Bio
2023
Group exhibition at Madeln Gallery, Shanghai. Curated by Xu Zhen. Artists: Ei Arakawa, Magnus Frederik Clausen, Tatjana Danneberg, Gu Lei, John Kelsey, Liu Wei, Seth Price, Pieter Slagboom, Josh Smith, Wang Jianwei, Angharad Williams, Xu Zhen and Zheng Guogu.
2023
Group exhibition entitled Middle Gate III. Curated by Philippe Van Cauteren, director of the Museum for Contemporary Art, Ghent. Together with Pierre Muylle. Opening September 16, 2023.
2022
Office Baroque, Antwerp. Solo exhibition entitled Cabin. November 10 till December 10, 2022. Opening Thursday, November 10, 2022 at 6 pm.
2022
April 28th, 2022, at 20.00. Launch in Vleeshal of the book As Long As The Potatoes Grow. Martha Kirszenbaum and Pieter Slagboom will have a conversation in Vleeshal. Roos Gortzak and Kristin Metho will be present. Original drawings of As Long As The Potatoes Grow will be on view in the venue of the book launch.
2022
Office Baroque, Antwerp. Chambres d’Amis. Online exhibition. Group.
2021
Publishing of the book As Long As The Potatoes Grow by Vleeshal Center for Contemporary Art (NL). Texts and essays by Roos Gortzak, Julia Geerlings and Martha Kirszenbaum. Graphic design by Kristin Metho. This book is published on the occasion of the eponymous exhibition at Vleeshal Center for Contemporary Art in 2019.
2021
Publishing in 2021 of the book Saturated Manuscript in conjunction with the exhibition at Bridget Donahue from September 10, 2020 till October 31, 2020. With contributions by Julia Geerlings, Dean Kissick and Erin Leland.
2021
Bridget Donahue / David Zwirner. Platform.
2020
Bridget Donahue, New York. Solo exhibition entitled Saturated Manuscript.
2019
Vleeshal, Middelburg, Netherlands. Solo exhibition entitled As Long As The Potatoes Grow. Curated by Julia Geerlings.
2019
Group exhibition Paper Works at Albada Jelgersma Gallery, Amsterdam.
2018
Receives the Vleeshal Art prize 2018. Curator Julia Geerlings.
2017
Publishing of the book salt by Revolver Publishing, Berlin. Authors Nickel van Duijvenboden and Grete Simkuté.
2016
Beginning of the Tree series I and II in New York in frame of the drawing project salt.
2015
Spaceburo. Small solo drawing project entitled Wet Towel. Antwerp. September 6 – October 18, 2015.
2015
Golden Pavillion. Wall drawings. Center for Visual Art, Design and Architecture, Middelburg (NL). Realised. Catalogue. Text Sandra Smets. Group.
2014
Spaceburo. Lovejoy Unit 1. Group show. Antwerp.
2013
Starts to draw in Paris in frame of the drawing project salt.
2011-13
Advisory committee-member of the Mondriaan Fund, Amsterdam.
2012
Double Light. Bytheway Projects, Amsterdam. Small drawing project for the artist run space Bytheway Projects, curated by Jeroen Kooijmans.
2011
Starts the drawing project salt. The larger size of paper sheets originates new themes and techniques. The project uses colour to add complexity and intensity. In some drawings technique symbolises the content.
2011
Takes part in the All About Drawing exhibition which includes works by Marlene Dumas, Mark Manders, Lily van der Stokker, Marcel van Eeden and Erik van Lieshout, among others. Stedelijk Museum Schiedam, Schiedam, the Netherlands. Works from the exhibition also appear in a catalogue of the same name.
2010-11
Launch of Parma Violet project in Berlin. Parma Violet is a self-contained unit within his drawing oeuvre which clarifies the oeuvre’s complex underlying principles. Parts of the project have been exhibited but the project as a whole is presented in Pieter Slagboom’s book Parma Violet with an accompanying text by Lorenzo Benedetti, director of De Vleeshal in the Netherlands. Parma Violet was published in September 2010 by Revolver Publishing, Berlin. It was presented at the Frankfurt, New York and London book fairs in 2010, 2011 and 2012 accompanied by 24 small, original works.
2009
Solo presentation at Art Amsterdam. Exhibits a part of Parma Violet.
