Current & Forthcoming Exhibitions

16 September – 14 November 2021
The III Novosibirsk International Triennial of Graphic Arts
Invited by Nan Mulder, curator for Dutch artists
Novisibirsk State Art Museum.
Krasnyy Prospekt, 5, Novosibirsk, Novosibirsk Oblast, Russia, 630007

October 18 – 31 2021
Editions/Artists’ Books Fair 2021
With Julian Page
This year’s online E/AB Fair will celebrate the New York Print Week

24 October – 21 November 2021
PV Sunday 24 October 2-6 pm
Northsea paintings
De Queeste Art
Trappistenweg 54
8978 | Abele/Watou, Belgium
T+32 (0)57 33 48 72
Opening times Saturday and Sunday from 2-6 pm and by appointment

5 November 2021- 7 February 2022
Pv Friday 5 November
Marcelle Hanselaar : The Bark and the Bite
Museum de Reede
Ernest van Dijckkaai 7,
2000 Antwerpen, Belgium

11 – 14 November 2021
With Julian Page
The Online Edition: 11 – 28 November 2021

Postponed due to Covid to end of 2021, beginning 2022
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.