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_tvx `ÉÇ|àÉÜ ;i|vàÉÜ|t XäxÜzÄtwxá< Biography Irene Hanenbergh: Irene Hanenbergh’s practice involves a range of media including drawing, painting, new media and printmaking. In 2011 Hanenbergh will undertake 2 artist residencies in Thailand and Japan, awarded by Asialink Australia and The Australia Council, attempting to further exploring concerns of disciplined yet immaterial sensibilities. Hanenbergh (Erica, The Netherlands) completed a BA(Hons) in Painting and Sculpture at the Academy of Fine Arts Minerva, The Netherlands, a BA(Hons) in Printmaking at the Athens School of Fine Art (ASKT) and subsequently a Post Graduate in Printmaking at The Royal College of Art, London. She moved to Melbourne where she completed a Master of Fine Arts by Research at the Victorian College of the Arts (The University of Melbourne) in 2010. Intermittently, she has spent considerable time on artist and research residencies on various locations in Europe and in the USA. Over the past years she has held solo and group exhibitions in Australia and internationally; most recently ‘Lace Monitor (Victoria Everglades)’ at Ryan Renshaw Gallery in Brisbane, 'Laudanum & De Breeder' at Neon Parc in Melbourne; 'Resort Nadir' Sydney Museum; ‘Freedom Holidays in The Rudolphine’, Gertrude Contemporary Art Spaces and ‘Vlad July Egoiste’, Neon Parc. She contributed to numerous group exhibitions such as ‘Show You My World’, Gitte Weise Gallery, Berlin; ‘Bal Tashchit’, Jewish Museum, Melbourne; ‘Old skool (never lose that feeling)’, Perth Institute of Contemporary Arts; ‘One God No Masters’, Hamish McKay, New Zealand; and ‘Instinct’, Monash Museum of Art, Melbourne. Hanenbergh’s work is held in public and private collections in Australia, New Zealand, Europe and the United States including the QU Museum (Brisbane), the Museum of Old and New Art (Tasmania), Artbank Australia, ABSOLUT European Collection (Sweden), Centre for Contemporary Art (The Netherlands), Collection ASKT (Greece) and Rabobank (The Netherlands). She was twice named as one of ‘Australia’s 50 Most Collectible Artists’ by Australian Art Collector and is currently represented by Neon Parc (Melbourne) and Ryan Renshaw Gallery (Brisbane). For a full exhibition- and publications history please refer to the Bibliography (CV) on www.irenehanenbergh.com. Catalogue of works and information on upcoming events can also be obtained by emailing [email protected]

Extracts from catalogue essays by writers & curators, areas of reference & interest: “Irene Hanenbergh’s artwork appears both old-world and otherworldly as it straddles a realm somewhere between landscape and fantasy, the painterly and graphic illustration, old style painting and new technologies.”

Dan Rule (The Age):

(..) Dutch artist Irene Hanenbergh has become known for her hyperrealist negotiations of fantasy and outsider art. Created whilst in New York, new series Laudanum & De Breeder eschews her often colour-drenched aesthetic. Indeed, these tangled, wispy, overgrown black ink drawings prove austere and minimalist by comparison to Hanenbergh’s more noisy compositions. They’re no less effective. Wispy and

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www.irenehanenbergh.com fragile, these works hint at organic forms and folk art-like motifs without ever going so far as to reveal a subject. Flowing and plant-like from afar, interestingly, Hanenbergh’s faint lines take on an almost mechanistic quality from up close. It’s an unlikely dichotomy and one that makes the works all the more absorbing. Also included in the show are two paintings of a similar, albeit more colourful ilk .

Natalie King (Art IT Japan): “…an intriguing and enigmatic foray into mysterious realms – a make-believe world of furry foliage and turbulent, oceanic landscapes. Infused with a Middle Eastern palette of turquoise and beige, Hanenbergh deftly draws on disparate sources from Iranian folk art to tattoo design, Outsider Art and Nordic legends. Her preoccupation with non-Western compositional devices, where forms are askew, has resulted in hidden and eccentric imagery. Swirling in a vapour of feral remnants, the picture plane is both abstract and visceral. Born in the Dutch province of Drenthe, surrounded by megalithic burial tombs and a verdant forest, we can speculate on personal allusions in her practice. The autobiographical, however, is carefully hidden. Idyllic and natural forms are embedded in a barely decipherable repertoire of flourishes and luminous folds. Moreover, Hanenbergh studied in Athens and has travelled widely to Iran and Iceland further accentuating her myriad of influences. Titles offer further clues to imaginary places. There is an inherent, romantic alliteration in the exhibition’s title – Vlad July Egoiste. We are reminded of distant resorts and lakeside retreats. She poetically conjoins months, European words and landscape references in a linguistic, free association. The result is an open-ended frisson between fiction and the real. Paintings are interspersed with zund prints on aluminium, Hanenbergh’s signature medium. She deploys computer software to paint individual and miniscule brushstrokes onto a blank screen. This labour intensive method allows her to zoom in and out in order to paint in a precise and meticulous manner. The outcome, however, is flat as images are printed onto a hand-buffed, aluminium surface. It glows under her obsessive markings. For Hanenbergh, prints and paintings are afforded equal status, sometimes arranged as classical diptychs.

Hanenbergh’s paintings return us to the impasto sensibility of Glenn Brown and the romantic invocations of Karen Kilimnik. Reaching further back in history, she flirts with the misty and sublime beauty of Caspar David Friedrich. Her carefully rendered surfaces are tumultuous with sweeping brushstrokes. Clarity Rocks is suggestive of land formations, glaciers or subterranean amoeba but these floating forms are suspended and devoid of context. In Banc Nord, wildly vigorous flourishes of painterly application are contrasted with the fantastical prints. The digital resides alongside painting in a slippery exchange. Perhaps Hanenbergh is luring us into the technology of painting and the journey is both ecstatic and tantalising.”

Frances Johnson: Metallic Magic (The Age): Aluminium is an unsung material surface for painters despite the impact of Britpack "heavy metal" artist, Gary Hume. Irene Hanenbergh, like local compatriot Neil Haddon, reclaims the elemental ground with sophisticated painting and printmaking techniques. Hanenbergh paints and prints dissolving anthropomorphic forms. Highly modelled shapes hover between furry, gothic figuration and arboreal abstraction without descending into mud or easy narrative. They remind me of Gerhard Richter's epic animal paintings, although Hanenbergh's linear backgrounds offer the more controlled emptiness of science fiction rather than Richter's blurred painterly vistas. -

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Edward Colless (for catalogue Vlad July Egoiste): This is fantastic art. But we should be more accurate and more generous with that word since, while Irene Hanenbergh’s world is fantastic, the vision of that world is also phantasmic. It’s not a just a finicky difference. Fantasy is capricious, diverting, amusing, a self-conscious sort of play…and there is all that in Hanenbergh’s art. But there is something else. Phantasy, in contrast, arises from idiosyncratic and turbulent depths of the imagination, from the unconscious, and stuns us and holds us captive as it surfaces. A marvellously paranoiac idea manifest in a vision of glory, the phantasm is more than just a beautiful psychic image; it is a beautiful force.

