Marc Turlan: protest board 1 and 2, a collaboration with british photographer Timur Celikdag.
Courtesy gal Anne de Villepoix

Marc Turlan: Statement Carpets. Courtesy gal Anne de Villepoix

Left: Marc Turlan's "Star Rack", and right: the artist himself

The first room of EXO STAR with "Home Star-Gym". Courtesy Gallery Anne de Villepoix

The collage sonore / sound collage installation in room 2. Courtesy Gallery Anne de Villepoix

Object in room 3 at Gallery Anne de Villepoix

The Stimuleye talked with Sandra about here recent work. The conversation was shortly interrupted by yet another request from the international glitteratti circuit: Sandra is truly knitting to the top!

Sandra Backlund's installation CUPRUM 2010 at the Villa Noailles' pigeonnier. Photography by René Habermacher

RENÉ HABERMACHER: What was the point of departure for this installation and the inspiration behind it?
SANDRA BACKLUND: Everything took off from the position they gave me for my exhibition, the Pigeon House in the north garden of Villa Noailles. I think it’s a very beautiful space, so I wanted to use it as a frame, rather then just a location. Because the house is partly open and the exhibition would run for one month outside, I had to carefully consider what material to work with. Already for my current S/S 2011 collection I had been working with a metal yarn made from 100% copper, so in a way it came natural to me to continue exploring that material. With a history of use that is at least 10 000 years old, copper is an important part of both our history and the future. It’s one of the world’s most useful natural resources, 100% recyclable without any loss of quality and it’s estimated that 80% of the copper ever mined, is still in use today. In a way I feel like the story of copper as a material and the way I try to approach fashion go very well together.

Can you explain me the process of planning, and the making of the dress?
As always, the handicraft techniques and the human body is the main starting point for me. I never sketch, instead I work with a three dimensional collage method where I develop some basic bricks that I multiply and attach to each other in different ways to discover the silhouette. The only thing I decided already from the beginning was that I wanted some kind of link between the signature piece (the paper origami top) of my winning collection from the 22nd edition of the festival in 2007. Because of the different techniques, materials and colours and because of the process, I guess in the end the link is not so obvious, but there is a few things that is still noticeable, like the silhouette and the size gradings for example.

I’ve witnessed you working day and night on this piece – do you have a clue how many hours went into the making?
To be honest, I think that this is the longest piece I have ever worked on. First of all, crochet is always extremely time consuming, especially when it’s layered like this. The copper tape is also very fragile and ones it’s used it, it’s impossible to change, so I had let go of the control and in a way let faith guide me to the end result. If we are talking hours, my estimation is around 500-600 hours.

Pieces of copper yarn in the the making, and Sandra at the exhibition space. Photography by René Habermacher

Your pieces are often very sculptural, with the artisan work involved, i wonder wether you consider to put your work in a different context than fashion?
Of course I have consider this and many times questioned if fashion is really the right context for my work. As you said, my clothes are always quite sculptural and I also use methods when working that is more close to a sculptor’s, then a tailor’s. But somehow I always come back to the human body. I like to consciously dress and undress different parts of the body and I am very fascinated by all the ways highlight, distort and transform the natural silhouette with clothes and accessories. For me fashion is also one of the most democratic art forms, something that we are all related to. You don’t have to be a designer or a stylist to use clothes as a creative statement, but people in general could of course be more self-governed when t comes to fashion.

To me it seems difficult to render your unique approach into industrial production. How are your experiences with that?
About two years ago I was introduced to the long tradition of Italian top knitwear and apparel production. The challenge was to add to my collections something inspired by my hand made pieces that could require only a limited amount of manual work. It was of course a big step for me to go from working alone in my studio, inventing pieces while doing them myself by hand, to suddenly be working in a team of experts within a field of fashion that I never before have had the chance to get to know. I was overwhelmed by all the possibilities I saw and even though I will never give up doing my hand knitted signature pieces, these production tests really made me understand that there is ways to develop my collections that I never thought was possible.

What is this festival of Hyères to you? How was it to win – and to be back for this project?
The whole event is really an experience for life when you’re a young designer, all the people you meet and the rush from showing your work in a context like that. I didn’t know about the festival before I met Diane Pernet and she suggested that I should apply. I was crazy happy already when I was selected for the finale and then the wind up… It’s really an important moment in my career so far and to be back again this year and meet everyone was kind of a flash back. When I think about it, I’m still a bit shocked that I was the winner.

