Tim Breukers

De Holle Kies als Torso van Belvedere, 2013
165 x 110 x 110 cm
clay, glaze

Breukers_Tim_De-holle-kies_2013_13

De Holle Kies als Torso van Belvedere, 2013
165 x 110 x 110 cm
clay, glaze

Puber Beeld, 2013
193 x 86 x 62 cm
clay, glaze

Breukers_tim_puber-beeld_2013_12

Puber Beeld, 2013
193 x 86 x 62 cm
clay, glaze

Crocodile Bag, 2014
206 x 95 x 86 cm
clay, glaze

Breukers_Tim_Crocodile-Bag_2014_11

Crocodile Bag, 2014
206 x 95 x 86 cm
clay, glaze

Lamp, 2016
69 x 40 x 34 cm
clay, lamp, plants

Breukers_Tim_Lamp_2016_10

Lamp, 2016
69 x 40 x 34 cm
clay, lamp, plants

DE VOORUITDENKER, 2016
75 x 85 x 6 cm
clay

Breukers_Tim_DERVORUITDENKER_2016_09

DE VOORUITDENKER, 2016
75 x 85 x 6 cm
clay

DE VOORUITDENKER, 2016
75 x 85 x 6 cm
clay, glaze

Breukers_Tim_DERVORUITDENKER_2016_08

DE VOORUITDENKER, 2016
75 x 85 x 6 cm
clay, glaze

DE VOORUITDENKER, 2016
75 x 85 x 9 cm
clay, glaze, coins

Breukers_Tim_DERVORUITDENKER_2016_07

DE VOORUITDENKER, 2016
75 x 85 x 9 cm
clay, glaze, coins

DE VOORUITDENKER, 2016
75 x 85 x 9 cm
clay, glaze, coins

Breukers_Tim_DERVORUITDENKER_2016_06

DE VOORUITDENKER, 2016
75 x 85 x 9 cm
clay, glaze, coins

DE VOORUITDENKER, 2016
each: 75 x 85 x 6 cm
clay, glaze

Breukers_Tim_DERVORUITDENKER_2016_05

DE VOORUITDENKER, 2016
each: 75 x 85 x 6 cm
clay, glaze

Big Bag, 2016
119 x 108 x 112 cm
porcelain

Breukers_Tim_Big-Bag_2016_04

Big Bag, 2016
119 x 108 x 112 cm
porcelain

tim breukers, mia boysen, 2016
installation view
mirko mayer mallery

Breukers_Tim_installation-view_2016_03

tim breukers, mia boysen, 2016
installation view
mirko mayer mallery

T, 2011
390 x 210 x 180 cm
tape, mixed media

Breukers_Tim_T_2011_02

T, 2011
390 x 210 x 180 cm
tape, mixed media

Lizard Lounge, 2015
213 x 145 x 120 cm
aluminium

Breukers_Tim_Lizard-Lounge_2015_01

Lizard Lounge, 2015
213 x 145 x 120 cm
aluminium

inquire

works

exhibitions involved

No items found.

ABOUT THE ARTIST

Die „Big Bag“ steht emblematisch für Breukers Skulpturen, die zu seiner Umgebung in direktem Zusammenhang stehen. Die Porzellan-Skulptur bildet eine Transporttasche für Bauschutt in Lebensgröße ab, die aus dem Atelier des Künstlers stammt. Die handgefertigte Holzpalette, die Teil der Arbeit ist und auf der die Skulptur steht, dient gleichzeitig als Sockel und als Transportpalette. Streben, welche die Skulpturen während des Produktionsprozesses stützen, bleiben als Teil der Arbeit enthalten. Durch Integration und Darstellung des kreativen Prozesses erforscht Breukers neue skulpturale Themen und die technischen Möglichkeiten seines Mediums.

Die mit Klebeband und Schaumstoffflocken spontan entstandene Skulptur zeigt exakt wie Breukers arbeitet. Alle Werke entwickeln und verändern sich bei der Anfertigung: Breukers weis nie wie seine Skulpturen am Ende genau aussehen werden.....bis kurz vor deren Vollendung. Sei es ein Werk aus Klebeband oder eine lebensgroße Skulptur aus Ton bzw. Porzellan.