Look into these tremendous storms that silently rip up forests, glaciers, tundra and oceans; that fuse thorny undergrowth, pearlescent flowers, animal fur and claws or human facial features or exotic tattooed skin, fuse these all into fibrous blizzards; and that have in their tumultuous whorl the knotted intensity of erotic nuzzling—or the agonizing intimacy of carnivorous combat—as well as the scale of hallucinatory carnage in deep space when stars explode. It’s surprising to hear the artist speak about these animistic metamorphoses and ferocious incorporations of mineral, flesh and meteorology, of quantum or astronomical cataclysm, as “images of perfection, of happiness”. Despite their vividly gothic resonances, Hanenbergh insists she doesn’t see these scenes as dark. “They are encapsulated moments of control which are worlds in themselves. Worlds within worlds,” she suggests, “like a brilliant blue swimming pool on a cruise ship in the middle of an ocean.” Whether coagulating as visceral clouds or as coral islands or asteroids, these fantastic aggregations are a kind of terraforming: luminous oases of artificiality, of a false—ornamental, even kitschy—perfection, in the desert of the real.

And these happy moments, these inhumanly perfect mages, don’t come easy. When she paints, Hanenbergh obsessively uses a tiny filament of a brush, size triple zero. It matches the digital brush size she uses in Photoshop for the prints on aluminium. Her computer screen is small. She has to zoom in, down to microscopically detailed work, and repeatedly zoom out to see that detail at higher magnitudes. She scrolls forward and back through every step in the history of the image’s formation, reviewing each minuscule modification; nothing is lost, all the right moves, all the wrong moves. It’s a pulse, and we sense it as the fluctuation in a vortex of possible states, even if far away and close by, past and future, mean nothing physical in that digital world. “You have so much control over the image,” she reflects, “you can perfect it, but you’re not physically in touch with it; in a sense it’s a non-existent image.” The unconscious depth of this imagination is cyborgian. And the artist’s phantasm is the force of this immaterial image, a force materialising as the psychic projection of a not quite human—more, or less, than human—state of ecstasy.

Irene Hanenbergh:

“Interrupting fantasia with subtle impurities, walk-ons from the annual circus, a burlesque night-in or a discounted river-cruise, as if to keep everything off-balance and confused, it is felt there are near resources in reserve. If the subject matter and brush strokes aren’t familiar,

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www.irenehanenbergh.com behind it all, – the stories that don’t add up, the affinities that aren’t explained – is something very difficult to articulate, an experience, an autobiography, a world view, a private self. Situated somewhere between non-existent mythical and existent geographical mountain ranges, I might best describe my work as windows of longing or anticipated perfection and happiness. I investigate the Visionary Fantastic form of perfection (and its inherently inverse in imperfection) and Utopian happiness by means of rituals. By using artistic techniques (the rituals), I intend to produce images that suggest a visionary state of perfection or happiness. Exploring a sublime aesthetic that is classically nihilistic and melancholic, the work alludes to ominous situations, but does not reveal them. The work is mostly versatile in subject matter and technique and aims to be elusive and indefinable. Processes and subject matter have become relatively indistinguishable and it is somehow felt, there are “resources held in reserve”. The work is personal but resistant. There is anticipation, a promise of happiness or a sensation of more to come but this promise of openness is constantly deferred. The repertoire and intent of the imagery relate to the historical origins of Visionary painting drawing on artists such as William Blake, Henry Fuseli, John Martin, James Ensor, Augustin Lesage and Gustave Moreau. As I often use unseen or elusive Fantastic paraphernalia in my work, the symbolic nature acts as a signifier of the Fantastic unseen, a good (perfect) place but at the same time purely imagined. The use of digital processes (a kind of unnatural recreation of symbolic nature) in order to reproduce nature raises the question of what this is ultimately an image of: technique (the ritual) or subject matter (the depiction)?” Mark Amery, one god, no masters, Hamish McKay Gallery, Dominion Post, New Zealand: “Best of all, Irene Hanenbergh’s prints on aluminium take the airbrush-gothic of the ‘70s and create powerful mystical storms out of the movement of shaggy hairdos. Working digitally, she finds magic in the machine, the work shapeshifting between Iron Maiden imagery and Nordic mythological illustration to find a true life force of its own. Like so many of these artists she manages to provide beauty, truth and irreverence all at once.”

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~ Panama Luluena, Envy ~

In these imagined territories, obsessive line work and mark making suggest other worlds. While they give an initial impression of being landscapes, upon looking closer they are not that; the definition of an alternative world becomes fractured and is unbalanced. I derived this linework from a fusion of landscape figuration, 19th century topographic and botanical illustrations while the execution of the works recalls compulsive, mechanical mark making or automatic drawing.

Through the compositional models and choice of material (black Indian ink on paper), these works hint at organic motifs and structures without ever going so far as to reveal a situation or place. Though meticulous and repetitive, the compositional mode is slightly askew and seems fragile or even deranged. The lines are flowing but take on an almost mechanistic, obsessive quality up-close. These drawings presume seamless perfection in line but, as a completed image, position the viewer in an unknowable space in another era or an imagined topography.

A bird’s eye view or line drawn between for example the Alborz mountains in Iran and the Hekla mountain in Iceland provides us with an approximate location of the Volga river in Russia. Tracing this existing geography, sets the scenery for the imagined, envisioned topography in which some of my work is set. ‘Envy’ and ‘Panama Luluena’ are also part of this particular topography.

Situated somewhere between these non-existent mythical and existent geographical mountain ranges, I see these works as windows of longing or anticipated perfection and happiness. Exploring this sublime aesthetic however, may also become nihilistic and melancholic as the work somehow alludes to ominous geographies. These drawings aim to be elusive and indefinable; the processes and subject matter have become relatively indistinguishable. Built on these rituals and ceremonial riddles (the techniques), the topography offers an alternative, Fantasy life-style (including references to human traits that come with the territory: Truth, Envy and so forth). As if the act of drawing itself might be a form of sorcery (to me), the drawings are elaborate, meticulous and the imagery rendered to a-make-believe or fantastical perfection. The various mark-makings could at least be described as obsessive. Technique, obsessive & controlled use of stylistic features, have developed into an intrinsic part of the meaning in the work. There sometimes seem to emerge flashes of nostalgia, pity and longing in these repetitions and near identical marks.