What’s up next?
F/W 2011-2012 production, S/S 2012 collection and some up coming exhibitions.

The dress weights over 6kg, made from an archaic material that was the first to be 100% recyclable

Further information on Sandra Backlund: sandrabacklund.com
The Exhibition at the Villa Noailles in Hyeres runs throughout May until the 29th

It’s an exuberance of arabesque forms, a visual melody played out of his hand, that remind us of the great gestural and physical richness of action painting. Famous for his meticulous inks on parchment, this “liberated calligraphy” is worked across a variety of extremely different surfaces — from canvas, brass, wood, melamine and papyrus to skin. Though It seems like writing, it is not. It is rather an interlacing of a dialectic relationship, also found within Western abstraction.

Naomi Campbell in Azzedine Alaïa for Numéro Magazine. A collaboration between Nja Mahdaoui and René Habermacher

I came across the work of Nja Mahdaoui the first time, while researching calligraphic styles on a project for the French magazine Numéro on a piece about Azzedine Alaïa to which Babeth Djian incited me. The visual impact of Nja’s work struck me at first sight.

Slightly intimidated by the references of the rich body of his work, I first hesitated but then thought to give it a shot, and contacted him. To my surprise he answered me instantly by email, and called me shortly after. Our collaboration was set — and we created a story of imaginary movements around Naomi Campbell as a dark gazelle, in sheer and revealing Alaïa.

But I only met Nja Mahdaoui in person two summers ago in Tunis. It was an all-embracing, hot and sultry August day that lay heavy on the city, matching the emotional state of its people.

Nja Mahdaoui wit the first prototype of his most recent sculpture. Photography by René Habermacher

A couple of months after the “Jasmine revolution” took place, Nja arrives in full swing to our meeting at a café in sunny, springtime Paris.

He’d come with his daughter Molka Mahdaoui to work on another of his new projects, yet is consumed with excitement by the events. He reacts immediately and impulsively to the question I usually ask last on conversations for The Stimuleye: What is the last thing that stimulated you?

“Stimulated? You’re asking a Tunisian? (laughs). I don’t know if ‘stimulated’ is the word, but it’s the explosion of a generation, I’m completely into it — for us it’s the event of the century!”

Nja Mahdaoui: "Graphemes on Arches 2", 2009, Ink on arches paper; 135cm x 135cm.

With us at the table are the collaborators involved in the process of making his latest project, a sculpture, the main reason for his trip north. Nja loves collaborations – his eyes glow while he talks energetically about upcoming projects. An energy I felt the first time I saw his bold and highly rhythmic work: “a dance of calligraphy”, with Nja as the choreographer of imaginary letters, to which he refers as ‘graphemes’, devoid of actual textual meaning:

“To a non-Arabic speaker it appears as coherent text. In fact even Arabic speakers assume at first that it’s a text with meaning. But when they start reading it they realise it is not an actual word.” he says and recalls an experience:

“It is not easy to write letters in a disjointed way — that is disjointed to not mean anything — and focus only on the aesthetic. There was a study at the California Institute of Technology in Pasadena. They connected me to a machine in order to test the levels of stress my body was under when I was writing proper words and when I was writing words without meaning. The study showed that my body was 2.5 times more stressed when I was working on words without meaning. So it is a very conscious attempt to create art. I tell people I’m not a calligrapher, but an artist.”

To me his body of work is so vibrant and remarkably innovative that I first had assumed Nja to be in his early 30’s the most, yet he was born in La Marsa, Tunisia, in 1937. As Molka, a filmmaker herself, puts it during our conversation: “sometimes i have to remind myself: Molka, you are thinking older than your own father!”.

Nja Mahdaoui: Design for Gulf Air 50th Anniversary. Image Courtesy of Nja Mahdaoui

Indeed his energy is striking, he takes part vividly in public life in constant dialogue and is virtually hooked to Facebook, like a teenager:

“Blogs are not simple, it’s in between the magazine you buy, the TV news, and the private lives of people. To balance it out you need to create a dialog, create communication in a domain. Who’s the most motivated? Communication is very important. In Tunisia, a great part of the revolt was started by bloggers: The main one was jailed, he’s a good friend of mine, his wife is a filmmaker […] He was a hacker, a net-pirate, and today he is the Secretary for Youth. Seems like a joke!

