diez

Save the date for the much-anticipated first solo exhibition by Jochem Mestriner at the gallery. ​The Daylight Sick will open on May 23rd. We are very much looking forward to sharing this one with you. ​Until then, the gallery remains closed. Jochem Mestriner @jochem.mestriner C-14 Second sleep, 2026 Oil, oil stick, oil pastel & colour pencil on canvas 140 x 170 cm (55 1/8 x 66 7/8 in) #jochemmestriner

Thank you @friezeofficial for selecting diez as a gallery to watch in 2026. We are honored to be in such remarkable company. “At first glance, the programme at diez might seem disparate. The spare minimalism of Jessica Wilson’s sculptures closed its 2024 programme, only for the gallery to return in the new year with the vibrant, furious political abundance of painter Sands Murray-Wassink. Founder Diego Diez embraces this contrast, noting that the gallery’s greatest strength is in the broad net it casts: what Diez calls an ‘obsession or deep love of art over taste or aesthetics’. For Diez – a Spaniard who came to the Netherlands to study – the gallery is a continuation of the exhibitions he once organized in his living room while in art school almost a decade ago, ‘where the ambition was to make great shows and connect people’. This impulse drives diez into 2026, with the gallery offering space for several artists – including Flora Fritz, Ian Waelder and Alex Margo Arden – to have their first solo exhibitions in the Netherlands.” Alongside @243_luz , Yehudi Hollander-Pappi, @palaceenterprise_cph , @palas_inc , @ulrik.nyc , and @heidi_heidi_heidi . Deep thanks to @sam.moore94 for the write-up. Portrait by @ianwaelder . Link in bio for the full article.

Sands Murray-Wassink's set of works at Beyond the Manosphere – Masculinities Today at the Stedelijk Museum Amsterdam, curated by Melanie Bühler. ​On view until August 2nd, not to be missed! ​@extrait_sands @melaniebue @stedelijkmuseum ​Violence and Vulgarity (Casual Is the New Serious), 2018; I Leave Entertainment to the Professionals (Horse First), 2018; Sadness as Inspiration, 2018. ​Photo: Peter Tijhuis

Last couple of days to visit True as Good, the first solo exhibition by Alex Margo Arden outside of the UK. One of the main works in True as Good is a sculptural installation of stained art-handling crates titled Three Market Women in Conversation (2026). Normally invisible, these crates bear marks of transport, repeated handling, and archival use. Containing objects that reference the composition of the van Meegeren painting and punctuated by numbered cards, the crates evoke museum systems of cataloguing and inventory. The exhibition is open today and tomorrow from 12-5pm, last chance to visit! @olddrag #alexmargoarden Three Market Women in Conversation, 2026 Art handling crates, rope ladder, wicker baskets, museum display food, artificial flowers, prop rats, wallet, condom, underdress, fabric, plate, spoon, bandage, ribbon, brown paper, paper bag, tape, paint, stain, marker, label residue, leaves, dirt, dust, number cards 172 x 256 x 327 cm (67 3/4 x 100 3/4 x 128 3/4 in)

Ian Waelder @ianwaelder John Cale, Big White Cloud (New Mexico), 2025 Olive oil, oats and chamomile tea leaves on newspaper (Die Zeit, July 3rd, 2025), Artglass AR 99 Water White, acid-free board, tape on Dibond, stainless steel 30 x 24 cm (11 3/4 x 9 1/2 in)

One more week to visit True as Good by Alex Margo Arden at the gallery! Until May 9th and the gallery is open Friday, Saturday this week from 12-5pm or by appointment! In the second room, three mannequin heads, Exposure [I/II/III] (2026), repurposed from a military museum display, face three gelatin silver prints, Flash [I/II/III] (2026). The prints document a life-size automaton “flasher” from the Sexmuseum Amsterdam, capturing his repeated exposure. The mannequin heads share the same expression – disgust, grimace, pain, anger – but two are bruised and one unmarked. Positioned to look directly at the photographs, the heads stage a silent confrontation. Intended as display surrogates rather than memorials, the mannequin heads nonetheless evoke histories of coercion, conscription, and the ethical complexities of military violence. The gelatin silver prints transform an act dependent on proximity and consent into images that can circulate, be catalogued, and interpreted; through documentation, these ethically charged actions are stabilised and redistributed. @olddrag #alexmargoarden Exposure [I], 2026 Museum display head, plinth, needle, thread 138 cm x 16 cm x 19 cm Exposure [II], 2026 Museum display head, plinth, needle, thread 138 cm x 16 cm x 19 cm Exposure [III], 2026 Museum display head, plinth, needle, thread 138 cm x 16 cm x 19 cm Flash [I], 2026 Gelatin silver hand print, artist’s frame 61.3 cm x 51.3 cm x 3.5 cm Flash [II], 2026 Gelatin silver hand print, artist’s frame 61.3 cm x 51.3 cm x 3.5 cm Flash [III], 2026 Gelatin silver hand print, artist’s frame 61.3 cm x 51.3 cm x 3.5 cm