Big Bag  is one example of Breukers’s sculptures that are directly related to his surroundings. The porcelain sculpture consists of a transport bag, which came from the artist’s studio. The work is actual size, and the pedestal of the sculpture is a tailor made wooden pallet. At the same time it is transport tool and a
completion of the sculpture. The pointer sticks that support the sculptures during the production process are also included in the work. By both integrating and representing the creative process the artist explores new sculptural subjects and the technical possibilities of his medium.

The sculpture made of tape and foam pieces placed on a used transport crate shows exactly Breuker’s principle of operation. All works develop and change during the construction process. Breukers never knows how his sculpture will look like at the end……until they are finished. No matter if he works with tape, clay or porcelain.

Big Bag  is one example of Breukers’s sculptures that are directly related to his surroundings. The porcelain sculpture consists of a transport bag, which came from the artist’s studio. The work is actual size, and the pedestal of the sculpture is a tailor made wooden pallet. At the same time it is transport tool and a
completion of the sculpture. The pointer sticks that support the sculptures during the production process are also included in the work. By both integrating and representing the creative process the artist explores new sculptural subjects and the technical possibilities of his medium.

The sculpture made of tape and foam pieces placed on a used transport crate shows exactly Breuker’s principle of operation. All works develop and change during the construction process. Breukers never knows how his sculpture will look like at the end……until they are finished. No matter if he works with tape, clay or porcelain.

Die „Big Bag“ steht emblematisch für Breukers Skulpturen, die zu seiner Umgebung in direktem Zusammenhang stehen. Die Porzellan-Skulptur bildet eine Transporttasche für Bauschutt in Lebensgröße ab, die aus dem Atelier des Künstlers stammt. Die handgefertigte Holzpalette, die Teil der Arbeit ist und auf der die Skulptur steht, dient gleichzeitig als Sockel und als Transportpalette. Streben, welche die Skulpturen während des Produktionsprozesses stützen, bleiben als Teil der Arbeit enthalten. Durch Integration und Darstellung des kreativen Prozesses erforscht Breukers neue skulpturale Themen und die technischen Möglichkeiten seines Mediums.

Die mit Klebeband und Schaumstoffflocken spontan entstandene Skulptur zeigt exakt wie Breukers arbeitet. Alle Werke entwickeln und verändern sich bei der Anfertigung: Breukers weis nie wie seine Skulpturen am Ende genau aussehen werden.....bis kurz vor deren Vollendung. Sei es ein Werk aus Klebeband oder eine lebensgroße Skulptur aus Ton bzw. Porzellan.

TIM BREUKERS INTERVIEWS TIM BREUKERS AMSTERDAM, 2016

How would you describe your practice?
There are two sides to almost all of my work. On one hand, there is the sculptural, technical, classical and monumental approach; on the other, the informal, banal and comical approach. My work is created where those two extremes meet. My collage ‘Because bigger really is better’ is a typical example.

Large clay sculptures take a central position in your work – why do you use clay?
I love the sharpness of the material, the way it cracks, tears and flakes off. As if it wants to break. I want the material to speak. I play with its fragility to create visual tension. I constructed the sculpture Rock out of clay tubes – after firing them, I smashed up most of it again.

How are your sculptures created?
I play around with the creation process. Particularly so in the porcelain sculpture of a doorpost, where things that were left or dropped ‘accidentally’ as I worked became essential reference points of the work. Preparation turns into a seemingly self-performing process. I copied wooden support lattices and glue clamps from the process in porcelain; the work shows its own creation.

Could you explain the döner kebab?
The leftover material from the clay press looked like kebab. It was a wonderful surprise; I came to make a sculpture and left with döner kebab. An exploration of the materiality of everyday life. The kebabs are ready to welcome visitors. This was a first step towards the installations of Rijksakademie OPEN 2014 and VamPiranesi, in which I meant to bring the work, the visitors and the exhibition space closer together.  

