1 DECEMBER 2020 | 15 AUGUST 2021


Main sponsor of Ian Berry. Splendid Isolation.

You can order your tickets here!

U.K. artist Ian Berry (Huddersfield,1984) has been making virtuous figurative paintings and installations of denim for over 15 years. He uses discarded jeans, cuts them up into pieces and sorts according to hue like a painter places his color nuances to his palette. At first glance the work seems two-dimensional, but when you zoom in, you can see how different layers of denim are placed on top and over each other. The ‘paintings’ are in fact denim collages so perfectly put together. They are almost impossible to distinguish from a realistic painting.

Ian Berry is a socially committed artist. With his work he responds to topical developments in society. His work is made of denim not only because he likes the material, it is as well because the textile industry is one of the most polluting industries. In his work he asks attention for this. In 2019, Ian Berry was proclaimed one of the 50 most influential people in the denim industry in the world.

In response to the lockdown in the UK, Ian Berry started the international photo project Stay Behind Closed Doors on his website. He called out to professionals and amateurs to send in a photo that depicts what the lockdown means to them personally. A selection of these photos will be exhibited at the show.

Download the full press release here.

My Secret Garden

Secret Garden is the Hanging Garden of Eden done in denim. We invite everyone to come pose in it and share their pictures!




Collecting for the future

The exhibition Cross-links shows a generous selection of objects that were acquired in the last ten years to be part of the heritage collection of Museum Rijswijk. It illustrates not only the how and why of heritage collecting but more importantly its aim to amaze and to enthuse the visitors with this vast number of historical objects that are still of relevance today. On view are photographs, drawings and paintings but also advertising designs, books and artisanal and industrial products. Each of those objects has its own story to tell but the design of the exhibition emphasizes the cross-links between the objects.

It gives the history of Rijswijk an unexpected variety and depth. From december visitors are welcome to /DOC. Accomodated in the former museumcafetaria in the new wing of the museum, this is where laymen and professionals can study or just browse a large number of books on paper and textile art and of course the extensive Rijswijk library. And comfortable chairs facing the gardens for those who just want a little repose from the visual impact of the current exhibitions.

2020 Paper Biennial
June 27th | Nov 15th

Quentley Barbara Lebohang Kganye
Anna van Bohemen Marianne Lammersen
Ulli Böhmelmann Miriam Londoño
Ronny Delrue Toos Nijssen
Darja Eßer Mardoe Painter
Rosa Everts Pim Palsgraaf
pietsjanke fokkema Marisa Rappard
Gianfranco Gentile Stéphanie Saadé
Lenneke van der Goot Josephine Tabbert
Susanna Inglada Minna Tammi
Marieke de Jong Senol Tatli



The main theme of the 2020 Paper Biennial is the topical subject Home. In our globalised world it has become uncommon to stay at the same place as where one was born. More than ever, and for many different reasons, people emigrate. But everyone has in common that they long for a save Home. Home is a universal understanding with many meanings and interpretations. For everyone it is essential to call a place Home; absence of a home is disruptive and will blow away the ground under every existence. Recent figures speak of 68 million refugees in the world and 5 million stateless people; they are not recognized by their government and do not have a passport. A part of the economical immigrants is exploited as modern slaves and does not have the opportunity to build a new and save existence.

Migration is an important political topic you can daily read about it in the newspapers. People are afraid that the large amount of immigrants will influence their culture in a way that their identity will vanish and that they will lose their acquired liberties. The indigenous people are literally and figuratively building walls at their borders, while immigrants are seeking for a save home for their family, for a better place to raise their children.

When we established HOME as the theme for the Paper Biennial 2020, we could not know that it would become such an important item so soon. It was already topical, but the international lockdown that made us work at home, teach at home, entertain ourselves at home and gave it a whole new dimension that has never been more discussed than now. HOME is a topic that everyone in the world is now occupied with, not just the homeless, the fugitives and the stateless. More than ever, everyone now needs a safe home.

The Paper Biennial 2020 shows the many interpretations and meanings of the term HOME that artists give to it in their work. They are personal views that deal with domestic circumstances that can be easily felt by everyone. The artists participating in the exhibition are socially committed and/or provide insight into their work as a world citizen. The sum of the visions on the HOME theme are testimonies of the universality that everyone clings to love and security.

3.	Lebohang Kganye, Pied Piper’s Voyage, 2014, animatieLebohang Kganye, Pied Piper’s Voyage, 2014, animation

Click here to order the catalogue!


OPEN CALL     Deadline 1 October 2020
Textile Biennial 2021. Food for Thought

The Textile Biennial 2021 (June 26 - November 14) is an international exhibition of contemporary visual art in which textiles play the leading role. We invite artists, who work with textiles as their main material and are committed to the theme of food, to send an e-mail to Diana Wind, curator of the Textile Biennial, before October 1st, 2020: Please send a motivation and description of your work and a maximum of 10 low-resolution images (only jpg or pdf) as an attachment. Before November 1st, 2020 you will receive a reply whether you are invited to participate in the Textile Biennial 2021.

