Wayne Horse

Wayne Horse – Alles Wird Gut

18 March – 22 April 2017
Opening: Saturday 18 March , 17 – 21 hrs

A Juan Project is pleased to announce the opening of ‘Alles Wird Gut’, a new exhibition with new works by Wayne Horse (Willehad Eilers). A site specific installation will accompany his exulted yet critical ink drawings.


After moving from Germany to Amsterdam in 2000, Eilers graduated from the Rijksakademie and got involved in the local street art scene. A few years later he became tired of squeaky clean lines and producing work that says, “Look, I got skills,” so he started exercises named “breaking the hand.” Using different methods to distract what he worked for years to attain, he was aiming for the work to carry a spirit of looseness, possibility and punk. Drawing blind, drawing contours, left handed drawing, speed drawing, drawing to metal, and drawing intoxicated all resulted in a visual language that is spontaneous and free. These expressive, imperfect lines that are drawn immediately, are the base of his new body of work in which the process is a big part of the finished piece. Loosely depicted, the new drawings show scenes of large crowds going wild and indulging in all sorts of pleasures. As scenes of victorious parties after a big triumph, they carry a positive message under all the vintage debauchery. In this manner he is using the compositions of historical paintings such as “La Liberté Guidant le Peuple” and “The Raft of the Medusa” but replacing the politically charged masses with modern day festival crowds. Influenced by the tensions present in the world today, Eilers’ drawings shout “The world is burning. Close your eyes and dance, dance, dance.” —Sasha Bogojev


Willehad Eilers (1981, Peine, Germany) also works under the pseudonym Wayne Horse.

Eilers graduated from the Gerrit Rietveld Academie (2001-2005), and Rijksakademie in Amsterdam (2009-2010). He lives and works in Amsterdam, NL.
His eclectic body of work comprises video, drawing, performance and installation, and is distinctive for its lyrical quality, playful humour and expressiveness. A recurring narrative in his oeuvre revolves around the bizarre, occasionally ugly but always compelling aspects of humanity.
Willehad Eilers’ work is part of the LAMLisse Museum, Hunting group collection, the KGervas collection and the Van den Broek Foundation collection. His works have been shown both internationally and nationally in the Netherlands. Selected exhibition include  ‘Alter Senator’, Harlan Levey Projects, Brussels, BE, ‘Celebrity Beach’, Frameshop, Felix Meritis, Amsterdam, NL, ‘Make me proud’, Museum Jan Cunen, Oss, NL, ‘Teatre de L’Absurde’, Galerie Gabriel Rolt, Amsterdam, NL, ’German Swinehundt in Rotterdam’, Showroom MAMA, Rotterdam, NL, ‘Kunsthal Rotterdam, Rotterdam, NL, ‘Munt met een Missie’, Centraal Museum Utrecht, Utrecht, NL, ‘Nederclips’, Sm’s Stedelijk Museum ’s Hertogenbosch, Den Bosch, NL
‘Standpunten’, Centraal Museum, Utrecht, NL, ‘Max Wright was Right’, Gemeentemuseum, Den Haag, NL,’IDFA’ Amsterdam, NL, Winterthur Film Festival, Winterthur, CH, Hamburger kurzfilm Festival, Hamburg, Germany and La Roche Sur Yon Film Festival, FR