Why did you have the visitors of your presentation walk on “fragile” tape?
I was looking for something content wise to protect against the fragility of ceramics. Instead of excluding the fragility, I wanted to confront vistors with it the moment they entered the presentation. In that presentation, I played with power and fragility. For instance, there was also a clay pallet jack, and a female bodybuilder who lifted me up with a series of different holds and grips.  

What sort of sculpture is the Lizard Lounge?
It is a sculpture you can enter. The Lizard Lounge is an homage to the hangout place at the Dutch post master residency Rijksakademie. My residencies at the European Ceramic Work Centre and at artist’s foundry Gieterij Beeldenstorm taught me a great deal about materials and techniques. The most valuable thing Rijksakademie gave me was getting to know the staff and residents from around the world, and the various ways in which they worked and lived. Running into each other in the Cantina and the Lizard Lounge every day for two years – that nourished my work in an informal way.  

What is the origin of the title ‘VamPiranesi’?
The title is a contraction of the word ‘vampire’ and Piranesi. The wall of polystyrene foam is a copy of the wall of the exhibition space behind it. I wanted to turn that wall into a ruin, to invoke Piranesi’s etchings of the ruins of Rome. What’s enviable about those etchings to me is that the crumbling architecture, whose original form you can still make out, is equal in importance to the overgrown fragments and debris that are no longer recognisable. The exhibition space is in Tilburg; the vampire on top of the wall as a ‘rückenfigur’ was also intended as a reference to the haunted mansion and the well-known funfair in Tilburg.  

Why is there a T-rex skeleton in the presentation?
Making my own dinosaur is a boyhood dream of mine. As a sculptor, I wanted to make a grand gesture. I thought it would be exciting to relate the Rijksakademie gate to the Jurassic Park entrance. And I came that the ruins of Rome juxtaposed nicely with Jurassic Park, two reserve areas for giants and that weird thing with time.

How would you describe your practice?
There are two sides to almost all of my work. On one hand, there is the sculptural, technical, classical and monumental approach; on the other, the informal, banal and comical approach. My work is created where those two extremes meet. My collage ‘Because bigger really is better’ is a typical example.

Large clay sculptures take a central position in your work – why do you use clay?
I love the sharpness of the material, the way it cracks, tears and flakes off. As if it wants to break. I want the material to speak. I play with its fragility to create visual tension. I constructed the sculpture Rock out of clay tubes – after firing them, I smashed up most of it again.

How are your sculptures created?
I play around with the creation process. Particularly so in the porcelain sculpture of a doorpost, where things that were left or dropped ‘accidentally’ as I worked became essential reference points of the work. Preparation turns into a seemingly self-performing process. I copied wooden support lattices and glue clamps from the process in porcelain; the work shows its own creation.

Could you explain the döner kebab?
The leftover material from the clay press looked like kebab. It was a wonderful surprise; I came to make a sculpture and left with döner kebab. An exploration of the materiality of everyday life. The kebabs are ready to welcome visitors. This was a first step towards the installations of Rijksakademie OPEN 2014 and VamPiranesi, in which I meant to bring the work, the visitors and the exhibition space closer together.  

Why did you have the visitors of your presentation walk on “fragile” tape?
I was looking for something content wise to protect against the fragility of ceramics. Instead of excluding the fragility, I wanted to confront vistors with it the moment they entered the presentation. In that presentation, I played with power and fragility. For instance, there was also a clay pallet jack, and a female bodybuilder who lifted me up with a series of different holds and grips.  

What sort of sculpture is the Lizard Lounge?
It is a sculpture you can enter. The Lizard Lounge is an homage to the hangout place at the Dutch post master residency Rijksakademie. My residencies at the European Ceramic Work Centre and at artist’s foundry Gieterij Beeldenstorm taught me a great deal about materials and techniques. The most valuable thing Rijksakademie gave me was getting to know the staff and residents from around the world, and the various ways in which they worked and lived. Running into each other in the Cantina and the Lizard Lounge every day for two years – that nourished my work in an informal way.  

