Part 1: Beating Death With His Own Arm


Exhibition Opening: 19:00
Performance by Janneke van der Putten: 20:30

We are excited to welcome you to Beating Death With His Own Arm*, the inauguration of Volume III of our exhibition series The Last Terminal: Reflections on the Coming Apocalypse. 

The exhibition consists of two parallel presentations by gerlach en koop, Tomo Savić-Gecan, and Lisa Ivory and will be opened with a site-specific performance by Janneke van der Putten, who in exploring the limits of her unmediated voice will engage with the acoustics of the exhibition space.

Part of Volume III consists of exploring several recent and stylistically diverse painting practices. A selected collection of works by a single painter is broken down into distinct chapters and shown as a developing story over the course of one to two years, in conjunction with other exhibited works and characters some of which are introduced at a later stage to the story of The Last Terminal. We are keen on experiencing how these paintings and their future offspring that are yet to be painted, will animate the exhibition’s evolving narrative with their somewhat withdrawn presence.

Simultaneously we will start exploring the process of importing and re-staging entire exhibitions that were previously presented and developed for another context. Rib’s proposal is to lift the original exhibition from its stationary and propositional status by gradually re-animating it over time. At the same time, and in a reversed fashion we are preparing the export and re-staging of the three volumes of The Last Terminal developed over a period of more than three years, as a single stationary exhibition in a larger institution abroad in 2026.

As accompaniment to the gradual outstretching of our program both in time and in terms of its readjustments to new infrastructural changes, the oral history of this process will be consistently recorded through Rib’s own regular publishing and in collaboration with a guest writer who will be following and reflecting on our program throughout the year.

En om drie uur?
Dan slaap ik.

gerlach en koop (2024)

Sleep can neither be learnt nor mastered. A force that cannot be forced. Sleep is something that is granted. All insomniacs can do is imitate a sleeper, adopting the posture of a body that sleeps. In fact a re-staging of the night before and the night before and the night before, hoping that at some point their imitation will match, that the faithfully copied sleeper will coincide with the original from last night … and that is when you fall.

In 2020 gerlach en koop displayed works by other artists in an exhibition at the edge of sleep at the GAK, Gesellschaft für Aktuelle Kunst in Bremen, Germany. Over the course of this coming year a faltered re-staging of this unusual solo-exhibition will unfold in the space of Rib. One work at a time. A full re-staging will follow, later on, in a somewhat larger space. Not all works exhibited in Bremen will be re-staged however, and the ones that are will be changed by the very act of re-staging. For this first one—En om drie uur? Dan slaap ik.—gerlach en koop decided to retrace their steps and invite an artist to discuss a work that had been present in their thinking about sleep from the beginning, a work that was absent in Bremen.

Gerlach en koop 240315 The Last Terminal Volume III Part I DSC0525 lowres Gerlach en koop 240315 The Last Terminal Volume III Part I DSC0525 lowres
gerlach en koop, En om drie uur? Dan slaap ik., 2024. Red lacquered wooden pillow by anonymous artisan, Shandong (China), ca. 1900, from the private collection of gerlach en koop. Photo: Lotte Stekelenburg

Untitled 2020/2022/2024 by Tomo Savić-Gecan is one of three spatial interventions, functional walls initially built for an exhibition at MSU in Zagreb in 2020. This particular wall was reconstructed in Galženica Gallery, Velika Gorica in 2022, and will now be reconstructed once again in Rotterdam. The wall is straight and white and taller than wide. You can imagine this wall for art or thoughts about art. You stop in front of it, standing still. Other walls exist, sure enough, walls you walk along or past, thinking about the art you’ve just seen or are about to.

Lisa Ivory

For when the animal being supporting him dies, the human being himself ceases to be. In order for mankind to reveal itself ultimately to itself, it would have to die, but it would have to do it while living—watching itself ceasing to be. In other words, death itself would have to become (self-)consciousness at the very moment that it annihilates the conscious being.

—Georges Bataille, Hegel, la mort et le sacrifice, 1955

Lisa Ivory 240315 The Last Terminal Volume III Part I DSC0478 lowres Lisa Ivory 240315 The Last Terminal Volume III Part I DSC0478 lowres
Lisa Ivory, Love And Communication, 2023. Photo: Lotte Stekelenburg
Lisa Ivory 240315 The Last Terminal Volume III Part I DSC0486 lowres Lisa Ivory 240315 The Last Terminal Volume III Part I DSC0486 lowres
Lisa Ivory, Tourist In Your Town, 2023. Photo: Lotte Stekelenburg

In a recent phone call, Ivory made it clear that the female figure in her paintings does not represent her. She rather identifies with the monster. The female figure in her paintings mostly interacts with a skeleton, a classical symbol of death, and a dark fluffy monster figure. In a painting titled Upper Hand, she is slapping death on his meatless buttocks with his own detached radius while the monster is watching from afar, and elsewhere death is returning her the same favour in a painting titled Cross Bone Style. Here we see death sitting cross-legged (boned) on a rock, slapping her on her buttocks, while the now tiny slightly shapeshifted monster is watching them passively from close by.

