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  • Exhibited

    'AVL-Ville', Rotterdam, 1 June-1 November 2001; 'AVL Franchise', Openluchtmuseum Middelheim, Antwerp, 25 May-25 September 2002; 'Happy Forest', Kröller-Müller Museum, Otterlo, 23 May-15 October 2005; 'Estuaire', Nantes, 26 May-26 September 2007
    Fishermans' house is in the permanent collections of the Fondazione Prada, Milan, and the Sprengel Museum, Hannover.

  • Literature

    Rudi Fuchs and Jennifer Allen, Atelier Van Lieshout. Schwarzes und Graues Wasser, exh. cat.,  Bawag Foundation, Vienna, 2001, pp. 39 and 48; Jennifer Allen, Atelier Van Lieshout, exh. cat., Camden Arts Centre, London, 2002, p. 8; Jennifer Allen, Franchise, exh. cat., Openluchtmuseum Middelheim, Antwerp, 2002, p. 10; Jennifer Allen, Sportopia, Lyon, 2003, inside front cover; Jennifer Allen, et al.,  Atelier Van Lieshout, Rotterdam, 2007, p. 129
     
     

  • Catalogue Essay

    In 2001 Dutch art practice Atelier Van Lieshout (AVL) established ‘AVL-Ville,’ an anarchic free state in the port of Rotterdam. The village, situated on the Atelier’s grounds at Keilestraat 43, included mobile homes, greenhouse, energy plant, arsenal, and Hall of Delights. Article 7 of the attendant Constitution stated: “Everyone has the right to immunity in privacy and artistic lifestyle…” One might presume ‘immunity’ meant ‘special privilege’, although in ‘AVL-Ville’ all participants were equal and all rights common. Despite or perhaps because of its collaborative nature, seclusion has remained an abiding concern. Since founding the collective in 1995, Joep Van Lieshout has fixated on enclosed, private spaces: hutches, capsules, caravans, houseboats, and other “claustrophobic living units.” His mobile structures, unmoored from foundations, maintain a studied privacy, independent from the state and from the constraints of local laws. Unable to obtain the requisite building permit, an early AVL client commissioned A3 Mobiel (1998), an artist’s studio on wheels, thereby subverting definitions and decrees; on Sonsbeek Raft (2001), a floating restaurant, patrons partook freely—liquor licenses are not required at sea. AVL’s capsules drift along the margins of society, on road or river, where inhabitants can fulfill a “utopian and even romantic idea of living: longing to go back to nature, to be independent or even not to be a part of this world,” as Jennifer Allen has written. Despite their anarchic intentions, AVL’s capsules are not yet clear of shore; ‘Fisherman’s House,’ a frankly nostalgic work, was modeled after traditional fishing huts built along the Zuiderzee inlet in the 1950s. “Compact yet complete,” ‘Fisherman’s House’ promotes another fundamental AVL concern: self-sufficiency. Armed with rod and reel, inhabitants may live feasibly, fish freely and fry.
     
    ‘Fisherman’s House’ is in the permanent collections of the Fondazione Prada, Milan and the Sprengel Museum, Hannover.
     
    All citations: Jennifer Allen, Atelier Van Lieshout, NAi Publishers, Rotterdam, 2007

 

11

‘Fisherman’s House’

2000
Painted plywood, plywood, corrugated metal, steel, glass, plastic beer crates, internal fixtures and fittings, stove, barbeque equipment, camping and cooking utensils, spade, pots, pans, bowl, cup, broom, bed and bedding, rug.
346 x 410 x 315 cm. (136 1/4 x 161 1/2 x 124 in.)

Estimate
£35,000 - 55,000 

Sold for £39,650

Design

28 April 2010
London