What is the origin of the title ‘VamPiranesi’?
The title is a contraction of the word ‘vampire’ and Piranesi. The wall of polystyrene foam is a copy of the wall of the exhibition space behind it. I wanted to turn that wall into a ruin, to invoke Piranesi’s etchings of the ruins of Rome. What’s enviable about those etchings to me is that the crumbling architecture, whose original form you can still make out, is equal in importance to the overgrown fragments and debris that are no longer recognisable. The exhibition space is in Tilburg; the vampire on top of the wall as a ‘rückenfigur’ was also intended as a reference to the haunted mansion and the well-known funfair in Tilburg.  

Why is there a T-rex skeleton in the presentation?
Making my own dinosaur is a boyhood dream of mine. As a sculptor, I wanted to make a grand gesture. I thought it would be exciting to relate the Rijksakademie gate to the Jurassic Park entrance. And I came that the ruins of Rome juxtaposed nicely with Jurassic Park, two reserve areas for giants and that weird thing with time.

Tim Breukers / biography

 
  
  
1985*Breda, NL
2003-2007Academie Beeldende Vorming, Tilburg, Teacher Fine Art and Design
 Lives and works in Amsterdam
  
  

residencies | trainings

 
  
2016MMCA, Seoul, KR, 6 months artist in residence
2013-2014Rijksakademie van beeldende kunsten, Amsterdam
2012Beeldenstorm, Eindhoven, 3 months, aluminum and the lost wax technique
2011European Ceramic Work Centre, Den Bosch, 3 months, monumental porcelain
2010Coup de Ville, artist village, Sint Niklaas, BE, week, conference and portfolio
  
  

collections

 
  
 Stedelijk Museum 's-Hertogenbosch
 Ministry of Foreign Affairs
 Kunstfonds Kolibri
 Rijksakademie Beeldende Kunsten, Amsterdam
 Various private collections
  
  

sponsorship | awards

 
  
2016Mondriaan Fonds, financial support MMCA
2014Stichting Stokroos, financial support publication Marvellous World of Minerals
2013-2014Mondriaan Fonds, financial support Rijksakademie
2013De By - van der Heyden Fonds, financial support Rijksakademie
2012Mondriaan Fonds, financial support Beeldensorm
2011Fonds BKVB, financial support EKWC
2007Jaques de Leeuw Jong Top Talent Prijs, Fontys Hogeschool voor de Kunsten, Tilburg
  
  

comissions

 
  
2016Poort van Toorop, Wonan, sketch design for semi-public space, NL
2014Koninklijke Nederlandse Munt, sketch design three coins Dutch World heritage, NL
  
  

einzelausstellungen | solo shows

 
  
2019Timpies Prijzen Paleis', Zoete Broodjes, Amsterdam, NL
2017Futchka!', Studio 21, Kolkata, IN, 'BREAKING NEWS', solo Boys club, Dariyapur, IN
 'De Vooruitdenker' Galerie Van de Weghe, Antwerpen, BE
 ‚Free Iphones in soupy noodles', 800/40, Seoul, KR
2015Galerie Mirko Mayer, Cologne, DE
2012Terra, Delft, NL
  
  

gruppenausstellungen | group shows

 
  