Roles and scales interchange as well as the framing of events. The same scene is sometimes painted twice. Revealing only in a later version an overview of the entire role distribution of all the reoccurring figures, including possible absentees. When paying close attention and read-ing for an extended period, the paintings seem to enter your soul and then your dreams.

The presentation of a larger collection of Ivory’s paintings will be broken down into eight distinct chapters and shown as a developing story over the course of two years.

* Title of a painting by Lisa Ivory

Collective artist gerlach en koop works in twofold to invite a third. They live and work in The Hague, NL and Brussels, BE. Solo exhibitions include GAK Bremen, DE; Bonnefantenmuseum, Maastricht, NL; de Appel, Amsterdam, NL; Temporary Gallery, Cologne, DE; Alte Fabrik, Rapperswil-Jona, CH; 1646, The Hague, NL; Kröller-Müller Museum, Otterlo, NL; Library Van Abbemuseum, Eindhoven, NL; Stroom, The Hague, NL. Their work has been part of group exhibitions at the Project Arts Centre, Dublin, IE; La Criée, Rennes, FR; FIAC, Jardin des Tuileries, Paris, FR; de Appel, Amsterdam, NL; Mu.ZEE, Oostende, BE; de Vleeshal, Middelburg, NL; Netwerk, Aalst, BE; Le Grand Café, Saint-Nazaire, FR; Stroom, The Hague, NL; A Tale of A Tub, Rotterdam, NL; Lesage, Brussels, BE; S.M.A.K, Ghent, BE; the Baltic Triennial at CAC Vilnius, LT and Bunkier Sztuki, Kraków, PL; and Hammer Museum, Los Angeles, USA.

Lisa Ivory lives and works in London. Solo exhibitions include Beasts Beguiled, Museum of Witchcraft and Magic (Cornwall), Savage Gardens, Pamela Salisbury Gallery, New York, Vice, Malice, Lust and Cunning, Lubomirov-Angus-Hughes Gallery, London. Her work has been part of group exhibitions in London and overseas that include Ricco Maresca Gallery (New York), The London Art Fair (London), Charlie Smith (London), Saatchi Gallery (London), Fragment Gallery (Moscow) and Fabian Lang Gallery (Zurich).

Mathew Kneebone’s practice is founded on research into uncertainties surrounding technology, often combining different histories, myths, and folklore. His work touches upon various media including drawing, electronics, writing, sound, and performance to reconfigure or re-contextualize certain technologies, exploring an ambivalent blend of past and present. His work has recently been exhibited at Kunstverein, Amsterdam; 019, Ghent; Extra City, Antwerp; and Cloaca Projects, San Francisco. His writing has been published in Trigger Magazine, OASE Journal for Architecture, The Bulletins of The Serving Library, Another World, Umwelten, among others. He has given talks and workshops at Minnesota Street Project, San Francisco; V2_ Lab for Unstable Media, Rotterdam; Central Saint Martins, London; Sandberg Instituut, Amsterdam; San Serriffe, Amsterdam; Sitterwerk, St. Gallen; EKA Gallery, Tallinn; UEL, London. Kneebone teaches at California College of The Arts, San Francisco, where he is thesis writing supervisor.

Tomo Savić-Gecan
was born in 1967 in Zagreb and lives and works in Amsterdam. He has participated in major perennial exhibitions including the 59th Venice Biennale of Art (2022), Sculpture Garden Biennale Geneva (2020), the Taipei Biennial (2012), the 51st Venice Biennale of Art (2005). and Manifesta, Ljubljana (2000). In 2020 he was the subject of career-spanning retrospective at the Museum of Contemporary Art, Zagreb. Solo shows have taken place at the Museum of Modern and Contemporary Art, Rijeka (2017); Zuidplein, Amsterdam and Van Abbemuseum, Eindhoven (2016); Jeu de Paume, Paris and Bergen Kunsthall (2010); Etablissement d’en face, Brussels (2005); De Loge, Haarlem, (2000); Gallery PM, Zagreb (1998); Kapelica Gallery, Ljubljana (1994); and Gallery SC, Zagreb (1994). Selected group exhibitions have taken place at Kunsthalle Basel (2017); Witte de With Center for Contemporary Art, Rotterdam, (2011); the Museum of Contemporary Art, Zagreb (2011); Apex Art, New York (2007); De Appel, Amsterdam (2006); MoMA PS1, New York (2004); Fridericianum, Kassel (2003) and Kunsthalle Exnergasse, Vienna (2001).