In Collaboration with HE.RO Gallery (Amsterdam) and @kaiskitchens (Paris)

DATES:  30.05.2019 – 15.06.2019

OPENING HOURS:  By Appointment Only


Artist Thomas Van Linge was born in 1989 in Holland – the same year of the second Summer of Love in the UK. Heavily influenced by early acid house, its iconography and the ethos of that era, in his most recent work Van Linge has mainly focused on sculpture, music and found objects.

His praxis though comes together in his video work threaded by a playful approach to a wide gamut of cultural and subcultural sources: the spirit and visual heritage of electronic music, industrial production processes, digital aesthetics and the effects of technology on the human condition.

His objects are collage-like conveyors that appropriate and / or remind us of elements we encounter in the real world often related to contemporary heterotopias and Vanitas’.

There is an element of shock in his work: that surprise of discovery that lies between satirical comedy and discomfort. He teases the viewers to confront their personal boundaries and feelings towards music, drugs and neo-rave psychedelia.

He gives us complete snapshots of a passed time made up of tiny fragments. Records of now, yet also moments upon moments, allowing the passage of time to be keenly felt or merely hinted at. Complete but also unhinged, his works make us both secure and uncomfortable. Looking at Van Linges pieces makes us feel mortal, that we are that for ever will pass and is just a fleeting instant.


As well as making art he produces dance music heavily influenced by early acid house and runs two electronic music record labels, through which he also throws regular parties – an echo of the most vital element of rave – people coming together to dance. He curates and hosts a bi-weekly podcast FRIENDS OF RUBBER , runs two record labels BAKK and RUBBER and occasionally creates radio shows. He also performs live under the music moniker RANDSTAD.




THE GROVE HOUSE ART SALONS are experiences and exhibitions run as 21st-century art salons with select groups (by invitation only) which are curated as Immersive evening events merging fine dining, performance and art experiences, with the special attendance of artists and performers.

A salon is a gathering of people under the roof of an inspiring host, held partly to amuse one another and partly to refine the taste and increase the knowledge of the participants through conversation. These gatherings often consciously followed Horace’s definition of the aims of poetry, “either to please or to educate” .

Latinaut delectare aut prodesse



Marie-Luce Nadal @ ZKM KARLSRUHE


06.04.2019 – 11.08.2019

Cloud extracts by Marie-Luce Nadal merges science and art; reminding us of the medieval reliquaries that showed the precious bones of the saints

“Cloud extracts” are pieces of atmosphere captured thanks to “la Fabrique du vaporeux”. The transparent frame that houses it, a glass aquarium, is a landscape format whose thickness does not exceed that of a lightweight partition. 

Intended to be installed indoors, this void is a window in which an internal life evolves with the moods of the building that hosts it.

Captive, a cloud appears and disappears at will.

The Extracts from Clouds of the World are shown, framed, according to a window: a “monstrance” like the medieval reliquaries that showed the precious bones of the saints. This window is of variable height and width, from 6 cm x 10 cm and up to 100 x 130 cm.

The window reveals the essence of the cloud, somehow cultivated in a test tube: a sterile environment.

The cloudy essence appears in the form of a scroll, at the Palais de Tokyo where 10 different vintages of cloud extracts were exposed, the spectator was invited to compare the different cloud essences of the world, that is to say the types or shapes of scrolls.

In order for a Cloud Extract to be born from cloud essence, this essence is no longer integrated into air, but into water. The dilution degree is 2%° (two per thousand), the water used is sterile and demineralised. At a temperature below 32°C, the cloud essence is evenly distributed in the water and totally invisible.

At a precise temperature of 32°C, this essence dissociates from the water. It forms thousands of small aggregates of pure essence, like hailstones without water, which allows light to be reflected, and the captive synthetic cloud to appear.

As soon as the temperature rises above 32°C again, the gasoline mixes with the water, and the captive synthetic cloud disappears before our eyes. The process is of course reversible at will.A physicist could point out that the chemistry causing the captive synthetic cloud is the opposite of that of the clouds in the sky. However, on the negative side, the process remains structurally identical. 