Paul Blanca

Paul Blanca – Closer
(organized by Gabriel Rolt)
4 February – 11 March

A Juan Project is proud to Present ‘Closer’, a solo exhibition by Paul Blanca.
Paul Blanca is considered one of the key artists of Dutch photography and has played a prominent part in the artistic scene of New York and The Netherlands for more than thirty years.’Closer’ his first new solo exhibition in 5 years, consist of nine new self-portraits.
Self-portraits have always covered a special role within Paul Blanca’s oevre. In the early 80’s Blanca became famous for his strongly emotional and often violent self-portraits, frequently compared with the work of Robert Mapplethorpe (1946-1989 ) and Andres Serrano (1950). Some of his most famous 80’s works include ‘Self-portrait as Bull’, where Blanca presented himself disguised as a bull with an erect penis, ‘Self-portrait with Micky Mouse’ features a large depiction on his back, inflicted with a razor blade of Mickey Mouse with his thumbs up and a big smile, and ‘Self-portrait – sewed lips’ where the artist sewed his lips together. Blanca’s consistent employment of the specific genre of self-portraits shows a deep interest towards the body,-his body,-but also a will to understand, a restless search towards the many different facets of his identity. Blanca’s works almost seem to be challenges, exploring the artist’s physical and psychological limits as a search towards self-knowledge.
After having abandoned photography for five years to care for his sick mother, Blanca now employs the medium to re-see himself and study who he has become. In ‘Closer’ the camera lens is the mirror through which the artist analyzes this changed persona, sometimes by adapting scenes from historical stories that made a deep impact on the artist, other times by metaphoric interpretations of the artists life experiences and even reliving this past works through his re-invented self. Fiction and non-fiction become intertwined by the presence of the artist who fulfills all the roles of the author, narrator and the protagonist.
In ‘Self-portrait with Crow’ an ominous bird, with unfolded wings violently prearound Blanca, who seems both aware and neglectful of its presence and potential danger by turning his illuminated back towards the viewer, and walking off into the shadows behind him. This allegory of life and death and the romanticism of the tragedy within it seems to be a perpetual theme in Blanca’s work. ‘Self-portrait with Crow’ recalls the image of Blanca’s well known 1980’s work ‘Self-portrait with Chickenheads’ where the young artist shyly looks away from the camera while wearing a morbid crown constructed from beheaded chickens. While Blanca’s self-portraits, especially when using dead animals or including self-torment, seem harsh or shocking at first sight, they never fail to express heartfelt emotions and embody a poetic aura.
Blanca’s portraits also reflect symbols of acceptance: he shows himself pure, calm and majestic in his fragility. In ‘Closer’, Blanca finds himself in an embrace of found serenity – the artists naked body interlocked by two young female figures, allegories of eternal beauty. This pursuit towards everlasting beauty is a pivotal element in Blanca’s oevre and is already present in some of his oldest series, like the 80’s ballerina’s portraits. The true center of attention, however, remains Blanca himself; like Narcissus’ perpetual selfreflection, Blanca’s search towards identity is a quest for him only: he is the anti hero and the only protagonist in his self created greek tragedy.

Paul Blanca (1958, Amsterdam)
In his younger years as a self-taught artists, Paul Blanca started experimenting with photography. In the Dutch artistic scene, Blanca met the world famous choreographer Hans van Manen, who because of their mutual interest in photography, became his close friend and tutor.
Van Manen included Blanca in one of his choreographies where he performed as a kick boxer surrounded by ballerinas. In between performances, Blanca started to photograph his colleagues which led to his first exhibition at the age of 21. Here Blanca met Robert Mapplethorpe, with whom he travelled to New York. Mapplethorpe quickly introduced Blanca to the high society of New York in the 80’s including Willem de Koning, Jasper Johns, Keith Haring and Grace Jones. Blanca had his first exhibition in New York and Mapplethorpe became his artistic mentor and close friend. Mapplethorpe later stated that ‘’Paul Blanca is my only competitor.”
Blanca’s last solo exhibition was at Museum de Fundatie, Zwolle (2011). Recent group exhibitions include Galerie Gabriel Rolt, Amsterdam, Museum Arnhem, Fotomuseum Den Haag, Museum Jan van der Tocht. Blanca’s work is included in mayor collections and well known museums including i.a, Bill Katz collection, Robert Mapplethorpe foundation, The Getty Museum, Het Stedelijk Museum, Museum Voorlinden, Gemeentemuseum den Haag, KPN collection, Agnes B, Cees Dam and the Groninger museum.


