Ewoud van Rijn

Tutor and Teamleader Painting & Printmaking

Ewoud van Rijn’s practice is fuelled by his interest in how art, science and spiritual currents overlap, influence and inform each other; how, since the scientific revolutions of the modern age, art and spirituality adopt science’s strategies of knowledge production but allow space for explorations of the intuitive and the irrational.

Van Rijn positions his practice in the emerging fields of artistic research and post secular art. In the first, art is considered to make a contribution to the culture’s knowledge economy from an artistic perspective and practice. The second is concerned with the continuous influence of the spiritual on the wider cultural field. Through this dual positioning, spiritual tendencies and consciousness can be explored artistically, while simultaneously investigating their cultural significance.

Historiographical research forms the basis of this practice; Van Rijn follows the developments in historiographical research of modern and contemporary spiritual currents and explores through various artistic strategies their themes and subjects. A versatile body of work, ranging from prints to painting and from publications to performance has materialized from this research. In his latest work van Rijn has been drawn to the ethos of printmaking to which he takes an experimental approach, not to produce reproductions but suites of individual works that find themselves between printmaking, painting and drawing. Symmetry is often used as representing an evocative (or fundamental) form of printmaking; as in the Rorschach blot.

Van Rijn strongly believes in the necessity for artists to create their own networks platforms. Throughout his career he’s been involved in creating, organising and programming artist spaces, most notably PrintRoom, the presentation/research platform for artist publications in Rotterdam which he initiated with his partner Karin de Jong in 2003. PrintRoom is currently still ongoing as a presentation and expertise center for artists publications both locally, nationally and internationally.

Every year van Rijn publishes one or two editions of a series of publications under the collective title ‘The Archaic Revival Review’ which functions to further explicate and elaborate on his chosen context of post secular-art and artistic research in image and text.

Furthermore he is teacher and team leader of the Fine Art section Painting and Printmaking at the KABK in The Hague.

Van Rijn studied at KABK from which he holds a BA Fine Art and an MA Artistic Research.

In 2014 he was nominated for the Dolf Henkes prize, the city of Rotterdam’s main prize for artistic oeuvres, where he created a space for participating performance merging Tarot reading, yoga exercises and shamanic traveling into one meditative exercise.

In 2002 he held his first museum group show at Boijmans van Beuningen and his first solo in the same museum in 2008. The Boijmans collection holds 11 works dating from 2002 until their most recent acquisition in 2021.

Van Rijn exhibits in the Netherlands and abroad. His work was recently part of ‘The Great Invocation’ an exhibition curated by Pádraic E. Moore at Garage Rotterdam. It showcased ‘In the Mirror of Kurt Seligmann’, the outcome of a research spanning from 2019 to 2021, invocating the ouvre and mentality of the forgotten surrealist specialist on magic and the occult Kurt Seligmann, whom Van Rijn sees a forerunner of artistic research and post secular art practices.

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