Museum Rijswijk has been organizing the Textile Biennial since 1995. Work by approximately 25 artists is shown. Never before has the Textile Biennale had a committed theme like Food. In the past 25 years, the emphasis had been on the craftsmanship and technique used by artists to create special works of art from textile. We are now living in turbulent times and that has led us to include a substantive dimension and the social involvement of artists to the Textile Biennial. Artists are at the heart of society and know like no other how to depict what is going on. Museum Rijswijk gives them a platform through which a connection can be created between the artworks and the visitors, who can learn about the many perspectives and visions on Food, the theme that is such great importance to everyone now.

The Textile Biennial 2021 is titled Food for Thought. If the current problems in the field of food production and consumption are an important theme in your work or if you feel invited to create new work based on the theme, then please respond to this Open Call. Food for Thought has many perspectives. We describe some of them below.

Many millennia ago man started as hunters and collectors of food. Satisfying hunger has always been the main goal of man. Since World War II, the number of people living below the poverty line is at its lowest in human history. In fact, a turning point has been reached where more people are overweight than malnourished.

Since the 1969 Rome Report, man's use of natural resources has been debated. Overproduction, overconsumption, waste economy, use of pesticides and artificial crop modification have resulted in loss of biodiversity and climate change. The forecast is that there will be 9.8 billion people in the world in 2050. The question that increasingly sounds is: how are we going to feed all people and at the same time keep the balance with our beautiful nature? Also, scientists are experimenting with and focusing on countering food waste.

Food is not only consumed to feed the body. There is also a social component to it. Eating together is a moment of contact, of connection. For many the most important moment of the day. Due to the contemporary fast lifestyle and the increase in one-person households, this important moment is in danger of being lost in different cultures. Eating in front of your screen and preferring to eat astronaut food over cooking are threats to social bonding.

There is also an emotional side to food. People experience this early on as a child. Everyone knows about the treat you got as a consolation when you scraped your knee or when as a punishment you had to go to bed without dinner if you were naughty. In a society of abundance, the combination of food - comfort - punishment leads to eating disorders with the extremes of bulimia and anorexia. These eating disorders are also about extreme need for control over your own life and body.

We also invite you to come up with your own perspective on the theme Food and to put a personal vision on this topic in the spotlight.

For inspiration and background information, visit the website of The Dutch Institute of Food & Design ( There are many relevant videos on YouTube about this theme.

We recommend the following footage:


Precious Paradise

Looking at nature anew in an attempt to understand it afresh.

18 January – 13 April 2020

Susanna Bauer   
Maartje Korstanje
Stefan Cools   
Sandra Kruisbrink
Lilian Cooper 
Erik Odijk
Lizan Freijsen
Julia Schwarz
Nan Groot Antink
Hans de Wit


flyer Precious paradise   

In the forecourt of Museum Rijswijk there was once a vibrant and majestic chestnut tree. At nearly 200 years of age it had become an iconic feature of the museum. What now remains is a shadow of its former self. Parasitic honey fungi have eaten the tree from within and ruthlessly robbed it of life. How is it possible that such magnificence could be destroyed by something that remained invisible for years? Should we see this as the inevitable cycle of life or could we have extended the tree’s life had we known then what we know now?

Our concerns for a single tree, and for forests and biodiversity in general, are currently among the most pressing issues shared by humanity around the world. The growing awareness of humanity’s role in disrupting natural processes and the growing sense of responsibility being felt has prompted new ways of looking at nature. The trials and tribulations of our chestnut tree as a metaphor for environmental anxieties have given cause for us to explore an exhibition examining new perspectives on nature – particularly through the eyes of artists. The exhibition ‘Precious Paradise’ will show work by artists who have turned their personal and contemporary visions concerning nature into their primary subject matter.

Hans de Wit, The Guards, 2018, pastel/charcoal, 295x152 cm


29 OCTOBER | 12 JANUARI 2020

Mariëlle van den Bergh investigates the possibilities of spatiality in her textile works. By experimenting with different yarns and ceramics at the Textile Lab in Tilburg and Sundaymorning / EKWC in Oisterwijk, among other things, she explores the limits of what is possible with the materials she uses.

The title of the exhibition refers to the monumental work of the same name that consists of different parts. Together they form her representation of the landscape of Australia, one of the last pristine primeval landscapes in the world. Australia is the country that is currently threatened by huge forest fires that are hard to control.

Mariëlle van den Bergh is not only concerned with the technical side of the materials; she chooses natural materials as the counterpart of the nature she depicts. Van den Bergh makes large journeys and chooses artist in residencies where she can be in the middle of nature. It is important for her to also come into contact with the local population in the vicinity of the residencies and to find out how they relate to the nature surrounding them. Nature is her main source of inspiration. In her work she shows her respect for nature and shows its vulnerability. The works in the exhibition were made as a result of her residencies in Japan, Australia, Tasmania, Denmark, Romania, Ireland and the United States, among others.