On the eve of the revolt in Cairo, young Tunisians were able to get around Egypt’s net blockade, and pass information along to people. Internet has developed a lot in Tunisia, we’ve had cheap access for everyone for years, so everyone is connected.”

And Nja stays very connected- to these very times on which he checks repeatedly with his iPhone during our conversation- the recent uprising in Lybia for example: “I love the Libyan people, but there’s very little connection with Tunisia.”

Ferid, a friend of mine that had met with us at our first meeting in Tunis in 2009 was astonished by the freedom of speech Nja took for himself and the cause of others, even under the regime of president Ben Ali: “He can say things that no one would dare, even on TV!”

Nja Mahdaoui: Window screen for the Kaust Mosque in Thuwal, Mecca. Image Courtesy of Nja Mahdaoui

“Tunisia is a country where, out of 10 million inhabitants, over half are young, and where since independence, education has been a priority. We’re in a country which has invested in culture and knowledge, and has many unemployed graduates with diplomas. Our problem is to have thousands and tens of thousands of graduates for which we need to find positions. Especially since we don’t have any oil!!! I think it’s a good thing not to have oil, it seems like a poisoned gift… Anyway nature has decided for us. But there is the black gold of intelligence, knowledge and communication!”

“Our network is amazing. The new boss of the Central Tunisian Bank was until recently an economics professor in the USA. One of the first things to do is to have an assessment. He determined in a report that 23 kilos of gold had been used for medals. Some of these medals are given by the Ministry of Culture – I’ve received some myself.

[After the revolution] I immediately made an article, “The Medals of Shame”: we thought these medals were a distinction, but if we learn that they were made with gold stolen from the people’s money, I propose that we give these medals back to the Central Bank and have them melted to create some funds for those in need. Some artists wrote back to me “these medals are our diplomas”! Que Dio! Aren’t they ashamed of themselves!”

The Susse Foundry in Paris and Nja Mahdaoui at work. Photography by René Habermacher

Time has come to move, and we leave the sunshine of the cafe’s terrasse to the Susse Foundry that was created in 1758, where the draft of Nja’s sculpture is awaiting us. Nja going ahead: “The Susse Foundry is the most ancient in France. In the world of art, it’s a reference. They make objects as if it was 1901, so they’re a bit shaken up by what is going on today — it’s the first work they make with a technical team from the future.”

Susse’s workshops are in an undistinguished building. Only a bronze shingle identifies the door next to a partly frosted glass window through which one can glimpse a plaster angel negligently hung upside down. Some of the finest sculptors of the 20th century have produced here: Jean Arp, Henry Moore, Germaine Richier, Picasso, Giacometti, Braque, Dali and Chagall.

Manuel Delétré is a meticulous craftsman and joins us at the door with Hubert Lacroix. The foundry’s halls are softly lit through ceiling windows — stacks of molds, sculptures and work-tools fade into gloomy shadows towards the dark embracing walls.

Nja Mahdaoui: Ink on Paper for Cahier Horizons Maghrébins.

The techniques employed at Susse are ancient: ‘lost wax’, the method of classical and renaissance sculptors and ‘sand casting’ for which Susse uses a sand found only in the Seine basin.

And here is Nja, breaking into this world of great heritage with fresh vision and the help of modern inventions:

“In my path I’ve tried sculpture, but not in a classic sense with clay. I’m not a sculptor, but I am for contemporary creation. I go full steam ahead, without hesitation, when it comes to technical challenges. We started with a 2D graphic, but spun it around constantly to get a 3D volume. I’m so happy to say ‘don’t be afraid ! it’s the future !’ If there’s a way, if it exists, then to turn your back and close your eyes is idiotic. It captivates me!”

He shows us the first model of his work, in one of the back rooms where the blue prints to many great works are stored.

Nja is captivated- following the lines of the sculptures with his hands- as caressing it and finishing off the strokes of his calligraphy drawing in the air: “The total piece consists of 22 separate elements that are arranged around the axis” he explains. “The sculpture is meant for… the love of creation”. The final cast will be moulded in June, followed by the process of applying the patina, for which Susse is famous – applying secret acids in order to produce mordant greens, equatorial blues and a glossy black.

In 3 months from now, another circle will becoming full: “We had been looking for years for a graphic designer with the knowledge to go from 2D to 3D, until then all we had been able to do was to give depth, to make an extrusion. It’s the quest of innovation, the challenge of going further.” He has found the process liberating, being free from the confines of two-dimensional space. This is reflected in the energy and dynamism of the new piece.

