Current & Fortcoming Exhibitions

01|04 > 16|12|2019
International printmakers
Galleri Heike Arndt DK
4892 Kettinge (Denmark)
Raagelundevej 7-9

26|09 > 31|12|2019
The Crying Game, ignoring the horrors on our doorstep
Museum on the Seam

Kheil ha-Handasa Street 4
Jerusalem, 9101601, Israel

Phone: +972-2-6281278, ext. 4
www: Museum on the Seam

02|02 > 23|02|2020
Prix Renee Carcan
Bibliotheca Wittockiana

23 rue du Bemel
B 1150 Bruxelles

Phone: +32(2)770 53 33
www: Bibliotheca Wittockiana

06|08 > 02|11|2020
Museum de Reede
Permanent Munch, Goya Rops
Marcelle Hanselaar , Graphic oeuvre

Ernest van Dijckkaai 7,
2000 Antwerpen, Belgium

Phone: +32(3)434 03 04
www: Museum de Reede

22|09|2020 – 10|01|2021
Voices of Protest
The Crying Game prints
Marcelle Hanselaar with prints by Otto Dix, Francisco Goya, Jean Rustin, Leo Haas
Shiba Gallery
The Fitzwilliam Museum
Trumpington St, Cambridge CB2 1RB

This exhibition will showcase The Crying Game (2015-17), a set of prints by Marcelle Hanselaar, in whose work the human capacity for intolerance and aggression is laid unflinchingly bare. Hanselaar uses the inherent ferocity of the scored etched line to confront such disparate images as the conflicts and destruction in the Middle East, the plight of refugees, child soldiers, slavery and drug addiction. The thirty etchings that make up The Crying Game will be interspersed with prints by earlier artists in the Fitzwilliam Museum’s collection, some of whom have been her greatest influences: Francisco Goya (1746-1828), who documented the cruelty of the Spanish Peninsular War (1808-14) and Otto Dix (1891-1969), as well as Leo Haas (1901-1983) and Jean Rustin (1928-2013), who witnessed atrocities of World War II and the Nazi holocaust. Hanselaar’s work adds a female perspective and makes a significant contribution to Fitzwilliam’s growing collection of prints relating to war and conflict. Juxtaposed in this way, showing a long history of violence as documented by artists, Hanselaar’s prints address issues of shock and provocation and confront the ethical responsibilities of being an observer in a world riddled with horror and violence.