2008
Curates Nein Tanz Ja, an exhibition for six artists at Krammig & Pepper Contemporary in Berlin. The starting point for this exhibition is the physical and psychological significance of architecture in the works of these artists, in connection with the architecture of Berlin.
2007-12
Starts to work on a large-scale project for the Ruhr Gebiet in Germany. This project is the first occasion on which architecture and drawings are integrated. (In cooperation with the Dortmunder Kunstverein and the Kokerei Hansa.) Not realised.
2006
First comprehensive exhibition of the colour drawings at Krammig & Pepper Contemporary, Berlin, Germany.
2006
Represented by Krammig & Pepper Contemporary, Berlin, Germany.
2005
Book “Pieter Slagboom, Drawings” published by De Vleeshal, Middelburg. This is a book about the drawings exhibited at De Vleeshal, Middelburg, the Netherlands. Text by Rutger Wolfson and Florent Bex.
2004-08
Several visits to Berlin. These visits start to influence the drawings.
2004-08
Concentrates on large drawings in colour. Studies two-dimensional figurative phenomena and the interaction between subject matter and colour.
2004
First exhibition of the drawings at De Vleeshal, Middelburg, the Netherlands. The exhibition includes two large-scale wall drawings.
2003
From this moment on works exclusively on drawings.
2003
Starts to work on large drawings in colour.
2002
Visits Berlin. Influenced by the significance of this city.
2001
Starts to work on small black-and-white drawings.
1999
Starts to paint. Figurative elements appear, initially small but later medium sized.
1996-99
Works from this period dominated by the principle that if a work’s starting point is figurative, the work will be smaller than a human being and two dimensional; if a work’s starting point is abstract, it will be larger than a human being and three dimensional. In these cases anthropomorphic references occur in proportions.
1997-98
His architectural models and studies of museums lead to the commission to design a new museum in the ancient abbey in Middelburg, the Netherlands. This building was to be constructed with a glass mosaic ‘outer skin’. Large, brightly coloured tapestries, hung five metres from the outer skin, would have created an ‘inner skin’. The five-metre distance would have reconciled and mixed the colours and textures from the outer glass mosaics and the inner tapestries, creating an ‘intangible substance’. This ‘substance’ would have been visible from outside and inside the building, resulting in a dynamism which confronted passers-by and influenced their movements. The project was not realised. A book was published on this project.
1996-99
Works on architectural models. (Glass, plaster, textile and paint.)
1996-97
Compiles book of photographs and texts about these travels. (Unpublished.)
1992-98
Travels through Europe to study the collections of and artistic activities at various museums.
1992
Spatial project for De Vleeshal, Middelburg, the Netherlands. Pigments in glass and plastered walls were structured in such a way that they absorbed the architectural space of De Vleeshal, making the spectator’s movements feel static.
1990
Spatial project for the Württembergischer Kunstverein, Stuttgart, Germany. Starting point was to absorb light caused by specific activity of pigments in glass.
1988
Spatial project for the Kunsthalle Mannheim, Mannheim, Germany.
1984-96
The spatial works during this period eschew all references to imagery in a quest for pure spatial experience. Works on several indoor as well as outdoor commissions.
1985
Spatial project for the Plaza Mayor, Madrid, Spain. The work is based on and is a reaction to the bronze statue of Philip II on the Plaza Mayor.
1985
Lives in Madrid, Spain. Experiences the impact of religion.
1984
Spatial project for the Ortelius embankment in Antwerp. Trans-shipped wood is used to create three temporary spatial installations. The work influences the spectator’s movement.
1982-85
Lives and works in Antwerp, Belgium.
1983
Spatial project, Dordrechts Museum, Dordrecht, the Netherlands. Colour as poem.
1982
Spatial project, Mercer Union, Toronto, Canada. This coloured spatial structure creates a static moment in the viewer’s dynamic world.
1982-85
Creates several large-scale spatial projects, and works at sites that were not intended for art.
1982
Lives in New York, USA.
1981
Graduates in sculpture/installation from the Academy of Art and Design St. Joost, Breda, the Netherlands.
1977
Lives in Japan. Explores ancient Japanese architecture; first encounters with the philosophy of perception and observation.
1976
Lives in the USA. Works in Idaho. Becomes increasingly conscious of the significance and potential of space.
1956
Born in the Netherlands.