2020Antwerp Artfair (1st edition), BE
2019Kippykata', Art Bar Kippy, Amsterdam, with Bonno Van Doorn, NL
 Waaromnieloods', Nieuw en Meer, Amsterdam, duo met Joost Krijnen, NL
 Free Iphones in Soupy Noodles', EKWC, Heusden, NL
 'Point in Time', Dom plein Utrecht, NL
 De Apotheek, Amsterdam, 'emoH', with Marcel van den Berg, NL
 10 years gallery anniversary', Sjoerd Tim en Thijs Rijnsburger re(D) Gallery, with Narcisse Tordoir, Antwerp, BE
 50 jaar EKWC', Stedelijk Museum 's-Hertogenbosch, Amsterdam, NL
 Art Brussels, (re)D. Gallery, BE
2018 'The secret life of materials', Beeldenstorm, Eindhoven, NL
 Bus Projects, duo with Sanne Vaassen, Melbourne, AU
  'Space Without Time', W139, Amsterdam, NL
2017Beyond Thunderdome', NEST, The Hague, initiator Unfair, NL
 Dove Audio & Video Festival Showcase', SSQQ, Seoul, KR
 Banner project, Dutch Design Week, Gieterij Beeldenstorm, Eindhoven, NL
 15/LOVE', De School, Amsterdam, NL
 Verkenningvoor een collectie' Stedelijk Museum s'Hertogenbosch, NL
 Hans & Fritz Contemporary, Barcelona, ES
 Tribute to Julian B. Coco', Francis Boeske Projects, Amsterdam, NL
2016Nomans Land', MMCA Changdong, Seoul, KR
 Sculpture Biënnale, Changwon, KR
 Thuis salon', Galerie Z, Nijmegen, NL
 Willem 2 fabriek, 's-Hertogenbosch, NL
 W139, Amsterdam, NL
 De Eerste Steen', duo with Andreas Arndt, podiumzaal, Tilburg, NL
 Collection 1996 - 2016', Galerie Mirko Mayer, Cologne, DE
2015PaltzArt, Soest, DE
 YIA Art fair, Galerie Van de Weghe, Brussel, BE
 Art Cologne, Mirko Mayer Gallery, Cologne, DE
 Suns and Stars, performance event, Pakhuis de Zwijger, Amsterdam, NL
 De blauwe kamer', Quartair, Den Haag, NL
 COFA contemporary, Mirko Mayer Gallery, Cologne, DE
 ‚MOB', Whatspace, Tilburg, NL
 ‚Rapture and Pain', Fundament, Tilburg, NL
 ‚Ruïnepark', duo with Jop Vissers, Tilburg, NL
 ‚Sculptural Possible', Mirko Mayer Gallery, Cologne, DE
 Suns and Stars, Jagtlust, 's-Graveland, NL
 The mirror and lamp show', Kunstvereniging Diepenheim, NL
 Art Rotterdam, Galerie Van de Weghe, BE
 Nieuwe Vide Shop, Haarlem, NL
2014Rijksakademie OPEN, Amsterdam, NL
 EXO, Den Haag, NL
 Suns and Stars, Zonnestraal, Hilversum, NL
 ‚The Daylight Show', Grote Kerkstraat, Leiden, NL
 ‚I am not doing anything until I feel the need', Nederlandse Bank, Amsterdam, NL
 ‚I am not doing anything until I feel the need' Museumnacht, Rijksakademie, Amsterdam, NL
 ‚Generation Y /Why/IK' Rijksakademie, Amsterdam, NL
 ‚Zonder dubbele bodem', Galerie Helder, Den Haag, NL
 ‚Gasten van de familie Bolink', European Ceramic Context, Bornholm, DK
 Galerie Van de Weghe, Antwerpen, BE
2013Rijksakademie OPEN, Amsterdam, NL
 WARP, Sint-Niklaas, BE
 Loods 6, Amsterdam, NL
 ‚Inflatable Fun', Rijksakademie, Amsterdam, NL
 'Museum Le Secret', University Pécs, HU,
 Museumnacht, Rijksakademie Amsterdam, NL
 Statenkwartier festival, Den Haag, NL
 'Transfo Klei' Zwevegem, BE

tim breukers / biography

1985
*breda, nl

2003-2007
academie beeldende vorming, tilburg, teacher fine art and design
lives and works in amsterdam    

residencies | trainings

2016
mmca, seoul, kr, 6 months artist in residence

2013-2014
rijksakademie van beeldende kunsten, amsterdam

2012
beeldenstorm, eindhoven, 3 months, aluminum and the lost wax technique

2011
european ceramic work centre, den bosch, 3 months, monumental porcelain

2010
coup de ville, artist village, sint niklaas, be, week, conference and portfolio    

collections

stedelijk museum 's-hertogenbosch ministry of foreign affairs kunstfonds kolibri
rijksakademie beeldende kunsten, amsterdam various private collections  

 

sponsorship | awards

2016
mondriaan fonds, financial support mmca

2014
stichting stokroos, financial support publication marvellous world of minerals

