Part 4: Dormitorium

We welcome you to the fourth chapter of The Last Terminal, Volume III, titled Dormitorium, a continuation of two parallel long term solo exhibitions: Om zes uur? Slapen. by gerlach en koop (2024–) and Paintings by Lisa Ivory (2024–2025).

Paintings
Lisa Ivory (2024–2025)

Lisa Ivory’s paintings point to an evolving story with a seemingly clear narrative arc yet the stories do not easily yield to identifications and sympathies. They undermine our certainties about where we are in relation to what we are looking at. They lead one into a painterly universe; a shadow world, a natural habitat for nudes, skeletons, and domesticated monsters.

In Part 1: Beating Death With His Own Arm, we presented two paintings titled Tourist In Your Town and Love And Communication.

In Part 2: Errors, we presented three new paintings titled Foal Phantom, Hard Times, Call It Something Nice.

In Part 3: The Recipient, we presented three new painting titled Outside Love, What the Goat Saw, A Summer Evening.

In Part 4: Dormitorium, we will present a new series of paintings.

Om zes uur?

Slapen.

gerlach en koop (2024–)


How unpredictable is sleep. It is not a skill you can acquire or learn. The sleepless are powerless. Sleep is granted, it just cannot be forced. The only thing you can do is imitate your own sleeping body. Restage the conditions of the night before when it worked—same position, same routine—hoping that at some point the copy will again be convincing enough to merge with the original.

In 2020 gerlach en koop displayed works by other artists in an exhibition titled Was machen Sie um zwei? Ich Schlafe. at the GAK, Gesellschaft für Aktuelle Kunst in Bremen, Germany. In this exhibition they tried to approach the elusive phenomenon that is sleep from both sides, with works that either correspond to the disintegration of falling asleep or the reintegration of waking up.
Throughout the year a restaging of this rather unusual solo-exhibition will unfold in Rib. What was stretched out in space in Bremen will be stretched out in time in Rotterdam. Small gatherings of works each time, four or five, six at the most. Trying to find a position that worked before, trying to merge with the original, like an insomniac.

For the fourth gathering gerlach en koop decided to not cover the wall by Kasper Bosmans with white paint yet, but allow it to take on a different role as support for a copy of a magazine that displays less and less of Mia Farrow, by Melvin Moti. Four more works will be on display. There will be a lacquered apple by Voebe de Gruyter. Lacquer workshops do everything to avoid dust but De Gruyter convinced craftsman Zheng Chongyao to do exactly the opposite: take the apple outside to dry and allow the dust of days and nights in Fuzhou (China) to settle in as many layers of lacquer. The apple is a record.

Then there is a drawing by Guy Mees, tiny pastel dots move towards the irregular edges of the paper, floating out of sight. A floor piece by Kitty Kraus that consists of two stacked sheets of float glass. The piece reflects the ceiling. Sharp, unpolished edges hold us back. Just as the exhibition opens, a room in Edgemont, North Vancouver in Canada will have been emptied and the door and windows closed. A publication with a conversation about this work between Daniel Gustav Cramer and gerlach en koop will be available and free to take.

A spatial intervention originally made by Gerrit Dekker for a group exhibition at BAK in Utrecht (2003), will be restaged in Rib In the absence of Gerrit Dekker. At the time the invitation interrupted a voluntary withdrawal from the structures of the art world but soon after he resumed his retreat that lasted until he died, October last year.