Besides signifying topographies, the black-ink-drawings resemble encapsulated moments of control. In a way these drawings contain their own set of rules in self-contained near compulsive processes. The complete suite of drawings (of which ‘Panama Luluena’ and ‘Envy’ form a part), generally intend to interrupt Fantastical topographies with subtle impurities, to somehow keep everything off-balance and confused.

The repertoire also relates to the historical origins of Visionary painting drawing on artists such as William Blake, Henry Fuseli, James Ensor and the assured compositions by Augustin Lesage.

Irene Hanenbergh October 2010

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Ghost

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Ashley Crawford claims Irene Hanenbergh’s rapid rise toprominence is due in part to a fascination she shares with

a group of leading Melbourne artists for the darker sideof popular culture. Photography by Kirstin Gollings.

in the Machine


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Irene Hanenbergh is by no means an easy artist to define. Her work man-ages to appear both old-world and otherworldly as it straddles a realmsomewhere between landscape and fantasy, the painterly and graphic

illustration, old style painting and new technologies.Born in Holland, Hanenbergh is a comparatively recent denizen of

Australia. She lived and worked in The Netherlands, Athens and Londonbetween 1988 and 1998 before settling in Melbourne in 1998. From herEuropean background and travels she has brought along amongst herluggage much of the labyrinthine superstitions and beliefs of the old world.Her work seems infused with folklore and the mythology of long ago.

That is not to say that there is anything old-fashioned aboutHanenbergh. While from a distance her paintings appear rendered in aswirling morass of acrylics or oil paint, in reality they are generated on acomputer and produced as zund prints on aluminium, a form of cutting-edge signage technology.

There are contradictions aplenty in these works. Her studio resemblesthat of a more traditional artist. Along with masses of laser prints ofworks in progress, there are papers and pencils everywhere, sketches,more traditional finished drawings – the usual detritus of a painters’studio. One would barely notice the clapped-out looking computer that is central to this practice, a tobacco-stained ancient PC that barelylooks like it would have the energy to save a Word document. Butappearances can deceive; Hanenbergh is an artist who has trulyembraced technology; she has rebuilt the inside of this innocuous hunkof plastic into a machine that can let her paint and draw with astaggering array of paintbrushes and pencils and in every colour of thespectrum. Forget the slickness of a new G5 Apple Mac – the ratty, almosthomely appearance of her PC is, she says, “almost like an old paint-brush. I feel comfortable with it.”

Equally telling may be the stack of books on the table, ranging from a huge tome on Caspar David Friedrich (She readily admits to herfondness for the 19th century romantic painter, but says: “He’s a bit too neat, which is probably the part I don’t like.”) through to books onmagic and superstition and a well-thumbed catalogue for a Tony Clarksurvey show.

There is a darkness in Hanenbergh’s imagery that seems prevalent inmuch recent contemporary Australian art and this is no doubt oneaspect that has led to her comparatively rapid rise. She has heldexhibitions at Melbourne’s Centre for Contemporary Photography, MOPProjects in Sydney and TCB Art Inc. in Melbourne and has recently beenpicked up by Melbourne’s hottest new gallery, Neon Parc. She has alsobeen curated into a number of strong group shows alongside the likes ofSharon Goodwin, Ronnie van Hout, Tony Garifalakis, David Noonanand Lisa Roet, all of whom, like Hanenbergh, carry a fascination for thedarker side of popular culture.

The works shown up until this period have been small, intimate affairsthat resemble easel paintings, hinting at bizarre landscapes from whichemerge what could be werewolves and banshees. Her newer work, to beshown at Gertrude Contemporary Art Spaces, is far more ambitious inboth scale and colouration. For this showing her small zund prints willgrow Godzilla-like in size to 120 x 180cm, 15 kilo aluminium plates,engrossing the viewer in her moss-like abstractions. These will be herstrangest, yet most seductive works to date.

“There is a form there, but there’s little to indicate what it is,” she says.“I’ve always tended to move into periods of a clearer figuration and move

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“There is a form there,but there’s little toindicate what it is,”she says. “I’ve alwaystended to move intoperiods of a clearerfiguration and moveout of them again.”

Irene Hanenbergh, Sunny boy, 2007. Zund-print on aluminium, 180 x 120cm. COURTESY: THE ARTIST AND NEON PARC, MELBOURNE..

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out of them again.”

Indeed, in a separate body of work being produced alongside her large

abstractions there is a series of almost literal, albeit still fantastical,

landscapes. Hanenbergh is unlikely to go plein air painting however – these

remain very much landscapes of the imagination. “I like to question what it

is that makes up a landscape,” she says. “What are its components?”

In her latest works landscape as such is barely discernible. What we have

is some kind of strange organic explosion, a morass of fibrous, thread-like

growths threatening to corrode the very aluminium they sit upon. There is

something wraith-like about these forms, haunting the air they float in.

She has also pushed her palette to extremes, including strange ochre-browns

that have been sourced from Middle-Eastern stationary and stamps, giving

the works a strangely old-world sensibility; a hint of Persian mysticism and

Sufi sorcery.

“I think it is very hard to pinpoint where fantasy art becomes ‘low art’ or

considered bad taste. I’m not quite sure as to when, at what point exactly,

and where, that happens. I guess it’s a very fine line depending on personal

taste and experience as well. I think my work relates to it, or has references to

it, but puts it in an almost unrelated context by mixing in somehow more

readable, ‘down to earth’ influences and reference points, ranging from

Byzantine rock-painting, to a furry seal, a dolphin, a cat, a human waving

hand or just a feathery ‘thing’.

“By using elements of these marginalised art-practices merged with

more classical ‘high-art’ painting and printing techniques, I believe my work

slips between, and comments on ‘low’ and ‘high’ culture. Incorporating the

above elements, the work also transcends them and aims to be unique and

other worldly.

“I am also interested in finding out why nowadays the super-and sub-

natural are so rapidly becoming popular in mainstream culture – the

increasing use of mythological archetypes, the occult, darker supernatural

phenomena and Fantastical Nature…”

Hanenbergh is also obsessed by process. “The core of it is that I make a

digital file as a completely blank image, there’s no other digital input of scans

and so forth. Every pixel basically is painted as in ‘conventional’ painting,

This page: (left to right) Irene Hanenbergh, Higher,Supernature and Magnetic Trinity, 2004. Zund-print onaluminium, 60 x 40cm each. COURTESY: THE ARTIST AND NEON

PARC, MELBOURNE.

Opposite page: Irene Hanenbergh, Higher (for Vlad July),2006. Oil on canvas, 40 x 30cm. COURTESY: THE ARTIST AND

NEON PARC, MELBOURNE.

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“I think it is very hard to pinpoint where fantasy art becomes ‘lowart’ or considered bad taste. I’m not quite sure as to when, atwhat point exactly, and where, that happens. I guess it’s a veryfine line depending on personal taste and experience as well.”

