Hierbij enkele foto´s van de opening van Tomorrow is Today, de tentoonstelling die zaterdag 4 april, 2026, opende in de Amstelkerk in Amsterdam. De tentoonstelling loopt tot en met 24 april.
English
Here some photos of the opening of Tomorrow is Today in Amsterdam, April 4th, 2026. The show is visitable until April 24th in De Amstelkerk, Amstelveld 10, Amsterdam.
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Nina Boas, performance photos
Nina Boas: "I create sensory, temporary spaces that invite slowing down, connection, and imagination. My work balances between art and ritual, offering opportunities for collective healing, inner navigation, and reconnection with the body, the landscape, and our ancestors."
Works of MINNE de Groot, Marius van Zandwijk, Caro Bensca (right to left)
Archi Galentz in front of his painting.Archi Galentz:
"Statement
In his 1991 treatise on visual art, “Die Schuld der Moderne” (The Guilt of Modernism), my
art professor Klaus Fussmann laments the loss of allegory as a component of artistic
expression. Since studying under him at the Berlin University of the Arts, I have been
trying to explore the mechanisms of pictorial narration and develop my own formulas.
For many years, I worked on a composition depicting the contest of the arts in the history
of painting, also known as the Flaying of Marsyas. Last year, I exhibited a painting
featuring Themis, Olympia, a tortured musician, and onlookers at the BoomBoomCha
exhibition, curated by Hans Kuiper at Kunstruimte 411 in Haarlem. Another composition that interests me is based on the myth of the Minotaur, a hybrid creature born as punishment by those in power.
As a passionate painter, I have curiously and fearlessly explored the possibilities of AI to discover new and unexpected solutions. The flood of images created by neural networks ultimately becomes interesting through the artist's selection and interpretation. Since I am familiar with photography and
consider the boundaries between media to be fluid, I have left some motifs as photo
prints after careful consideration and slight technical editing.
Under museum glass and in appropriate frames, I am convinced that the works are entirely competitive with classical painting. A print as a naturalistic photo adorned last year's poster for the exhibition
“...durch mythische Zonen” (Through Mythical Zones) in Moers in western Germany, and
another image was featured in the group exhibition in Chemnitz at the exhibition of
Armenian artists as part of the cultural events in the Capital of Culture of the Year. For the group show “Tomorrow is Now,” I would like to try my hand at classical painting
with tempera and oil glazes again, but based on pre-study work by artificial intelligence."
Works of George Maas, Archi Galentz and René Bosch (left to right).
Artist improvisational band with El Habib (Vocals), Luciano Pinna (bass), Sean Smuda (piano), George Maas (percussion), Hans Kuiper (guitar).
Virginia and Antonio Rego in front of his painting ´Adamastor´.
A short story by Antonio Rego:
The Neon Wings
Bleep bleep.
The neon advertisement of the butcher's shop shifted color—blue to yellow, yellow to blue.
On the other side of the corner, we sat on the stairs of a building entrance, hidden by the night.
Below the neon wings, the word Paradise burned in vivid red.
Maria stood beneath it, washed by the multicoloured flicker. His slender figure looked perfect.
Behind him, the carcasses of cows hung.
It was theatrical—beautifully framed by darkness.
On our side of the street, Isaura kissed Marta, their bodies fusing into a long, sliding movement.
Maria’s voice stormed the street, drained of light—
powerful, enchanting.
Like in a dream, we fell silent, offering no resistance to his offering.
He read from Baudelaire—Les Fleurs du mal:
Mon esprit, tu te meus avec agilité,
Et, comme un bon nageur qui se pâme dans l’onde,
Tu sillonnes gaiement l’immensité profonde...
My spirit, you move with agility,
And, like a skilled swimmer gliding through the waves,
You joyfully travel across the deep immensity...
A violent metallic sound cut through our pleasure.
A bucket of piss was emptied from the second floor onto Maria’s body below.
— Vai acordar a tua mãe, filho da puta!
The woman screamed from the window.
Silence.
Nothingness.
The smell of fresh morning bread ended the night.
Maria remained—smelly, nauseating—but it did not dampen our high spirits.
Com as minhas mãos na sombra das tuas, eu recolho as folhas perdidas.
Con mis manos en la sombra de las tuyas, recojo las flores que envenenan."
Visitors in front of work of Frans Vendel. At the right a painting of Rutger van der Tas.
Mathilde MuPé bij haar schilderij "I liked you"
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