Bastiaan Bosma

10 December – 21 January 2017

Opening: Saturday 10 December, 17 – 21 hrs

Live Music by White Slice at 20h

DJ sets by Roelien and Bastiaan Bosma

Drinks by Oedipus

A Juan Project is proud to present its third exhibition: ‘FML’ with works by Amsterdam based artist Bastiaan Bosma.

Bastiaan Bosma (1979, The Netherlands) studied film at St. Joost Academie, Breda and graduated in 2003 with the extremely intimate and personal documentary ‘Babette’, in which he tries to find out why his girlfriend left him.

After working as a director for Dutch national televison, Bosma focused more on his musical project Aux Raus, which he started in 2004 with filmmaker Luuk Bouwman. After a year of recording demos and playing shows in and around Amsterdam, they got contacted by Mexican artist Carlos Amorales who invited them to be part of his new art project ‘Nuevos Ricos’. Amorales brought them to Mexico City to record their debut album and tour for two months through Mexico with Mexican artist Silverio and Dutch / Argentinan artist Dick el Demasiado.

The next years were spent touring through Europe, South America, the USA and Russia while their extremely energetic 200 BPM ‘Gabberpunk’ music gained a massive cult following. With Aux Raus Bosma made music videos and started the Aux Raus franchise: everyone who wanted could claim their national Aux Raus department and receive (after being screened by Aux Raus) the essential backingtracks, clothes, instructions and guidelines to start their own Aux Raus. This resulted in six different franchises around the world, all playing shows and writing songs as Aux Raus, paying Aux Raus 15% of their income.

After recording three albums and playing over 600 shows, Aux Raus stopped playing and Bosma started several new projects like, Bullerslug, Coevorduh and recently MICH together with artist Piet Parra, of which the debut album will be released in January 2017.

While focussing on composing, producing and performing, Bosma also made several documentaries and musicvideos for different artists. In his own video and film works, Bosma focusses on his own life and more importantly, his own misdoings and oddities regarding himself, his family and his friends. Also a fascination with the past and time itself shines through in his work.

Around 2009 Bosma started making detailed fineliner drawings, which show an abstract universe of dark forms and stuctures, some of which will be on display. He recently started drawing the beginning of which will become a graphic novel, using only forms and structures to tell the story.

In his third solo exhibition ‘FML’, Bosma looks back on his life so far, showing works of extreme detailed and time consuming pondering and self reflection, not fearing to show the bad sides of his personality, his life and his fears.


Naïmé Perrette

Exploded views
29 October 2016 – 26 November 2016

A Juan Project is proud to announce its second exhibition Exploded Views with recent works by Naïmé Perrette.

A Zoomed out view of a peninsula, a planar expanse of land. A moment of suction occurs before the aerial view turns into street-view. It is the representational threshold between two illusions of perspective. A land for a slab. A map for something more concrete. A moment of liminality in between views. As the hyper-realist cannot distinguish between map and land, so is an omnipresent google-earth a symptom of the same psychosis.
The sculptural assemblage on display garners its form from such a liminal moment in between views. Perrette draws on her background in animation, where an image sequence suggests movement. So are the exploded views conjoined in space, into an object that owes its form and shape to the assemblage of images. The transparent prints seep light through each other while reflecting its surroundings in situ; its layers laid bare as an allusion to the virtual existence of the image. By connecting places that have come to be loaded by their political, social and environmental significance, their assemblage blurs the claim that its representation lays upon reality. What remains is a semblance of setting, a fruiting fungus on top of a conglomerate of land; the setting for an absurdist play, or a post-apocalyptic emblem of growth.
In re-asserting the sculptural properties of cartography, the artist draws on the complexities of geo-political convergence; Calais’ jungle is one such place, where the cities’ allocated zones are regenerating, in constant change. So does a highway viaduct looming over the camp transpose the zone’s function into vestibule – until the French state evicts the camp’s inhabitants, removing symbolic evidence of the havoc. Ideologies can be expressed through territorial affirmation as well as through ground engineering. Island politics can serve as palpable examples of a state’s philosophy. New Zealand appoints a handful of people to preserve Raoul Island from the rest of humanity. Each year for a few months, they remove alien vegetation in order to preserve an idea of original nature, while the Netherlands construct a natural paradise by erecting an archipelago of mud-banks in the Markermeer. Such transformative zones form constituent parts of the assemblage.
By engaging with fiction, Naïmé Perrette investigates through various media the way in which identity is accrued, whether through the performance of social relations, or a nation’s staging of its own environmental intervention. Narratives are juxtaposed against the artist’s own re-construction, distant from her own experience, in order to investigate their definitions of value.