Contact for more details:




31.05.2018 – 07.07.2018

PREVIEW: 31.05 > 18hr

HANS & FRITZ CONTEMPORARY is glad to present at our London space a solo exhibition by the Swiss artist NILS NOVA (Luzern- Switzerland / born in El Salvador, 1968). Nils Nova’s work is based on a subtle use of images – using a wide range of media: photography, video, painting and performance. 

The visual work of this internationally acclaimed artist has recently been characterised by a contemporary analysis of the possibilities offered by the trompe-L’oeil, the trick-of-the-eye technique that seemingly distorts reality. From 1997 to 2001, Nova studied fine arts at the Lucerne University of Art and Design. His work has been displayed at the Venice Art Biennale (2009) and the 14th International Architecture Biennale in Venice (2014).

A salient feature of the works Nils Nova has made in recent years is their reliance on the space in which they are presented, where they hover between illusion and reality. Specifically, Nova relates his installations to the real rooms of the exhibition venue, transforming and re-articulating them on-site. He starts by analysing and deconstructing the respective situation, going through it in his mind and trying out a series of spatial and visual variations. The spatial images or imagined spaces that he comes up with are then converted into constructive ideas that he projects back onto the original space. The medium he has chosen to give shape to his ideas is photography. Nova takes pictures of a room from thoughtfully chosen angles and prints them as wallpaper pictures that he mounts elsewhere in the same room or in a neighbouring room. Views of the photographed room are displaced, twisted and multiplied through juxtapositions and mirroring so that perception of the original room is confounded to varying degrees. By using a contemporary medium to create a tromp-l’oeuil effect within a real space, the artist produces a real virtual space – space and the illusion of space are paradoxically interwoven.





DATES: 18.05.2018 – 26.05.2018

18.05 > 18hrs: Preview


四月のある晴れた朝、原宿の裏通りで僕は100パーセントの女の子とすれ違う。 たいして綺麗な女の子ではない。素敵な服を着ているわけでもない。髪の後ろの方には寝ぐせがついたままだし、歳だっておそらくもう三十に近いはずだ。しかし五十メートルも先から僕にはちゃ んとわかっていた。彼女は僕にとっての100パーセントの女の子なのだ。彼女の姿を目にした瞬間から僕の胸は不規則に震え、口の中は 砂漠みたいにカラカラに乾いてしまう。 


One beautiful April morning, on a narrow side street in Tokyo’s fashionable Harujuku neighbourhood, I walked past the 100% perfect girl.

Tell you the truth, she’s not that good-looking. She doesn’t stand out in any way. Her clothes are nothing special. The back of her hair is still bent out of shape from sleep. She isn’t young, either – must be near thirty, not even close to a “girl,” properly speaking. But still, I know from fifty yards away: She’s the 100% perfect girl for me. The moment I see her, there’s a rumbling in my chest, and my mouth is as dry as a desert.

The artist combs through the urban jungle in the wake of Baudelaire’s dandified «flaneur». With a candid camera, he records particularities and curious discoveries, and emerges among the multitude, simultaneously trying to be a part of it. Weiss persistently asks the vital question, what it means that a person, object or building can stand out from an overpowering crowd. For him, it is the continuous fascination to unhinge and isolate someone or something from the crowd—an obscure wave or movement, endlessly volatile—with the purpose of recording it photographically. On his forays, he considers himself a touristy paparazzi which documents snap-shots of the events with his camera. As a voyeur, he constantly conquers images. He considers himself almost criminal because he collects «intimacy», and feels safe in the crowd. Weiss appropriates the picture language of fashion and publicity; he idealises beauty and exalts it to inaccessibility.

In the truest sense of the word «inconceivable», the dimension of Tokyo, with all its facets and contrariness, lets Weiss follow Haruki Murakami’s traces to look for the «100% perfect girl». Snapshots, surprises, mixed with all kinds of contingencies, show a diverse image of women from the metropolis: on one hand, celebrated tradition, on the other, cyberspace allures of maybe fallen angels.



Una preciosa mañana de abril, en una calle lateral del barrio chic de Harujuku en Tokio, me crucé con la chica 100% perfecta.