This page: Irene Hanenbergh, Presence, 2003. Zund-print on aluminium, 60 x 40cm. COURTESY: THE ARTIST AND NEON PARC, MELBOURNE.

Opposite page: Irene Hanenbergh’s Melbourne studio photographed by Kirstin Gollings.


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using the type of brushes (created in software) and the same strength

and physical dynamics as what I would use if I were painting with oil on

canvas. The paintings are created using classical techniques (oil on

canvas, layering, transparent glazing, extensive brush detail) and formal

composition.

Where most technology-based art appears relentlessly cool,

Hanenbergh’s suggests a visceral painterly style, her subjects hint at a

seductive, Shamanistic shape shifting. There’s eroticism aplenty, but

never overt. There are stories being told, but never literally. She let’s

the magic take over the technology, a deus ex machina – the ghost in

the machine.

“The main thing here is to have an almost absolute control of the

type of colours that appear in the final piece, and to create the image

exactly as I envisioned it to be. An intricate opacity versus luminosity

interplay, which can be slightly compared to classical chiaroscuro

techniques, is accomplished due to the polished silver surface

simultaneously reflecting and absorbing the changing ambient light,

adding depth and mystery to the work. The ink areas vary from being

very opaque to a translucent or bright (really quite artificial) metallic

appearance. By using this technique of light and shadow – opaque ink

areas and luminous metal – the work obtains a strange sense of three-

dimensionality and depth.”

In June of 2003, Hanenbergh attended the V Salon Y Coloquio

Internacional de Arte Digital (Fifth Exhibition and Colloquium of

Digital Art) in Havana, Cuba. It was a clash of cultures that couldn’t

have been better for Hanenbergh – a conference on new-media art on

an island where old belief systems die hard. This is very much what

her work seems to be about – the old meeting the new in a strange,

unholy marriage.

Hanenbergh tells a story about staying in a deserted hotel in Greece.

It was a huge and dilapidated building booked out only by the ghosts

of previous clients, not unlike those in Stanley Kubrick’s The Shining.

There was a huge mahogany staircase leading to the ballroom and an

emptied swimming pool. “You could stay in a different room every

night,” she says. It is the kind of environment that one can imagine

being ideal for Hanenbergh’s works, removed from any sense of reality

due to its desertion; cut off from the real world and becoming a

cavernous, echoing shell where mosses grow in the corners and spider-

webs adorn the furnishings and where strange apparitions are caught

out of the corner of the eye.

While the viewer will inevitably – and correctly – sense her

fascination with the ethereal, what we might even dub the spirit world,

these paintings have a tendency to trigger strange memories. For me

these would be the clammy air-ferns and trailing mosses of the bayou

country around New Orleans where Voodoo rituals clash with the

superstitions of the Cajuns. There is no one reading of these works; like

dreams they seem to have an intensity of the moment but elude clear

definition. They are the ghost in the machine. They may be painted on a

computer screen, but that makes them no less fine paintings, indeed,

Hanenbergh may be one of the first to adapt new technology in a way

that the painters of old would have enjoyed. �

Irene Hanenbergh’s next exhibition will be at Gertrude Contemporary

Art Spaces, Melbourne from 18 May to 16 June 2007.

“The main thing hereis to have an almostabsolute control of thetype of colours thatappear in the finalpiece, and to createthe image exactly as Ienvisioned it to be.”

Irene Hanenbergh, The heathen pearl, 2003. Zund-print onaluminium, 60 x 40cm. COURTESY: THE ARTIST AND NEON PARC, MELBOURNE.


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Irene Hanenbergh www.irenehanenbergh.com Irene Hanenbergh (The Netherlands) uses various media including drawing, painting, new media and printmaking. In 2011 she undertook 2 artist residencies in Thailand and Japan, awarded by respectively Asialink (The University of Melbourne) and The Australia Council, further exploring concerns of disciplined immaterial sensibilities. Hanenbergh moved to Melbourne where she completed a Master of Fine Arts by Research at the Victorian College of the Arts in 2010. Intermittently, she spent considerable time on artist & research residencies and exhibition projects in various locations across Europe, Asia and the USA. She has held solo exhibitions in Australia and internationally; including 'Periwinkle Flower for the Beggar', Neon Parc, Melbourne. 'Lace Monitor (Victoria Everglades)' at Ryan Renshaw Gallery in Brisbane, 'Laudanum & De Breeder' at Neon Parc; 'Resort Nadir' at Sydney University Museums and Gallery; 'Freedom Holidays in The Rudolphine' at Gertrude Contemporary Art Spaces and 'Vlad July Egoiste, Neon Parc. She also contributed to numerous group exhibitions including 'New Psychedelia', QU Museum, Queensland, 'Show You My World', Berlin, 'Never lose that feeling', Perth Institute of Contemporary Arts. Her work is held in public and private collections in the Asia-Pacific, Europe and the United States including the QU Museum , the Museum of Old and New Art (Tasmania), Artbank Australia, ABSOLUT European Collection (Sweden), Centre for Contemporary Art , Collection ASKT (Greece) and Rabobank (The Netherlands). Irene was twice named as one of 'Australia's 50 Most Collectible Artists' by Australian Art Collector and is currently represented by Neon Parc and Ryan Renshaw Gallery.

For an exhibition- and publications history, catalogue of works, electronic copies of publications, images and information on upcoming events: [email protected]

Academic 2007/2010 MFA (by Research) Victorian College of the Arts and Music, The University of Melbourne, Australia. 2000/2004 Victoria University of Technology, Electronic & Interactive Media, Melbourne, Australia. 1995/1997 Athens School of Fine Arts, Postgraduate Program in Printmaking, Athens, Greece. 1992/1995 Athens School of Fine Arts, BA (Hons) Printmaking, Athens, Greece. 1993/1994 Royal College of Art (RCA), Postgraduate Program in Printmaking (PEP), London, UK. 1990/1992 Athens School of Fine Arts, Postgraduate Program in Sculpture & Installation, Athens, Greece. 1984/1988 Academy of Fine Arts Minerva, BA (Hons) Painting/Sculpture, Groningen, The Netherlands. Solo exhibitions (selection) 2011 Periwinkle Flower for the Beggar, Irene Hanenbergh, works from 1989-1997, Neon Parc, Melbourne. 2010 Lace Monitor (Victoria Everglades), Ryan Renshaw Gallery, Brisbane, Queensland. 2010 Freedom Nature, Margret Lawrence Galleries, VCAM, Melbourne. 2009 Laudanum & De Breeder, Neon Parc, Melbourne. 2009 Elastic Rebound Theory, with Stephan Balleux, courtesy of Think21 Gallery, Brussels & Ryan Renshaw Gallery, Brisbane. 2009 Resort Nadir, Sydney University Museum & Galleries, Sydney. 2007 Vlad July Egoiste, Neon Parc, Melbourne. 2007 Freedom Holidays in The Rudolphine, Gertrude Contemporary Art Spaces, Melbourne. 2007 Auckland Artfair - Neon Parc at Hilton Hotel, Auckland, New Zealand. 2005 Wolga Banshees, Apartment Gallery, Melbourne. 2003 Presence between Alborz and Hekla, Centre for Contemporary Photography, Melbourne. 2002 Trinity deLuxe Commander, TCB Art. Inc, Melbourne. 1997 This is What I Like So It's How I Do It And That Is What You See, Gallery Olga Georgadeas, Athens. 1995 New Painting, Gallery Bert Mertens, Utrecht, The Netherlands. 1994 Gloria, it's never too late, Gallery Olga Georgadeas, Athens. 1991 Windowshow corazon, Groningen, The Netherlands. 1989 Irene Hanenbergh, Gallery Biemoldsbelang, Groningen, The Netherlands. 1989 Irene Hanenbergh, Gallery Rumpff, Haarlem, The Netherlands. 1988 AIR, Corazon, Groningen, The Netherlands. 1988 Irene Hanenbergh, Gallery Voorheen Schoolholm 33/1, Groningen, The Netherlands.