We are very happy to share this text by Dagmar Bosma for Metropolis M about our current exhibition “True as Good” by Alex Margo Arden. The exhibition is on view until May 9th, so do not miss the last weeks to see this fantastic show! You can order the current issue of Metropolis M online or pick it up at various locations throughout the Netherlands! Don't miss this fantastic issue! Thanks a lot to Dagmar for the thoughtful words about the exhibition. @olddrag @tuff_n_tender @metropolism_mag

We are very happy to share this article by Nina Siegal for The New York Times regarding “Beyond the Manosphere – Masculinities Today.” This group exhibition is curated by Melanie Bühler and includes works by Sands Murray-Wassink, who is also featured in the piece. Congratulations! @extrait_sands @melaniebue @stedelijkmuseum @ninasiegal

Last few weeks to visit Alex Margo Arden’s exhibition, True as Good. Until May 9th and the gallery is open Friday, Saturday this week from 12-5pm or by appointment! Reproduction Prohibited (2026) is postcard rack filled with exact facsimiles of postcards from Scenerama (1991), a former exhibit at Madame Tussauds Amsterdam. Reproduced front and back, the postcards show a wax tableau combining fragments from multiple Jan Steen paintings into a single composite arrangement. On the back of each postcard, the text reads “Reproduction Prohibited,” though the image already reproduces a scene that itself reproduces scenes from Steen’s work – a reproduction layered upon reproduction. Repetition structures the exhibition: three women, three mannequin heads, three prints; numbered cards, re-presented histories, handled crates, reframed attributions. Difference is introduced and managed within systems that rely on similarity. The exhibition demonstrates how institutional procedures – cataloguing, numbering, attribution, reproduction, framing – allow morally compromised objects to remain in circulation. These mechanisms do not resolve ethical problems but distribute and defer them, making difficult histories legible enough to persist. @olddrag #alexmargoarden Reproduction Prohibited, 2026 Postcards, display rack 49.7 x 36.5 x 4.2 cm (19 5/8 x 14 3/8 x 1 5/8 in)

Alex Margo Arden’s exhibition, True as Good, continues until May 9th and the gallery is open Friday, Saturday and Sunday from 12-5pm or by appointment! In the first room, a painting by the infamous art forger Han van Meegeren occupies the right-hand wall. Executed in the style of the Dutch Golden Age and signed by the artist, it depicts three women at a market. The work exists in conditional space: unsigned, it could slip into a faux historical lineage; signed, it asserts its authorship and ethical ambiguity. Now, the painting has been re-authored and re-titled Authorised History (2026), further complicating conventions of attribution and institutional recognition. This re-authoring implicates Arden in the same systems the work examines. Surrounding the painting is a sculptural installation of stained art-handling crates titled Three Market Women in Conversation (2026). Normally invisible, these crates bear marks of transport, repeated handling, and archival use. Containing objects that reference the composition of the van Meegeren painting and punctuated by numbered cards, the crates evoke museum systems of cataloguing and inventory. The three women from the painting appear only as implied positions, gaps in space, figures withheld and absent. @olddrag #alexmargoarden Authorised History, 2026 Oil on canvas, artist's frame 32.4 x 27.5 x 3 cm (12 3/4 x 10 7/8 x 1 1/8 in) Three Market Women in Conversation, 2026 (Details) Art handling crates, rope ladder, wicker baskets, museum display food, artificial flowers, prop rats, wallet, condom, underdress, fabric, plate, spoon, bandage, ribbon, brown paper, paper bag, tape, paint, stain, marker, label residue, leaves, dirt, dust, number cards 172 x 256 x 327 cm (67 3/4 x 100 3/4 x 128 3/4 in)

Sands Murray-Wassink’s ‘I'm Proud of Myself !’ from 1996 is one of the works to be included in the upcoming group exhibition ‘Beyond the Manosphere – Masculinities Today’, curated by Melanie Bühler, opening at the Stedelijk Museum Amsterdam on 17 April. “What does it mean to be a man today? This question has become increasingly urgent with the rise of the ‘manosphere’, a loose network of online spaces where a brash, misogynistic masculinity is asserted that, to many, feels threatening. Fuelled by the spread of Trumpism, this brand of masculinity has become increasingly mainstream. The artworks in ‘Beyond the Manosphere – Masculinities Today’ explore masculinity as both an agent and performance of power, and as a lived reality that can be conflicting, banal, unsteady, and tender. They approach masculinity as a layered phenomenon, beyond dominant clichés.” A publication will accompany the exhibition, with contributions from Hannah Black, Judith Butler, Asa Seresin, and Maurits de Bruijn, among others. The publication is designed by Sabo Day. @extrait_sands @melaniebue @sabo_day @stedelijkmuseum Sands Murray-Wassink I'm Proud of Myself !, 1996
 Wood table, framed photographs 17 x 12.5 x 45.5 cm 6 11/16 × 4 15/16 × 17 7/8 in Collection Stedelijk Museum, Amsterdam ‘Beyond the Manosphere – Masculinities Today’ is organised by the Stedelijk Museum Amsterdam and curated by Melanie Bühler, in collaboration with the Kunstmuseum St. Gallen, Switzerland, where the exhibition will travel.

Installation views of Alex Margo Arden exhibition True as Good are now on view at our website. There is still one month to visit this exhibition, on view until May 9th. The gallery is open Friday, Saturday and Sunday from 12-5pm or by appointment! @olddrag #alexmargoarden