Nja Mahdaoui: "The sculpture is meant for… the love of creation" Photography by René Habermacher

Over lunch Nja introduces me to another project he is working on, a collaboration with with the Tunisian gallery ‘El Marsa Gallery‘ and the American gallery ‘New Sahara Gallery‘ and CSUN (California State University Northridge):

“For CSU Northridge, I’m putting together the idea of the Behaviour of the Other, the Look of the Other, using all means of communication. So in this installation I’m installing a giant drum, like the one in the British Museum. I’ll bring with me Tunisian sand from the Sahara, a handful to put into a pile of American sand and I mean to have 6 dancers, to whom I am not giving any further instructions. The dancers will listen to these sounds [of the drumsspun], and we’ll try to film the behaviour of the dancers, sitting in front of this drum, and see how long they can resist the urge to dance. Some of these rhythms will get them in the gut. I want to see their automatisms!

From this demand, I await for them to interpret and make their own decisions, decisions of a cultural and political nature. I’m curious to know if [UCSU Northridge] chooses 3 women and 3 men, African-Americans because I’m Tunisian and for them Tunisia = Africa. I’m curious if it’s going to be as mixed as LA is…”

Nja Mahdaoui: Double membrane drum. Collection of The British Museum. Images Courtesy of the British Museum

As knowing Nja I am quite certain he’d prefer this last scenario. Multi-facetted as he is, merging the most diverse inspirations and cultural influences into his work. Collaborating interdisciplinary he recalls an experience at the University of Tokyo in which he and three others from China, India and the West spent hours talking to each other about calligraphy, lettering, styles, forms and mediums — without having a common language.

We ended the day in a pizzeria of the 3rd arrondisement- a loud and hectic place that accomodated our conversation till late at night. Molka joined us again, so did other friends- and among the last guests leaving, Antoine and I accompanied Nja on his stroll home. He insisted to part at Républic: “Paris, this is my City. I know it by heart”

Nja’s exhibiting ‘AZIMUT’ in Los Angeles will run from April through May 2011 at the New Sahara Gallery.
In addition to the exhibit there will be 3 events:

2 events at CSU Northridge University:
– “AZIMUT“ performance at the CSU Northridge University theatre, Tuesday April 12
– a lecture at CSU Northridge University, Thursday April 14,
– a talk at UCLA

Ever since he first revealed his works to the public back in 2007, Dutch Vollenga’s career seems unstoppable, counting numerous collaborations with the likes of Lady Gaga, MUGLER, Johnny Woo, Marcel Fengler, Mc Kinki, Tiga…

The interview is an exclusive in participation of The Stimuleye with uN nouVeau iDEAL

REIN VOLLENGA: Headpiece Hip-Hop Tribe, 2010, Mixed Media and Untitled, 2007, Mixed Media

His works have been triumphantly presented in the most prestigious publications like Italian Vogue, Interview Magazine, Dazed, i-D, Vman as well as was featured in notorious web links like ShowStudio, Style.com and The New York Times not to mention Museums like Neues.

Two days before the opening night featuring his participation at “I WANNA DANCE WITH SOMEBODY” (a project headed by Lars Laumann presented at The Hague’s West Gallery) I had a chat with him for The Stimuleye. Lets dive in our conversation at the moment I was trying to explain the dramatic changes Greece is going through…

FILEP MOTWARY: So, yes back to drama….

REIN VOLLENGA: Drama is always a good source for making art.

FilepMotwary: How does drama reflect in your work then? The forms you create are not happy yet neither sad. But there is always some kind of expression in them that leads one to wonder what the situation behind those faces is about…

ReinVollenga: My work is never a reference to just one specific thought, but if I can somehow invoke emotion, make people think or stimulate and inspire somebody then I’m happy.

I don’t want to teach or force people to learn something, as Art is a really personal experience, a fantasy or illusion. Artists should treasure that and exclude their own vanity in spite of excluding the viewer. I feel I don’t need to change the world either, neither can I.

I can only interact or have a dialogue with the viewer through what I create. I would love to change the world but it doesn’t make sense, forcing people to believe in something they don’t understand.

In my sculptures I like to attract the viewer through the beauty reflected in them. By looking closely at the piece, it will reveal by itself, something that might not be so pleasant at the end. This is the kind of contrast I like!