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Group exhibitions (selection) 2012 upcoming Things That Go Bump In The Night, curated by David O’Halloran, Melbourne.

This is not a love song, curated exhibition, Anna Pappas Gallery, Melbourne. 2011 Naresuan University Museum, Phitsanulok, Thailand.

Tio Ilar 2011, Athens, Greece. Artfair Rotterdam, included in PrintRoom presentation, Rotterdam. New Psychedelia, curated by Sebastian Moody, QU Museum, Brisbane, Queensland.

Athens Pride, curated by Andrea Gilbert, The Breeder Gallery, Athens, Greece. Westspace, Annual Fundraiser, Melbourne. 2010 MFA 2010, Margret Lawrence Galleries, VCAM, Melbourne.

Delineated: The Printmaking Summer Residency Exhibition, curated by Andrew Tetzlaff, RMIT Project space, Melbourne. A Tradigital Survey, curated by Gina Kalabishis and Kirsten Rann, Level 17 Artspace, VUT, Melbourne.

Autumn Masterpieces: Highlights from the Permanent Collection, curated by Mark Feary, Centre for Contemporary Photography, Melbourne. Power To The People, Feature Inc. NYC, New York, USA. Recorded: The Music Poster Show, curated by Madeleine Preston, Blank Space, Sydney. 2009 Westspace, Fundraiser A4, Melbourne. FREMANTLE PRINT AWARD 2009, Fremantle, WA. Dark Liaisons, curated by Ashley Crawford, 24H Art, Darwin, NT. ART LA 2009, Los Angeles International Contemporary Art Fair, Los Angeles, USA (with Neon Parc). Some Recent Painting: The Director's Cut, 2009, John Buckley Gallery, Melbourne. 2008 The Resurrectionists, curated by Ashley Crawford and Sam Leach, Block Gallery, Melbourne. Neo goth: back in black, curated by Alison Kubler, University of Queensland Art Museum, Brisbane. Revolving doors (in memory of Blair Trethowan), Uplands Gallery, Melbourne. Show Me Your World, curated by Hannah Matthews, Gitte Weise Gallery, Berlin, Germany. Bal Tashchit, Thou Shalt Not Destroy, curated by Melissa Amore and Ashley Crawford, Jewish Museum of Australia, Melbourne. 2007 Old Skool (never lose that feeling), curated by Hannah Mathews & Robert Cook, Perth Institute of Contemporary Arts, Perth. Dream Wheels, Mahara Gallery, Wellington, New Zealand. 2006 one god, no masters, Hamish McKay Gallery, Wellington, New Zealand. ZOO Art Fair 2006 London, Bureau Gallery, Manchester, UK. Someone shows something to someone, Canberra Contemporary Art Spaces, Canberra. This is the thing I thought would never come, BUS Gallery, curated by Tony Garifalakis, Melbourne. Collection CBK Centrum voor Beeldende Kunst, curated by Liesbeth Grotenhuis, The Netherlands. Melbourne Reign, New Melbourne Painting, Michael Carr Art Dealer, Sydney. Kids Stay Free, Neon Parc, Melbourne. 2005 A portable model of (touring), curated by Tristian Koenig, La Trobe Regional Gallery, Morewell, VIC. Arts Aporia, curated by BUS & Phatspace (Australia), Osaka, Japan. Neo Folk, curated by Julian Holcroft, Lithuanian Club, Melbourne. Drops in the ocean, curated by Ewoud van Rijn, Het Wilde Weten, Rotterdam, The Netherlands. Magic, curated by Andrea Gilbert, Vamiali's Gallery, Athens, Greece. Salon de Freehands, curated by Rob McHaffie, Seventh Gallery, Melbourne. Prog: ME Programma de midia electronica, curated by Carlo Sansolo & Erika Fraenkel, Rio de Janeiro, Brazil. Nature by Proxy, curated by John Nicholson, Brian Moore Gallery, Sydney. Slave, curated by C.Hill, K.Picken, R.McKenzie, N.Selenitsch, The Margaret Lawrence Galleries, Melbourne. VII Intl. Art & Film Festival, Centro Cultural Pablo de la Torriente Brau, Havana, Cuba. A portable model of (touring), curated by Tristian Koenig, Plimsoll Gallery, Hobart, Tasmania. 2004 Addressbook, curated by Tristian Koenig, BUS Gallery, Melbourne. VideoLoveHateVideo, curated by Tristian Koenig, Phatspace, Sydney. Instinct, curated by Liza Vasiliou, Monash University Museum of Art, Melbourne. Imagens Que Jamais VocÊ Jamais VerÁ Na TV, curated by Carlo Sansolo & Erika Fraenkel, Sesc Vila Mariana, São Paulo, Brazil. VI Intl. Art & Film Festival, Centro Cultural Pablo de la Torriente Brau, Havana, Cuba. laisle.com Hole 04-02, screening curated by Sansolo & Fraenkel, Cine Buraco, Rio de Janeiro, Brazil. Girlpower 3, GAZI Contemporary Artspace, curated by T. Spiliotis, Athens, Greece. 2003 Posted, MOP Projects, curated by Anton Marin, Sydney. V Intl. Art & Film Festival, Centro Cultural Pablo de la Torriente Brau & Gallery Carmen Montilla, Havana, Cuba. WallCandy, curated by Greg Deftereos, Conical Contemporary Art Spaces, Melbourne.