On sunday the 15th of december a talk will be hosted by Rae Bolotin, director of the artists-in-residency BigCi and Yuri Bolotin, bushwalker, writer and environmental activist in the Blue Mountains, Australia. They will speak about the natural beauty of the Blue Mountains area, the challanges they face in preserving it and the possibilities of artists-in-residencies. They will provide an engaging afternoon for lovers of art, nature and Australia.

Date: sunday december 15th, 2pm-4pm
Price: €5,- (excluding entree fee)
Sign up: at Astrid Huitker via
Spoken languange: English

Beforehand, from 1pm artist Mariëlle van den Bergh will be present to meet visitors and answer questions about her work.

2019 Rijswijk Textile Biennial

18 June | 6 October


Rijswijk Textiel Biennale 2019

Museum Rijswijk is hosting the 6th Rijswijk Textile Biennial. New and vintage go hand in hand as 22 artists explore the past and present: in their use of applied techniques and materials, as well as in their choice of subjects. This makes the 2019 biennial both current and a fitting descendant in a series of strong shows.

Computers and the internet have become a valued, fixed part of our daily lives and they have also gained ground in contemporary art practices. Kayla Mattes ’archives’ fleeting pictures from the internet by way of time-consuming weaving. Apart from the shared structure (the binary and warp & weft), she also sees a cultural link: tapestries have traditionally documented culture. Totally different approaches to the combination of ‘digitalism’ and weaving can be seen in Kata Unger’s and  David B. Smith’s works. The one manifests a whirlwind of connotations through self-dyed wools in breath-taking colours, the other manipulates with soft and flexible sculptures.

Just as in the Textile Biennial of 2017, the majority of these artists make work that comments on contemporary issues. Australian Paul Yore expresses through activism. His appliquéd placards protest and comment on issues of gender, abuse by the Church, consumerism and white superiority ideologies. His compatriot Paula do Prado looks through the eyes of an insider and outsider at colonialism, racism and, especially, that which connects.

Letting materials speak – in particular those with a past – can be achieved in several ways. Mark Newport creates beautiful mending samplers, in which traditional methods raise the weaves to new levels. They symbolize the scars that life has in store for us, in spirit and body. Lawrence Bailey’s appliquéd banners represent frayed urban edges, and nature as scarred by humans – the very same who will disappear into a black hole.

These artists work in big gestures and in intimate ways that express the universal. Museum Rijswijk presents a kaleidoscopic cross section of fibre arts in this prominent international exhibition.

Accompanying the Rijswijk Textile Biennial 2019 is an illustrated catalogue (Dutch/English), penned by Frank van der Ploeg.

On Sunday 15 September there will be a big fabric market outside (11 a.m. – 5 p.m.).

Participating artists Rijswijk Textile Biennial 2019

Download here the complete press release.
Download here the poster of the exhibition.
Download here the list of participating artists.

Download here below the press photos:

Lawrence Bailey, 'Comin Down'’, 2018, vintage fabrics, embroidery. Photo: L. Bailey

Lawrence Bailey, 'REJOICE', 2017, vintage fabrics, embroidery. Photo: L. Bailey

Ana Barboza Gubo, 'Forest Fabric', 2018, digital photo, textiles, Photo: A. Gubo

Nigel Cheney, 'Family Portrait', 2017, vintage fabrics, embroidery. Photo: N. Cheney.

Nigel Cheney, 'John Cheney', detail 'Family Portrait', 2017, vintage fabrics, embroidery. Photo: N. Cheney

Max Colby 'Capricious', 2018, textiles and beads. Photo: M. Colby

Max Colby, 'Untitled', 2018, hand embroidery on original Blue Boy Magazine photograph. Photo: M. Colby

Josefina Concha, 'Sempiterno', 2016, textiles machine embroidered: Photo: J. Concha

Paula do Prado, 'Genesis', 2018, textiles, beads, seeds. Photo: P. do Prado

Elizabeth Fram, 'Espresso & Peanut Butter' 2018, shibori, embroidery on silk. Photo E. Fram

Lia de Jonghe, 'Untitled' 2018, vintage textiles, embroidery. Photo: Edo Kuipers

Higi Jung, 'WhereAreYou' 2017, textiles, filling. Photo: H. Jung

Kayla Mattes, ' I WILL NOT', wool, acrylic, cotton, handwoven: Photo: K. Mattes

Mark Newport, 'Mend 12', 2017 embroidery on muslin, Photo: T. Thayer

David B. Smith, ‘Witness’, 2018, cotton, acrylic, polyester and hemp. Photo: D.B. Smith

Kata Unger, 'The forecasters', 2016, handwoven silk, wool: Photo: Nora Lina Merten

Paul Yore, 'Let Us Not Die From Habit, 2018, textiles, found materials, beads, Photo: P. Yore

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