Te digo la verdad, no es tan guapa. No sobresale de ninguna manera. Su ropa no es nada especial. La parte de atrás de su cabello todavía está aplastada después de haber dormido. Tampoco es joven– debe andar alrededor de los treinta, ni siquiera cerca de lo comúnmente se considera una ‘chica’. Aun así, a cincuenta metros sé que es la chica 100% perfecta para mí. En el momento en que la veo, siento un retumbo en mi pecho, y mi boca se queda tan seca como un desierto.

El artista recorre la jungla urbana en la estela del «flaneur» dandi de Baudelaire. Con una cámara oculta, registra particularidades y descubrimientos curiosos, y emerge entre la multitud, tratando simultáneamente der formar parte de ello. Weiss constantemente hace la pregunta vital, lo que significa que una persona, un objeto o un edificio puedan destacarse de una multitud abrumadora. Para él, es la fascinación constante, desquiciar, aislar a alguien o algo de la multitud, ese saludo indefinible, movimiento, e infinitamente volátil, para finalmente, registrarlo fotográficamente. En sus incursiones, se considera a sí mismo como un paparazzi turístico, que documenta con su cámara, instantáneas de los eventos. Como voyeur, constantemente conquista imágenes. Se considera a sí mismo casi como criminal, porque colecciona la «intimidad» y se siente seguro entre la multitud. Weiss se apropia el lenguaje pictórico de la moda y la publicidad; idealiza la belleza y la exalta a la inaccesibilidad.

En el verdadero sentido de la palabra «inconcebible», la dimensión de Tokio, con todas las facetas y la inconstancia, permite a Weiss seguir las huellas de Haruki Murakami en busca de la «chica 100% perfecta». Instantáneas, sorpresas, mezcladas con todo tipo de contingencias, muestran una imagen diversa de mujeres de la metrópoli: por un lado, la tradición célebre, por el otro lado, actitudes ciberespaciales de ángeles tal vez caídos.



Un preciós matí d’abril, en un carrer lateral del barri chic de Harujuku a Tòquio, em vaig creuar amb la noia 100% perfecta.

Et dic la veritat, no és tan maca. No sobresurt de cap manera. La seva roba no és res especial. La part de darrere del seu cabell encara està aixafada després d’haver dormit. Tampoc és jove- ha d’estar al voltant dels trenta, ni tan sols a prop del que comunment es considera una ‘noia’. Així i tot, a cinquanta metres sé que és la noia 100% perfecta per mi. En el moment en que la veig, sento un retruny en el meu pit, i la meva boca es queda tan seca com un desert.

L’artista recorre la jungla urbana en l’estela del «flaneur» de Baudelaire. Amb una càmera oculta, registra particularitats i descobriments curiosos, i sorgeix entre la multitud, tractant simultàniament formar-ne part. Weiss constantment fa la pregunta vital, què significa que una persona, un objecte o un edifici puguin destacar-se d’una multitud enutjosa. Per a ell, és la fascinació constant, trasbalsar, aïllar algú o alguna cosa de la multitud, aquesta obscura salutació o moviment, infinitament volàtil, per finalment, registrar-ho fotogràficament. En les seves incursions, es considera a ell mateix com un paparazzi turístic, que documenta amb la seva càmera, instantànies dels esdeveniments. Com a voyeur, constantment conquista imatges. Es considera a ell mateix gairebé com un criminal, perquè recopila la «intimitat» i es sent segur entre la multitud. Weiss s’apropia del llenguatge pictòric de la moda i la publicitat; idealitza la bellesa i l’exalta a la inaccessibilitat.

En el veritable sentit de la paraula «inconcebible», la dimensió de Tokio, amb totes les facetes i la inconstància, permet a Weiss seguir les empremtes d’Haruki Murakami en busca de la «100% noia perfecta». Instantànies, sorpreses, barrejades amb tot tipus de contingències, mostren una imatge diversa de dones de la metròpoli: per un costat, la tradició celebrada, per l’altre costat, actituds ciberespacials d’àngels potser caiguts.