FilepMotwary: I like your way of thinking. Yohji Yamamoto once stated, “‘an artist is somebody who creates things that you don’t need’.” How do you see art?

Rein Vollenga: Art to me is an experience, Illusion or fantasy. It’s something that triggers your mind and keep you fantasizing.

REIN VOLLENGA: Untitled, 2008, Mixed Media and Untitled, 2007, Mixed Media

FilepMotwary: So, now you are in The Hague for your new show, “I wanna dance with somebody”. What is it about?

Rein Vollenga: Gallery West approached video artist Lars Laumann to create an exhibition. Laumann invited 3 other fellow artists, including me, from different backgrounds to work with him. Although what you are about to see is still in process – as we’re going to work in the gallery this coming week- our result will be revealed on the 2nd of April.

The exhibition is going to be multimedia, consisting out of graphic art, photography, video and sculpture. My contribution consists with a sculpture and a video installation.

FilepMotwary: How long have you been working on this project?

Rein Vollenga: Since a few weeks now, I’ve created a sculpture in my studio in Berlin that‘s will be finalized here in The Hague.

FilepMotwary: Please talk to me a bit about your sculptures, the process the creation in general.

Rein Vollenga: The sculptures I create are made of assembled objects, covered in an epoxy layer and are precisely melded, sculpted, sanded and spray- painted all by hand. The pieces may look like they’re multiples, but they are one-off pieces, single, traditionally handcrafted objects.

FilepMotwary: Mmm nice. I wonder how long it takes you to finalize a sculpture and how many people help you?

Rein Vollenga: How long? Mmmm.. Well, it depends on the project. But I mainly work alone.

FilepMotwary: What are the possible difficulties that might occur while creating a piece?

Rein Vollenga: Too many (laughs)

REIN VOLLENGA: Untitled, 2006, Mixed Media and Headpiece Hip-Hop Warrior, 2010, Mixed Media

FilepMotwary: It’s impressive that you also work solidly for fashion, participating in impressive projects every now and then. How do you see fashion as a parallel to the art you are creating?

Rein Vollenga: In art school I’d experiment with video and created complete settings, outfits and make-up as well as direction as if all of that couldn’t be crazy enough! In that period I would work with several performers and loved that interaction since, somehow, they brought my work to life.

My studio is based in Berlin in the multicultural area of Kreuzberg, where a lot of different nationalities live, people of opposite backgrounds, international artists and musicians, a place where also the straight and gay culture merge.

This led to an open and vibrant atmosphere that resulted to great collaborations or opportunities.

In the past I mainly exhibited my sculptural works in galleries and museums. I’ve always experienced this format of showing my art as very sterile and distant, somehow, to the viewer. Nevertheless, it didn’t connect with my vision on art. This experience brought me back to basics and I started to work again with video-makers, performance artists, musicians, pop stars and fashion designers.

I’ve worked with many talented performers; the likes of Japanese experimental pop-star Hanayo and the London underground scene performers like Feral aka Mc Kinki and drag legend Jonny Woo.

These collaborations developed into something very organic.

Lets put it just like it is! I loved they’re work and they loved mine! It just felt right to me. That was the point when I started working on show outfits that slowly, in time, transformed to ”wearable sculptures”.

The objects I create are not necessarily wearable, or better say, not very comfortable. In the first place they are objects, objects that function independently. The performance aspect puts them in a different or specific context that interacts only between the object and the viewer. The performer brings the pieces to life. I like to show my pieces on a different platform than the traditional ways of galleries or museums because I feel that, another option in presentation automatically creates a wider perspective on sculpture and shows the pieces to a wider audience that probably doesn’t visit such show-spaces.

REIN VOLLENGA: Sculpture for MUGLER FW 11/12. Photography by Benjamin Alexander Huseby

FilepMotwary: The world of fashion was stunned with the video release for Mugler’s FW 11/12 collection. The sculpture looked like an Alien creature, a truly innovative idea. What did Formichetti want to achieve though your collaboration you think?

Rein Vollenga: For Mugler, Formichetti approached me to create some objects for the FW 11/12 Women’s collection.

Nicola Formichetti is a master in getting all kinds of creative people collaborating. He knows how to use aspects from sub-cultures or the underground scene and translate them into high-end fashion. That’s a true talent, it shows real skills. He also knows how to push the boundaries. He kind of forced me to create wearable sculptures for the collection (laughs!)

