August 28, 2013

Cornelisa Edwards

Cornelia Edwards (1987) work is unfolding segments of questions about the physical and psychological behaviors associated with the fashion garments, and the interplay of this interior and exterior. Each project follows as part of her semiotic voyage, alternating between fiction and non fictional maps in the mind, but taking one step at a time.

If you are interested in lace as an art form, please go and check this great blog:

August 21, 2013

Photo's closing event SALON/KANT

We would like to thank everyone participating in any way with SALON/KANT. We appreciate your efforts, good energy, time, blood, sweat and tears to make this fourteenth edition of SALON/ a huge success. Thank you very much!

Pictures of the closing event at Magazijn with singer-song writers Susan Jane & Linda Kreuzen. (credits JW Kaldenbach)

Susan Jane & Linda Kreuzen.

August 16, 2013


This Sunday you are cordially invited to join us at one -or more- of these concerts that act as the closing event for this fourteenth edition of SALON/. SALON/KANT is coming to an end and in collaboration with Live in Your Living Room we host three intimate concerts.

Please reservate at:

1. MAGAZIJN, Oudezijds Voorburgwal 153:
15:30-17:00 Susan Jane & Linda Kreuzen &

Linda Kreuzen

Susan Jane

2. Museum Ons' Lieve Heer Op Solder, Oudezijds Voorburgwal 40
15;30 - 17:00 Theo Sieben & Divera


Theo Sieben

3. Cromhouthuizen/Bijbels Museum, Herengracht 368
15:30-17:00 Selma Peelen & Yorick van Norden &

Selma Peelen

Yorick van Norden

Please reservate at:

August 11, 2013


Designing for Tommy Hilfiger, Bruuns Bazaar and Eksempel have shaped her career. Fashion designer Esther Dorhout Mees, a graduate from ArtEZ, is a promising new name in Dutch fashion. Before building up her own fashion label DORHOUT MEES, she presented her work at New York fashion week and Kopenhagen fashion week. Her intriguing work is exposed at Oude Kerk.

Why did you join SALON/KANT?
I always thought that SALON/ was great initiative. I am very happy to participate this time. I have great interest in the process and development of a work of art. I like to demonstrate how things are made.

What did you make for  SALON/KANT?
I created two dresses which hang from the ceiling in a little room at Oude Kerk. I only used Gutterman yarn to make the dresses. On the wall hangs a screen showing my film 'Unfolding'. 

How do you feel about kant (lace)?
The first thing that comes to mind when thinking about lace is nostalgia. Old times where women were decent and did what they were told. I also think about my dress when I was baptized, it had a tail of 2 meters. I realized that lace is all about connection. Connecting pieces of thread together.

By Martino Bidotti

August 2, 2013

SALON/Kant: JW Kaldenbach

Diptych, digital prints, 90 x 2,50 cm. Photography by JW Kaldenbach, Styling Lonneke Démoed, hair and make-up Maison Manous, nails & assistance Niko Démoed. On exhibit at The Oude Kerk, Amsterdam.

August 1, 2013


Robin Kolleman graduated from the Academie van Beeldende Kunsten Rotterdam in 1988 specialized in sculpture and mixed media. After her time at the academy she has worked as a curator for the Erasmus gallery in Rotterdam. She is more than happy to be exhibiting as part of the SALON/KANT event. Her work is demonstrated in the beautiful Oude Kerk. “I really like and appreciate the set up of SALON/, with its different art disciplines showcased at unexpected location. I’m very happy to exhibit at the Oude Kerk.

How did you get involved with SALON/KANT?
A friend of mine asked me to send pictures to her to transfer to Gijs Stork. She thought it would really fit with the concept.

What’s your connection with kant (lace)?
It’s not lace in general; I’m more connected with textile.

What do you exhibit at SALON/KANT?
Two works, one is ‘Epos 1, an ode to daily life’. It is a complex work of art build up out of four parts: an old Dutch blanket case, an old wooden iron board, on top of that a mannequin doll dressed in a short wedding dress with a lace under skirt on ice skates with a blind fold shaped as an African veil. On the head of the doll, supported by one of her hands, there is a coffin attached which is made out of a knitted bedspread. From lace.
All parts are white, accept the skin tone of the doll and long skin lace gloves. I waxed the iron board to give it a more icy feeling.

What has been your process?
The beginning has been a test of finding stuff of Internet. I had to find the right parts to begin with. They are all second hand. After finding them the technical part started. How do I fix the parts together with maintaining the balance? Making the coffin, altering and stiffening the dress, moulding the blindfold, making the lace gloves: all part of the technical process. I found it very exciting when I had to put it all together; would it fit and stay put without using a safety thread?

What’s the connection between the work and lace?
Lace means transparency, for me. It comes back in different ways. In the under skirt, the lace gloves and of course the coffin. I use transparency to give my work a sense of light. Death is always there, but it doesn’t have to be heavy.

By Martino Bidotti