2013-2014
mondriaan fonds, financial support rijksakademie

2013
de by - van der heyden fonds, financial support rijksakademie

2012
mondriaan fonds, financial support beeldensorm

2011

fonds bkvb, financial support ekwc

2007
jaques de leeuw jong top talent prijs, fontys hogeschool voor de kunsten, tilburg    

comissions

2016
poort van toorop, wonan, sketch design for semi-public space, nl

2014
koninklijke nederlandse munt, sketch design three coins dutch world heritage, nl  

 

einzelausstellungen | solo shows

2019
timpies prijzen paleis, zoete broodjes, amsterdam, nl

2017
futchka!, studio 21, kolkata, in, breaking news, solo boys club, dariyapur, in
de vooruitdenker galerie van de weghe, antwerpen, be
free iphones in soupy noodles, 800/40, seoul, kr

2015
galerie mirko mayer, cologne, de

2012
terra, delft, nl 

gruppenausstellungen | group shows

2020
antwerp artfair (1st edition), be

2019
kippykata, art bar kippy, amsterdam, with bonno van doorn, nl
waaromnieloods, nieuw en meer, amsterdam, duo met joost krijnen, nl
free iphones in soupy noodles, ekwc, heusden, nl
point in time, dom plein utrecht, nl
de apotheek, amsterdam, emoh, with marcel van den berg, nl
10 years gallery anniversary, sjoerd tim en thijs rijnsburger re(d) gallery, with narcisse tordoir, antwerp, be
50 jaar ekwc, stedelijk museum 's-hertogenbosch, amsterdam, nl
art brussels, (re)d. gallery, be

2018
the secret life of materials, beeldenstorm, eindhoven, nl
bus projects, duo with sanne vaassen, melbourne, au
space without time, w139, amsterdam, nl

2017
beyond thunderdome, nest, the hague, initiator unfair, nl
dove audio & video festival showcase, ssqq, seoul, kr
banner project, dutch design week, gieterij beeldenstorm, eindhoven, nl
15/love, de school, amsterdam, nl
verkenningvoor een collectie stedelijk museum s'hertogenbosch, nl
hans & fritz contemporary, barcelona, es
tribute to julian b. coco, francis boeske projects, amsterdam, nl

2016
nomans land, mmca changdong, seoul, kr
sculpture biënnale, changwon, kr
thuis salon, galerie z, nijmegen, nl
willem 2 fabriek, 's-hertogenbosch, nl
w139, amsterdam, nl
de eerste steen, duo with andreas arndt, podiumzaal, tilburg, nl
collection 1996 - 2016, galerie mirko mayer, cologne, de

2015
paltzart, soest, de
yia art fair, galerie van de weghe, brussel, be
art cologne, mirko mayer gallery, cologne, de
suns and stars, performance event, pakhuis de zwijger, amsterdam, nl
de blauwe kamer, quartair, den haag, nl
cofa contemporary, mirko mayer gallery, cologne, de
mob, whatspace, tilburg, nl
rapture and pain, fundament, tilburg, nl
ruïnepark, duo with jop vissers, tilburg, nl
sculptural possible, mirko mayer gallery, cologne, de
suns and stars, jagtlust, 's-graveland, nl
the mirror and lamp show, kunstvereniging diepenheim, nl
art rotterdam, galerie van de weghe, be nieuwe vide shop, haarlem, nl

2014
rijksakademie open, amsterdam, nl
exo, den haag, nl
suns and stars, zonnestraal, hilversum, nl
the daylight show, grote kerkstraat, leiden, nl
i am not doing anything until i feel the need, nederlandse bank, amsterdam, nl
i am not doing anything until i feel the need, museumnacht, rijksakademie, amsterdam, nl
generation y /why/ik rijksakademie, amsterdam, nl
zonder dubbele bodem, galerie helder, den haag, nl
gasten van de familie bolink, european ceramic context, bornholm, dk
galerie van de weghe, antwerpen, be

2013
rijksakademie open, amsterdam, nl
warp, sint-niklaas, be loods 6, amsterdam, nl
inflatable fun, rijksakademie, amsterdam, nl
museum le secret, university pécs, hu, museumnacht, rijksakademie amsterdam, nl
statenkwartier festival, den haag, nl
transfo klei zwevegem, be