Text by Daniel Vorthuys

Naïmé Perrette (1989, France), lives and work in Amsterdam. She has completed a master in Film Animation at ENSAD (Paris) and was resident at Rijksakademie in Amsterdam in 2014-2015. She has been awarded grants by Werkbijdrage Jong Talent, Mondriaan Fonds voor Kunstenaars. Her recent shows include The National or the Skip, Averard Hotel, London (2016), Relève at Galerie du Crédit Municipal, Paris (2016), [Re]framing Utopias at De Eye, Amsterdam (2016), The Waves We Part With (solo show), Petra Ark Space, Amsterdam , The After Images of Raoul Island at Witteveen, Amsterdam (2016), Les Rencontres Internationales at HKW Berlin and La Gaîté Lyrique Paris (2016), Rijksakademie Open (2014-2015), Collection Vaskiolty-feldman, Cinnamon, Rotterdam (2015), Artefact at STUK, Leuven (2014). Her films has been selected in various international film festivals such as the International Short Film Festival of Vienna, Merdar Video Festival (Cairo), Les Ecrans Documentaires (Arcueil), FIPA (Biarritz) and programmed at Forum des Images (Paris).


Brendan Anton Jaks

Choppy Waters
17 September – 15 October 2016

A Juan Project is proud to announce it’s inaugural exhibition ‘Choppy Waters’ with recent works by former Ateliers resident Brendan Anton Jaks.

‘Choppy Waters’ refers to the subtle changes that happen in waves across the surface of the sea, and is reflected in the artist’s choice of objects and use of processes that involve submersing oneself into water. For this exhibition Jaks will use works produced over the last year in combination with objects found in the building’s storage unit that have been modified by the artist. By appropriating elements of the red-light district’s history, namely it’s massage parlours, sex toy shops, bathhouses, etc. combined with the artist’s own works, Jaks intends to create a visual dialogue between the history of the exhibition space and the shift toward the creation of a cultural district by the city of Amsterdam.

Brendan Anton Jaks (1983, Yuba City, USA) lives and works in Amsterdam and Brussels. Jaks studied at the Gerrit Rietveld Academie and was a resident artist at De Ateliers, Amsterdam.
Recent exhibitions include: ‘OMG’ Oudekerk, Amsterdam (2012), ‘Apéritifs’ Château Shatto, Los Angeles (2014); ‘Absent-minded young typist’ Rongwrong, Amsterdam (2014); ‘Genuine Articles’ Jupiter Woods, London (2014); ‘Screen Play’ SW3G Gallery, Glasgow (2014); ‘Elephant in the shipping house (Simply Wild)’ Jenifer Nails, Frankfurt (2015); ‘Who Controls the Smoke Controls the Mirrors’, Galerie Fons welters (2015);  “Untitled (Two Takes on a Crisis)’, De Appel (2016), ‘The Beauty Commission’, Stedelijk Museum Amsterdam (2016); ‘THÈÂTRE DE L’ABSURDE (PREQUEL)’, Galerie Gabriel Rolt (2016); and ‘Rebranding Floes’, Galerie Jerome Pauchant (2016).

*About the space:
A Juan Project is a new commercial exhibition platform located in the heart of Chinatown, Amsterdam. The project places its focus on international contemporary emerging artists together with the presentation of key figures from within the Amsterdam cultural scene.

Upcoming shows include: Brendan Anton Jaks, Naïmé Perrette, Bastiaan Bosma, Paul Blanca, Freddy Tratlehner