Happy Anniversary, Atelier Van Lieshout
How do we begin to sum up the enduring influence and effortless cool of Atelier Van Lieshout (and its visionary founder, Joep)? The scope and impact of AVL’s work is frankly immeasurable. So, in honour of the collective’s 40th anniversary and Joep’s 60th birthday, we’re releasing this exclusive interview with the man himself for a taste of his art practice in his own words.
Atelier Van Lieshout on Life, Origin and art’otel Amsterdam
Art in The Netherlands is more than a casual hobby, it’s a way of life. It plays a huge part in the country’s history and identity from OG masters like Rembrandt to Van Gogh and, more recently, Joep van Lieshout. As art’otel Amsterdam’s signature artist, the widely celebrated creative brings an authentic Dutch point of view to every part of the hotel with his uniquely rebellious energy—and that’s just how he likes it. In the last three decades, with Joep at the helm, Atelier Van Lieshout has produced ground-breaking, sometimes controversial pieces ranging from large-scale sculptures to commercial office chairs.
At its core, the work explores what it means to be human—to have a body, a function, and a life (especially in political and domestic contexts)—and much of that exploration is done through spaces (i.e., buildings, dwellings and communities) as well as the objects within them. So, how would Atelier Van Lieshout approach a hotel? To learn more about one of their biggest spaces to date, we went to the famed Rotterdam studio for a chat.
Can you give us a brief overview of your studio and practice?
A long time ago I had the thought that art should not only be about one person—it should be bigger than that. So, I started the company Atelier Van Lieshout. We do a lot of different things: sculpture, furniture, architecture and everything in between. It’s not a collective in the traditional sense where we all decide what to do—I direct that—but we collaborate and use the creativity and energy of everyone working. There are about 20 people working for the studio.
When did you start making art? How did you find this artistic identity?
I was 16 when I went to art school. My interest in it started a couple of years before that. I started as a painter, but then very soon discovered I love sculpture much more. I was always the youngest of the class and that also meant I had to find my own way. I was a very different from the group, and that’s what I like and that’s what I still am. You only live once and I really want to take everything from life.
Have you always been interested in design and architecture as well? How did that interest develop?
For me, this development was very natural. I have to say my attitude towards design is very much from the point of view of an artist. The designer makes something that a customer wants, and the artist just does whatever he wants. So, I just do whatever I want and sometimes it leads to a usable, functional design. I’m not business-like enough to be a designer!
You often work at the intersection of contrasting elements—organic and manufactured, functional and aesthetic, etc. Why?
Well, I am a bit of an anarchist and a bit inventive as well. In my work I tend to use contrast and opposites, like real and surreal, beautiful and ugly, good and bad, and that means in between the two is a lot of space for interpretation. Because, if you really are very specific, there is no way to think differently. I actually see my work as a kind of invitation for dialogue and thought. The unknown makes freedom possible.
Is there an element that you prioritise or are they all equally important to you?
I’m always very visual when I make or design things. The visual pleasure for myself is the most important—more important than the concept, idea, or poetry. Of course, what I think is beautiful is also very personal. So, beauty—beauty is the biggest force for me.
How do you approach a curatorial project? Where do you start when it comes to selecting your work and the pieces you’ll feature?
It’s really my feeling, my intuition that makes me choose something. And I think that is actually the essence of art, or at least of a lot of art, is that an artist translates intuition into a product that can be seen and interpreted by other people.
Why did you choose “Course of Life” as the theme for art’otel Amsterdam? What does this concept mean to you?
Course of Life is the story of a human being as a race and as an individual. It’s the way we are conceived, born, grow up, and grow older. We maybe get children ourselves, have relationships. We continue to grow old and older and then, at a certain moment, we disappear. And I think that story is very important, and everyone can relate to that.
Stop by art’otel Amsterdam for more information on the Atelier Van Lieshout collaboration, collection, and individual pieces.
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