{"id":26207,"date":"2024-07-23T11:17:42","date_gmt":"2024-07-23T09:17:42","guid":{"rendered":"https:\/\/mauritsvandelaar.nl\/?post_type=dt_portfolio&p=26207"},"modified":"2025-07-24T13:01:01","modified_gmt":"2025-07-24T11:01:01","slug":"fransje-killaars","status":"publish","type":"dt_portfolio","link":"https:\/\/mauritsvandelaar.nl\/en\/artist\/fransje-killaars\/","title":{"rendered":"Fransje Killaars"},"content":{"rendered":"

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Fransje Killaars<\/h1>\n

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\n\t\"\"<\/a>\t<\/figure>\n<\/article>\n\n<\/div>[\/vc_column][\/vc_row][vc_row type=”5″ animation=”fadeInUp” margin_top=”32″][vc_column][vc_tta_tabs color=”white” spacing=”” active_section=”1″ no_fill_content_area=”true”][vc_tta_section title=”Introduction” tab_id=”1440507584245-5ee45767-88dc967b-5cc9″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=””]Colour is the all-encompassing subject in the work of\u00a0Fransje Killaars<\/strong>\u00a0(1959). In the 1980s, 1990s, she used fluorescent colours in her paintings that to the eye left an afterimage on the white wall. Colour thus stepped outside the frame of the painting into space. Triggered by this phenomenon, she started exploring how she could leave the flat surface of the canvas and extend her work into another medium. In India, she discovered the possibilities of textiles at a traditional weaving mill.\u00a0From then on, Fransje Killaars started making installations with textiles, giving colour a haven where art touches upon design, architecture and fashion.<\/p>\n

From 1984, she was also assistant to Sol LeWitt and worked with MVRDV architects on a proposal for the UN building in New York. In 2003, a textile artwork by Killaars was realised in the Herenkamer of the Catshuis, residency of the Dutch prime minister. Issey Miyake discovered her art in 2004 and invited her for a collaboration and to exhibit her installations.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=””]Textiles have protective and comfortable qualities, making the viewer feel enveloped and protected in the work thus immersing him\/her in the effect of colour. Fransje Killaars\u2019 installations have a strong autonomous quality but also address social and political themes that are touched upon without making them explicit<\/p>\n

The work Toko (2000-2023), which was show in the exhibition Between Borders at Museum Arnhem NL in 2023, refers to the fate of refugees. The political crisis in 2000 in Kosovo causing a large number of displaced people inspired Fransje Killaars to make the work. It consists of a huge tarpaulin with four colour strips in yellow and green hanging from wall to wall. On it lies her so-called alphabet, consisting of materials such as bags filled with wool, hand-woven carpets and fabrics.<\/p>\n

see: www.fransjekillaars.nl<\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”Biography” tab_id=”1440507584491-628a5fac-75f2967b-5cc9″][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
1959<\/td>\nborn in Maastricht, NL<\/td>\n<\/tr>\n
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education<\/strong><\/h3>\n<\/td>\n<\/tr>\n

<\/td>\n<\/td>\n<\/tr>\n
1979 – 1984<\/td>\nRijksakademie van beeldende kunsten, Amsterdam, NL<\/td>\n<\/tr>\n
<\/td>\nlives and works in Amsterdam and Almere<\/td>\n<\/tr>\n
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Selected solo exhibitions<\/strong><\/h3>\n<\/td>\n<\/tr>\n

2024<\/td>\nEen staat tot Een \u2013 Een staat tot Allen<\/em>, Museum de Kantfabriek and St. Lambertus Church, Horst<\/td>\n<\/tr>\n
2023<\/td>\nTHE INTUITION, <\/em>Galerie Maurits van de Laar, Den Haag, NL
\nInstallation Life and Death, <\/em>Piet Killaars and Fransje Killaars, Museum Beelden aan Zee , Scheveningen NL<\/td>\n<\/tr>\n
2022<\/td>\nInstallation Death and Someone’s Life, <\/em>Gorcums Museum, Gorinchem NL
\nInstallation Daily Life<\/em>, Alex 51 Gallery, Maastricht NL<\/em><\/em><\/em><\/td>\n<\/tr>\n
2021<\/td>\nInstallation Figures Colours First no 2, <\/em>Centraal Station Utrecht, Stichting Polderlicht, Utrecht NL<\/td>\n<\/tr>\n
2016<\/td>\nTextile Colour Fields, <\/em>GEM, The Hague, NL
\n<\/em><\/td>\n<\/tr>\n
2013<\/td>\nColor at the Center, Ewing Gallery of Art & Architecture, University of Tennessee, Knoxville, USA
\nColor at the Center, Bates College Museum of Art, Lewiston, Maine, USA<\/em><\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n\n