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2002 Only the Lonely, curated by Clare Firth-Smith (Penthouse & Pavement), BLOCK Gallery, Sydney. 2001 ABSOLUT: Selected works from the European Collection (touring exhibition), Paris (France), Warsaw (Poland), Stockholm, Millesgarden, Sweden. 2000 MoNa, Museum of New Art, Detroit, USA. Snapshot, Contemporary Museum, curated by G. Sangster, Baltimore, USA. 1999 ABSOLUT Cult, DESTE Contemporary Art, in collaboration with ABSOLUT, Stockholm, Sweden. 2000, Galerie d'Art Contemporain Jacques Cartier, Chauny, France. ArtZine, curated by Phil Edwards, Spencer St. Gallery, Melbourne. Gallery Olga Georgadeas (Groupshow), Athens, Greece. Gallery monohoro (Groupshow), Athens, Greece. 1998 Westspace Gallery, A4Art, Melbourne. Gallery Olga Georgadeas (Groupshow), Athens, Greece. 1997 Gallery Olga Georgadeas (Groupshow), Athens, Greece. Gallery monohoro (Groupshow), Athens, Greece. sweet egg, O Exerevnitis, Athens, Greece. 1996 Athens School of Fine Arts ASKT (graduation exhibition), National Gallery of Athens, Athens, Greece. BasaArt, Gallery monohoro, Athens, Greece. 1995 ABSOLUT Cult 95, curated by Yanni Kolokotroni & Eleni Athanasssiou, Pieridis Museum of Contemporary Art, in collaboration with ABSOLUT, Stockholm, Sweden. CHAOS, Artspace CHAOS Art & Design, Athens, Greece 1994 Gallery Olga Georgadeas (Groupshow), Athens, Greece. 1993 Het Boudoir van PM, curated by Tanya Von Barnau-Sythoff, AIR Artist International Research, Amsterdam, The Netherlands. 1992 Greece-The Netherlands: Contemporary Artists. Centre for Contemporary Art. Organized by the Royal Dutch Embassy, Athens, Greece. Different Opinion, curated by Miltos Manetas and Maria Papadimitriou, Gallery VIA Farini, Villa Addormentata, Boffalora, Ticino, Milan, Italy. 1990 De Blokkendoos, Zwolle, The Netherlands. Relics, Gallery Relics, Thessaloniki, Greece. 1989 Noordkunst Artfair & Central Exhibition: Young Talent, curated by Frits Maats, Zuidlaren, The Netherlands. Project Dineke Van Huizen, Gallery Arcadia, Finsterwolde The Netherlands. Salon der Debutanten, Slagharen, The Netherlands. Summer Art Korenbeurs, Center for Art, Groningen, The Netherlands. 1988 Start 88, Centraal Beheer, Zeist, The Netherlands. Academy Minerva (graduation exhibition), De Oosterpoort, Groningen, The Netherlands. 1987 Spatial Design, Academie Minerva, Gedempte Zuiderdiep building, Groningen, the Netherlands. Awards, scholarships, residencies 2011 Recipient Tokyo Residency, awarded by The Australia Council for the Arts, Sydney, Australia. 2011 Awarded ASIALINK Artist Residency Thailand (Naresuan University, Phitsunalok), Asialink (The

University of Melbourne), Australia. 2010 Printmaking Residency, Royal Melbourne Institute of Technology (RMIT), Melbourne. 07/09 APA Award Fellowship, The University of Melbourne, Victorian College of the Arts and Music (VCAM). 2008 Art Residency New York City, USA (6 months). 2006 Arts Victoria, Arts Development Grant, Melbourne. 2005 Arts Victoria, Export and Touring Grant, Melbourne. 2003 Pat Corrigan Artist Grant, NAVA, Australia Council, Sydney. 2003 Australian Network for Art and Technology (ANAT), Conference & Workshop Travel Grant. V Intl. Art & Film Festival, Havana, Cuba. 2002 Siggraph Singapore; Shortlisted in International 3D Competition 2002, Singapore. Experimenta selected Interactive shockwave work The Forest (2001) for online exhibition, Melbourne. 95/97 IKY Postgraduate Scholarships. Grant for 2 Academic Years Postgraduate studies, Foundation for Government Artist Scholarships (IKY), Athens, Greece. 1995 ABSOLUT Cult. Commission/Prize by ABSOLUT Vodka, Stockholm, Sweden. 1993 Royal College of Art Sponsorships, Renswoude, Tesselschade and Stoop (private sponsorship foundations) for Postgraduate studies at the Royal College of Art, London, UK. 1993 European Grants Program PETRA II, Grant for Artists Residency ASKT (Delphi annex), Greece. 1992 Promotional Grant Voorzienings Fonds voor Kunstenaars (VVK), Production & Publication of Exhibition Catalogue, Amsterdam, The Netherlands. 1992 Foundation for Visual Arts, Design and Architecture, Artist Development Grant (1 year), Amsterdam, The Netherlands.

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90/94 NUFFIC Netherlands University Federation for International Cooperation. Awarded 4 Scholarships within the funding program of the Dutch & Greek Ministry of Culture (European Cultural Agreement:Exchange & Residency program), The Hague, The Netherlands. 1990 Foundation for Visual Arts, Design and Architecture, Artist Development Grant (1 year), Amsterdam, The Netherlands. 1990 Rens-Holle Foundation, Grant for Postgraduate studies and artist residency (Athens), Amsterdam, The Netherlands. 1989 Centre for Contemporary Art, Artist Material & Development Grant, Groningen, The Netherlands. 1989 Centre for Contemporary Art, Exhibition Grant, Groningen, The Netherlands. 88/89 Stipend (Startstipendium) awarded by Foundation for Visual Arts, Design and Architecture, Amsterdam. Selected collaboration & artistpages 2006 Love Song Book. Artistpage contribution. Artistbook by Lisa Radford & Narelle Desmond, Melbourne. 2004 Girlpower 3. Art & charitable campaign. Initiated by A. Kollaros and T. Spiliotis in association with the Hellenic Cancer Society, Athens, Greece. 2003 HomeComing. Artistpage contribution ‘SuperWish’. Artistbook by Hilde Aagaard. Oslo, Norway. ISBN:960-87354-4-0. RUBIK#14. Artistpage contribution, Melbourne. Issue 14. Curated by Julia Gorman, James Lynch, Michelle Ussher. 2002 Vanilla Sigaartje, video with Lane Cormick, Gertrude Contemporary Art Spaces, Melbourne. 2000 The Politics of Everyday Fear. Australian Perspecta Project, Artspace Sydney, with T. Garifalakis. 1999 R.I.P. Artzine, in collaboration with T. Garifalakis. GLUE NO.6, T. Garifalakis, Melbourne. Collections Irene Hanenbergh’s work is represented in a number of public and private collections in Australia, New Zealand, Europe and the USA including the Museum of Old and New Art (Australia), Artbank (Australia), ABSOLUT European Collection (Sweden), Center for Contemporary Art (The Netherlands), Collection ASKT (Greece), Rabobank (The Netherlands), QU Museum and others. Selected bibliography (for electronic copies of these publications & reviews please email [email protected]) 2011 Exhibition Catalogue Naresuan University Museum, Phitsanulok, Thailand

Published Exhibition Catalogue: New Psychedelia, curated by Sebastian Moody, QU Museum, Brisbane, Australia Exhibition Catalogue: Tio Ilar, Athens, Greece.