The inspiration for the MUGLER collection came from strong super-women, African art (which I feel closely connected to), and disparate points of art history – for instance the art of Giger- surrealism and evolution, all the things that I love basically. So this collaboration was right up for my street.

REIN VOLLENGA: Sculpture for MUGLER FW 11/12. Photography by Benjamin Alexander Huseby

FilepMotwary: So tell be a bit on how everything started for you…

Rein Vollenga: (Laughs) Originally I’m from a Dutch small town called Eindhoven and studied at the Royal Art Academy of Den Bosch. After my graduation I worked free-lance for Dutch artist Silvia B.

Silvia is one of the first artists that I’ve closely worked with. We share a lot of similar interests. I learned a lot from her, but she especially showed me that you “don’t have to commit murders, go over people’s dead bodies or be a bitch to make it”. If you’re just honest, passionate and open, your profession will find the surface and appreciation in the society around you. Just be true to yourself and to others.

FilepMotwary: Yes, from personal experience I know that we all carry some references from childhood that are later reflected somehow in what we do. As a designer, it happens to me all the time. I’m always like “oh where did this come to me now…I think, and indeed 90% comes from childhood, even unimportant incidences. And the truth is that I do like the same things I liked back then, as a kid. Only now I understand them and see why I carry them in my head…waiting for the right moment to pop them out…

Rein Vollenga: Well… I understand but nothing concrete pops in my mind. I’ve always been a dreamer and never understood the purpose of primary school and still don’t, to be honest. That’s hell for creative people anyway. I always wanted to go home fast right after school, to do what I liked: creating plays for fiends and family and drawing. I used to know how to play many music instruments. Performing was my first love as a kid!

I did a lot of theatre and dancing in the past and even got involved into musicals at some point. That killed it for me and really made me hate it all. Anyway, I’m out of that now.

I still dance but only at the clubs of Berlin…That’s enough for now though I don’t want to exclude anything for the future.

FilepMotwary: Now that you mention your family. How did they support you all the way so far?

Rein Vollenga: They always fully supported me. I think for them it was clear from the beginning. I was only interested in music and art. It was more the question how I would position myself in society and make a living.

FilepMotwary: And do you make a living?

Rein Vollenga: Yes I live and do everything I was meant to do in life. I’m a happy boy! A happy man

REIN VOLLENGA: Untitled, 2007, Mixed Media

FilepMotwary: Rein, I wanted to ask you how does it feel, this need we artists have to create, the erge…? What are you own personal symptoms?

Rein Vollenga: I have a big need to create all the time. Making objects is my passion. I create a piece almost everyday. If I don’t have the opportunity to work I feel miserable to the core. So it comes from deep within and work really makes me passionate about life.

FilepMotwary: How have your collaborations with such opposite people helped your own vision of things towards creation? What have your collaborations taught you at the end of the day?

Rein Vollenga: Each collaboration is different from the other. This sort of “ideas exchange” goes back and forth and I like it. Sometimes it really surprises me completely how things can be lifted to a higher level out of nowhere.

FilepMotwary: How do you work with others?

Rein Vollenga: When I work with a designer or a creative director, musician or stylist, we always discuss our ideas, the inspiration, the references or concepts. From there I need some time to create alone, using my hands in my studio. My creation processes is very physical I may say, though I don’t start my ideas with a drawing like a fashion designer does. I need to feel everything with my hands, literally.

FilepMotwary: I see… I would ask you to share your short coming future plans if possible. What to expect from you after The Hague?

Rein Vollenga: Well…I’m in collaboration again with Jonny Woo who is hosting the LOVEBOX Festival in London in May. Also I’m creating some wearable sculptures for his performances. For the same festival Feral aka Mc Kinki will be also be present wearing a showpiece I am working on for her.

During the Summer I’ll be exhibiting in Berlin but for more info visit my blog later…

In November 2011 I’ve planned a solo exhibition at Gallery Suvi Lehtinen in Berlin where I’ll be showing some large-scale sculptures that I have made…

FilepMotwary:Before I let you continue with your work, I would like to know which was the most stimulating thing you saw or experienced lately?

ReinVollenga: Seeing people voguing again!

I WANNA DANCE WITH SOMEBODY, Lars Laumann introducing Vela Arbutina, Benjamin Alexander Huseby and Rein Vollenga.

The Exhibition will run from 02.04.2011 — 07.05.2011 in den Haag

REIN VOLLENGA by Benjamin Alexander Huseby.