Selected group exhibitions\u00a0<\/strong><\/h3>\n<\/td>\n<\/tr>\n

2024<\/td>\nThe Concentric Influences of Soll Lewitt, <\/em>RMIT Gallery, Melbourne AUS<\/td>\n<\/tr>\n
2023<\/td>\nBetween Borders, <\/em>Museum Arnhem, Arnhem NL
\nImage of Power<\/em>, Textiel Biennale, Museum Rijswijk, Rijwijk NL<\/td>\n<\/tr>\n
2022<\/td>\nMarres, <\/em>Limburg Biennale, Maastricht NL
\nBetween Nowhere and Elswhere<\/em>, Kunstenaarsboeken Museum Weserburg, Bremen DE<\/td>\n<\/tr>\n
2021<\/td>\nSEPTEMBERGRAS , <\/em>Beverwijk, Landgoed Akerendam Stichting Kunst & Cultuur Beverwijk<\/td>\n<\/tr>\n
2020\/2021<\/td>\nCOLORUP, <\/em>LUMC, Leiden, curator Marianne Roodenburg<\/td>\n<\/tr>\n
2020<\/td>\nSOFTART loods 6, Amsterdam CBK21<\/em><\/td>\n<\/tr>\n
2019<\/td>\nSOTT, Museum Jan Cunen , Oss
\nWe Wonder Where The White Went, Arti & Amicitae, Amsterdam curator Marianne Roodenburg<\/em><\/td>\n<\/tr>\n
2018<\/td>\nKleur & abstractie, Generaties in Dialoog, Textiel museum, Tilburg
\nRozentuin, Installatie Figures and Panels, Kunst Rai , Amsterdam<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
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curating, teaching<\/strong><\/h3>\n<\/td>\n<\/tr>\n

2022-2023<\/td>\nGuest curator Piet Killaars 100 jaar Bonnefantenmuseum Maastricht<\/td>\n<\/tr>\n
2013-2014<\/td>\nGuest teacher HKU, School of the Arts, Utrecht, NL<\/td>\n<\/tr>\n
2009-2012<\/td>\nGuest teacher Design Academy, Eindhoven, NL<\/td>\n<\/tr>\n
2008<\/td>\nTeacher Textile and Fashion department KABK\/Royal Art Academy, Den Haag, NL<\/td>\n<\/tr>\n
2007<\/td>\nGuest teacher Sandberg Institute, Amsterdam, NL<\/td>\n<\/tr>\n
2006<\/td>\nMember advice commission Textile and Fashion department, KABK\/Royal Art Academy, Den Haag, NL
\nExaminator and guest teacher Sint-Lucas Art Academy, Gent, BE
\nGuest teacher Gerrit Rietveld Academy, Amsterdam, NL<\/td>\n<\/tr>\n
2001<\/td>\nExaminator Art Academy AKV\/St. Joost, \u2018s- Hertogenbosch, NL<\/td>\n<\/tr>\n
1997-1998<\/td>\nTeacher post graduate painting classes, Minerva Academy, Groningen, NL<\/td>\n<\/tr>\n
1984-1994<\/td>\nassistant Sol LeWitt<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
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awards<\/strong><\/h3>\n<\/td>\n<\/tr>\n

1997<\/td>\nThe Best Book Designs, Stichting de Best Verzorgde Boeken, Amsterdam, NL<\/td>\n<\/tr>\n
1996<\/td>\nThe Best Book Designs, Stichting de Best Verzorgde Boeken, Amsterdam, NL<\/td>\n<\/tr>\n
1995<\/td>\nThe Best Book Designs, Stichting de Best Verzorgde Boeken, Amsterdam, NL<\/td>\n<\/tr>\n
1994<\/td>\nTouche Prijs, Kunststichting Touche, NL<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n\n

collections<\/strong>\u00a0<\/span><\/h3>\n<\/td>\n<\/tr>\n

<\/td>\n\n

Stedelijk Museum, Amsterdam; <\/span>Kunstmuseum, Den Haag, NL; <\/span>Bonnefantenmuseum, Maastricht, NL; <\/span>Centraal Museum, Utrecht<\/span><\/p>\n

Issey Myake , Tokyo JP; <\/span>Stadsgalerij, Heerlen, NL; <\/span>Museum Bommel-Van Dam, Venlo, NL; <\/span>Ziekenhuiscollectie, MUMC,Maastricht, NL<\/span><\/p>\n

Museum voor moderne kunst Arnhem, NL; <\/span>De Vleeshal, Middelburg, NL; <\/span>Stedelijk Museum Schiedam, Schiedam, NL<\/span><\/p>\n

DSM, Heerlen, NL; <\/span>UMC, Utrecht, NL; <\/span>Rabobank Nederland, NL; <\/span>Akzo Nobel Nederland, NL; <\/span>Mondriaan Fonds, Amsterdam, NL<\/span><\/p>\n

Bates College museum of Art, Lewiston, Maine, (USA); <\/span>Dortmunder U, Museum Ostwall, Dortmund, DE;\u00a0 <\/span>ABN AMRO Bank,\u00a0 Amsterdam,\u00a0<\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Fransje Killaars\u2019 (1959) installations have a strong autonomous quality but also address social and political themes without making them explicit.<\/p>\n","protected":false},"author":2,"featured_media":23438,"comment_status":"closed","ping_status":"closed","template":"","dt_portfolio_category":[174],"dt_portfolio_tags":[1188],"class_list":["post-26207","dt_portfolio","type-dt_portfolio","status-publish","has-post-thumbnail","hentry","dt_portfolio_category-artist-en","dt_portfolio_tags-fransje-killaars","dt_portfolio_category-174","description-off"],"yoast_head":"\nFransje Killaars - mauritsvandelaar<\/title>\n<meta name=\"description\" content=\"Fransje Killaars\u2019 (1959) installations have a strong autonomous quality but also address social and political themes without making them explicit.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mauritsvandelaar.nl\/en\/artist\/fransje-killaars\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fransje Killaars - 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