2010 A Polished Performer, In The Frame, Suzanna Clarke, The Courier Mail, October 9-10, Brisbane. Panama Luluena, essay Irene Hanenbergh in conjunction with “Lace Monitor (Victoria Everglades)” exhibition at Ryan Renshaw Gallery, Brisbane, Queensland. Artwise 2, Glenis Israel, Visual Arts 9-10 Second Edition (Editor Jacaranda), Brisbane. A Tradigital Survey, Exhibition catalogue, curated by Kirsten Rann, Gina Kalabishis, essay, Melbourne. Artlink, A Tradigital Survey, review, Jane Button, Vol 30, No. 3, Australia Trouble Magazine, A Tradigital Survey, review, June 2010, Melbourne. Freedom Nature (Researching the Visionary Fantastic in Contemporary Art), Maria Rudolphine Irene Hanenbergh, MFA dissertation at the University of Melbourne, Australia. Delineated, Exhibition catalogue, essay by Andrew Tetzlaff, in conjunction with The Printmaking Summer Residency Exhibition, Project Space, RMIT University, Melbourne. Imprint, Delineated, exhibition review, The Printmaking Summer Residency Exhibition, Melbourne. Cross Alive, Issue 6 2010, p 85 S, New Zealand.

2009 Art Blart, review: ‘Autumn Masterpieces: Highlights from the Permanent Collection’ Centre for Contemporary Photography (CCP), Fitzroy, Melbourne. Fantasy and intrigue: Irene Hanenbergh exhibition at Sydney University gallery, Inner West Courier 22

March 2009. Sydney University Galleries & Museums, Promotional Leaflet, 2009. Artist Profile Magazine, Issue 6, Pg 68-70 review, The Resurrectionists, A.Crawford The Sydney Morning Herald, the (Sydney) magazine, Issue #72 April 2009, pg 80 The Sydney Morning Herald, Spectrum 9 - 10 May - Going, Going, Sydney Sydney University Museums Catalogue Exhibitions & Events. P 20-21, Jan-June 2009 The Resurrectionists, Catalogue/Exhibition publication, Block Gallery, 2009 2008 Neo goth: back in black, Exhibition Catalogue (hardback), University of Queensland Art Museum, Brisbane.

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Show You My World, Exhibition catalogue, essay by Hannah Matthews, Gitte Weise Gallery, Berlin. Artlink, vol 28 no 3, Sophie Knezic, Review Bal Tashchit:Thou Shalt Not Destroy.

Bal Tashchit, Thou shalt not Destroy, Environmental Apocalypse and the Hebrew Bible, Exhibition Catalogue by Melissa Amore (Author), Ashley Crawford (Author) Paperback: 35 pages Publisher: Jewish Museum of Australia (April 2008) ISBN-10: 1875670475 ISBN-13: 978-1875670475

Australian Art Collector, Ric Spencer, December 2007 The Perth Voice, Old skool’s never out of fashion, Saturday 1 December 2007, p15 The West Australian, Old-skool vintage back from 2004, Wednesday 5 December 2007, p6-7 Art Monthly Australia, Old Skool Rules and the Yearning for Roots, #208, April 2008, p10-12 The Australian, Nostalgic school of thought, Tuesday 11 December 2007, p9 The West Australian, Old Skool attitude rules PICA, Friday 11 January 2008, p7 X-Press, Blast From The Past, Thursday 20 December 2007, p37 50 Most Collectible Artists, Carrie Lumby, Australian Art Collector, Issue 43, Jan-March 2008, p 142. Old Skool, Ric Spencer, Review Australian Art Collector, Issue 43, Jan-March 2008, p 307. Old Skool attitude rules PICA, Ric Spencer, Review The West Australian, Jan 11 2008, pg 7. 2007 Old Skool (Never Lose That Feeling), Exhibition Catalogue. ISBN 1 875386 81 5. Dec 2007.

Blast from the past, X-press Magazine, Review Collette Swindells, 20 Dec 2007. Old Skool (Never Lose That Feeling), Ted Schnell. Review The Australian, Dec 11 2007. Art Around the Galleries, Vlad July Egoiste, by Megan Backhouse. The Age Nov 10, 2007. The Supernatural world of Irene Hanenbergh. Feature by Megan Backhouse. Gallery Guide Australia. Nov-Dec 2007. Vlad July Egoiste. Review, Brigitte Barta, Good Weekend, The Age Nov 3 2007. Metallic Magic. Review, Frances Johnson. Critical Sightlines - Art and Culture, The Age Nov 16 2007. Irene Hanenbergh: Vlad July Egoiste. Review, Natalie King. Art It, Japanese-English bilingual Art Quarterly 2007/11/20. Vlad July Egoiste, Exhibition Catalogue, text by Edward Colless, 2007. Freedom Holidays in The Rudolphine, Exhibition catalogue, essay by Lisa Radford, May 2007. Review MCV (online), Gertrude Contemporary Art Spaces, May 23, 2007. Art around the Galleries, Freedom Holidays in the Rudolphine, Ashley Crawford, The Age, May 19, 2007. Ghost in the machine. Ashley Crawford. Australian Art Collector, Issue 40, April-June 07, Sydney. 50 Most Collectible Artists, Andrew Frost. Australian Art Collector, Issue 39, Jan-March 07 p. 170- 171,

Sydney. 2006 Hothouse Flowers: one god, no masters. M.Amery. Dominion Post, Oct 27, Wellington, NZ. Oz Dutch darkly, This is the thing I thought would never come. A.Crawford. The Sunday Age, Aug 20, 2006. Melbourne. Australian Art Collector. A.Crawford. Quarterly. April-June, 2006, Sydney. I.Gerogianni, Review ‘Magic’, CONTEMPORARY, no 78 p.76, 2006. London. UK. A.Crawford. KIDS STAY FREE. Review. The Sunday Age (Preview), April 16, 2006. Melbourne. A.Crawford. Hell’s Kitchen, exhibition catalogue Melbourne Reign, Michael Carr Art Dealer, Sydney. 2005 VII International Art & Film Festival, Exhibition Catalogue. Centro Cultural Pablo de la Torriente Brau,

Havana, Cuba. Prog: ME Programma de midia electronica 2005. Exhibition Catalogue, essays y E.Fraenkel, C.Sansolo, Rio de Janeiro, Brazil.

