness. 360?x150cm charcoal on paper 2015 by Alle Jong drawing

 

 

The above drawing shows a man kneeling against the darkness. The drawing is 310×80 cm made with charcoal on paper 2015 by Alle Jong

Next below you examples of earlier and most of the time smaller examples of the works around the theme of darkness;

 

 

 

 

 

 

 

In my book-shelf there stands an 18th century history book (1772) with an Ex Libris by the Regent family van Loon. Handwritten is the name J.W. van Loon. The family Van Loon is an influential family. Take for example Willem Jansz van Loon, he was one of the co founders of the V.O.C. back in 1602, this family plays an important role in Dutch history. I decided to write my own name in this book next to the signature of J.W. Van Loon and asked myself how am i connected to the history of this family?

 

Drawing 420×150 cm, charcoal on paper   27 augus t 2015

 

 

 

The 18th century history book with my name writtin in it right above.

 

Detail of drawing.

 

Detail of drawing.

I made an videogame in which I react on the threat of destruction of the city of Palmyra by islamitic state. I have recreated parts of Palmyra within an videogame environment which is fully destructible. I thought; what does destruction of cultural heritage mean? Is there meaning in destruction? I wanted to destroy parts of Palmyra first before islamitic state, and i did, one day before ”is” destroyed two tombs near Palmyra i already destroyed parts of Palmyra in simulation, over and over again. I would like to create attention on the question what it means to destroy cultural heritage that belongs to all of us. I want to make an statement that ”islamitic state” their propaganda does not affect me! Let’s play and destroy the shock of cultural destruction caused by islamitic state. See the trailer for my artistic approach of the subject here:

 

 

Window views of historical people

Berghoff Window 30x40cm acryl charcoal & etch needle on linnen 2013 by Alle Jong

In a special series of artworks i portray windows trough which historical figures looked in their lives, what can we learn from these views once experienced by Nelson Mandela in his cel or the window in a writrs office? Two large scale works i made on linnen portray the window view of the mountain residence of Adolf hitler. Hitler lived beneath the Obersalzberg in his named: Berghof residence. It is believed Hitler loved to come to this mountain villa, he made importaint choices in this villa. One room inside the villa had a huge window looking out over the valley. When taking a view out of this window you could overestimate your own position against the world, the fantastic view gives freedom for the spectator to think bright, making you believe expectations of what could barrely be reached in life become more feasible.

The Psychology of a Window, Berghoff view, A.Hitler residence. 335 X 195 cm acryl, pastel, charcoal, pure pigment on linnen 2013-2014.

I made two paintings of this window, one as seen during the war (look below, blue mountain view). And made another one of thesame size, a period after the war when the residence was allready bombed and blew the window out. This second painting resembles a metaphor, showing an open frame were once the window bars were. Now open and with green mountains ahead, only a dark black border show the darkness that is inside, but freedom finally breathing outside, that war was over.

In my studio next to the painting of the berghof window against the wall stands a large portrait of a murdered girl, killed by the nazi’s during the war in a concentration camp. Se is facing the bars window form inside the villa. Trapped. Outside the window snow is falling down, the frame is falling over the world, a world trapped in horror, the tension to have these two works against each other is terrifying but true to history.

”A short introduction about the polised works in linnen”

I like exploring the complex relationship between people and images, for the interplay between making and seeing, appearance and perception, intention and response, between the putative autonomy of the object and the context of seeing. These series of polished works are about the endless change and dissapearance of things, and about the revival of the image as memory. I polish images in pure empty linnen, there is no paint but only the linnen of which the history is dating back at least 4.000 years. A polished work in linnen is closer to nature than a painting, this painting which attempts to be a world of it’s own, a kind of Trompe-l’oeil. A polished work is dependent on the forces of light and therefore more connected to the world outside of Plato’s cave, if a cloud is blocking the sun the polished image could disapear, this forces our perception to find meaning in the transcendental or linnen itself. These are not screaming images but ghost images who force us to take the time to concentrate and look into the unknown. I think our view of the world is always vague, wrapped in remembered bits of memory, a polished work is a memory bearer and shows the vague remains of an extinct present. It is about us in front of an artwork seeing the falsification of our minds projected into that artwork. This is the beauty of fading away in thoughts full of fantasy, human life is all about creating, planting and spreading our memory’s around us in which we hope to find inner rest.

Rafaël ”portrait of a young man” (studio view) 72x56cm polished in linnen 2014 by Alle Jong

”

 ”Memory of a wedding” Unknown photograph of a wedding – Annotation at back of the photograph says: Op trouwdag van Ab en Janny 16 feb 1961 (translation: At wedding day of Ab and Janny Februari 16, 1961) ”This dated unknown wedding photograph was the source for the included artwork’ in this package’

”Memory of a wedding” Op trouwdag van Ab en Janny 16 feb 1961  – Alle Jong 110x71cm polished in linnen 2014 

Photograph Acropolis Athens, with the Medieval Frankish tower still standing

The Frankish Tower was a medieval tower built on the Acropolis of Athens by the Franks as part of the palace of the Dukes of Athens. It was demolished by the Greek authorities in 1874. I see this as an act of Iconoclasm, in the polished Acropolis in linnen the whole site wil disapear and revive repeatly as a vague memory.

(Studio view) ”Directing History, (Iconoclasm) the Frankish Tower at the Acropolis in Athene Greece 116x68cm
geschuurd op linnen 2014 door Alle Jong”

I explore the relationship between people and their aggression towards the image. We call this Iconoclasm and also the destruction of the Frankish tower can be seen as a form of Iconoclasm. In the book Iconoclasts and their motives by David Freedberg there is a passage in which Mary Richardson gave her motivation for the slashing of Velasquez’s Rokeby Venus in March, 1914.

( political motivation) I have tried to destroy the picture of the most beautiful character in modern history as a protest against the government for destroying Mrs Pankhurst, who is the most beautiful character in modern history. – ( moral or offending, rather abusive motivation) I didn’t like the way men visitors to the gallery gaped at it all day long.

(Studio view) ”Iconoclasm” Self portrait by Rembrandt, attacked by Hans-Joachim Bohlmann in 1977 Kassel 97×79 cm
polished in linnen september 2014
Lost