A.Crawford, Wolga Banshees. Review. The Age, October 23. Melbourne. T. Koenig, A Portable Model of. Exhibition Catalogue. ISBN 1 86295 229 9. J. Holcroft, Neo Folk. Exhibition Catalogue & essay. Lithuanian Club, Melbourne. ISBN 0646 45499. Andrea Gilbert, Now upon a time. Exhibition Catalogue & essay. Vamiali's Gallery, Athens, Greece. Dimitra Antoniadou. From here to Eternity. Review Mauve Magazine (Art & Style). April-May, Greece. Sandra Smets. Oceanische Kunst. Review Drops in the Ocean. Rotterdams Dagblad Feb 15 2005.The Netherlands. Tubelight 36. Tube’s Choice: Drops in the Ocean. Rotterdam, The Netherlands. Despina Zefkili. Athinorama. Review Magic. Vamiali's Gallery, Athens, Greece. C.Hallows, Irene Hanenbergh: Mysticism, imaginary landscapes and sublime transmissions. UN magazine. Issue 3; March 2005. Melbourne. C.Hallows, Catalogue Essay, Exhibition Publication Irene Hanenbergh: Mysticism, imaginary landscapes and sublime transmissions. Jan 2005. Melbourne. 2004 Imagens Que Voce Jamais Vera Na TV. Catalogue. Carlo Sansolo & Erika Fraenkel. Sao Paulo, Brazil. J. Cininas, Artlink, Vol 24 # 4, Review Instinct. Dec 2004. Australia. L. Vasiliou, Instinct, Exhibition catalogue, Monash University Museum of Art. Essay by Liza Vasiliou. Melbourne. ISBN 0975111078. Aug 2004. A.Crawford, Review, Instinct. The Age, Sep 2004. Melbourne. C.Hallows, Irene Hanenbergh: On mysticism, imaginary landscapes and sublime transmissions, Sep/Oct 2004. Essay. Art & Excess Symposium, Australian National University, Canberra, ACT.

VI International Art & Film Festival, Exhibition Catalogue. Centro Cultural Pablo de la Torriente Brau, Havana, Cuba.

Girlpower 3. Tessi Spiliotis. Exhibition catalogue. Artistpage contribution. Athens, Greece.

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Tracey Clement. Review. VideoLoveHateVideo, Phatspace, Sydney Morning Herald, Oct 2004. 2003 HomeComing, Hilde Aagaard, Artistpage contribution ‘SuperWish’, Oslo, Norway ISBN960-87354-4- 0. RUBIK # 14, Artistpage contribution. Issue 14. Issue curated by J.Gorman, J.Lynch, M.Ussher. Melbourne. Lucinda Strahan. Review, Candy Connections. Conical Contemporary Art Space. The Age. April 24 2003 G.Deftereos. Wallcandy. Exhibition catalogue. Essay. Conical Contemporary Art Space. April 2003. SBS Radio; Y.Davies. Broadcast 21 Nov 2003, Australia (transcript available MP3)

V Salon y Coloquio Internacional de Arte Digital (V International Art & Film Festival). Centro Cultural Pablo de la Torriente Brau & Gallery Carmen Montilla. Exhibition Catalogue, Havana, Cuba.

Australian Network for Art and Technology. Irene Hanenbergh.The Fifth Exhibition and Colloquium of Digital Art, Newsletter 54 Sept-Nov 03, Adelaide. 2000 ABSOLUT Celebration Exhibition Catalogue, DESTE Centre for Contemporary Art, Athens, Greece M. Kahan (ed.), 'Absolut Hanenbergh', Absolut Art, The Absolut Company, Stockholm, Sweden. ABSOLUT Collectors Publication, European Collection; Millesgarden. 1997 A.Gilbert, 'Irene Hanenbergh', ARTI International; Art Today, Vol.33, 1997, Athens, Greece. 1996 I.Savani. The Art Magazine The Art Agenda Vol. 2, Pg. 11. Review. Athens, Greece. This is what I like So it's how I do it and That is what you see. Exhibition catalogue. Essays by I.Savani (Irene Hanenbergh) and E.Athanassiou (The substance of Watery Reality), Athens, Greece Athens School of Fine Art. Graduation Exhibition catalogue. National Gallery of Athens, Athens, Greece. 1995 ABSOLUT CULT 95. Absolut Art Event of the Year. Exhibition catalogue. Pieridis Museum of Contemporary Art, Athens, Greece. CHAOS. Art and Design Magazine, Artistpage contribution. Trabakopoulos, Athens, Greece. 1994 Dimosthenis Davvetas, Irene Hanenbergh. Exhibition catalogue, essay. Gallery Olga Georgadeas, Greece. 1993 Robbert Roos. Het Boudoir van PM, Het Utrechts Nieuwsblad 14 Jan 1993, The Netherlands. Mirjam Westen. Het Boudoir van PM: Kijken en bekeken willen worden. HN Magazine 30 Jan 1993, The Netherlands. 1992 Iris Dik &Tanya Von Barnau-Sythoff. The Case for Personal Experience. Ruimte Magazine 4, Vol.9 Amsterdam, The Netherlands. The PM Boudoir. Metropolis M Art Magazine. Review. Amsterdam, The Netherlands. Rabobank. Promotional booklet 1992, The Netherlands. L. Kokkini. Greece-The Netherlands: Contemporary artists in Athens. Exhibition catalogue. Athens. Herma Hekkema. Nieuwsblad van het Noorden, Interview 26 Aug 1992. Y.Kolokotronis. Athens 90 - 92 Irene Hanenbergh. Exhibition Catalogue; Essay, Athens, Greece. VISUM, NUFFIC Magazine; I. Hanenbergh. The Hague, The Netherlands. 1991 I. Hanenbergh. Van de driekleur naar de Griekse kore. The University of Groningen, The Netherlands. 1990 Gerard Lakke. Bijvoorbeeld Art Magazine. Feature interview, Vol.22 No.1.1990, The Netherlands. Y.Kolokotronis. Relics. Exhibition Catalogue. Essay. Thessaloniki, Greece. 1989 Frits Maats. Het avontuur van een ontmoeting. Exhibition Catalogue Noordkunst, The Netherlands. Rijdend door Drenthe. W. Koeneman. Illustrated short stories, Horipress, The Netherlands. Timeless. Dutch National Radio Broadcast. Interview 30 min. The Netherlands. 29 Oct 1989 (transcript available as MP3) Nienke Denekamp. Drents Groningse Pers. Interview 21 Oct 1989 (Noordkunst). Foundation for Visual Arts, Design & Architecture, Catalogue Stipends, Amsterdam, The Netherlands. Henk Peeters. Salon der Debutantenkrant. Exhibition Catalogue. Slagharen. The Netherlands. 1988 Academy of Fine Arts Minerva, Graduation Catalogue, Groningen, The Netherlands.

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