Hirst. This show at the Rijksmuseum brings the world premier of the work's international tour to Amsterdam. To accompany the <a target="_blank" href=https://www.mutualart.com/Exhibition/For-the-Love-of-God-/"/Artist/Damien-Hirst/A3633E7575817E6D">exhibition Hirst</a> has chosen a personal selection from the Rijksmuseum's collection of 17th-century art. For the Love of God opens to the public on 1 November for Amsterdam Museum Night and remains at the Rijksmuseum for six weeks. Damien Hirst: “As an artist I try to make things that people can believe in, that they can relate to, that they can experience. You therefore have to show them as well as possible.” (Interview with Damien Hirst in OOG, Rijksmuseum magazine for art and history, no. 4, 11 Sept. 2008) 'For the Love of God' is a platinum cast of a human skull encrusted with 8,601 flawless diamonds. Set on the forehead is a large, pear-shaped light fancy pink diamond, called the Skull Star Diamond. The teeth are from the original skull. It was hailed worldwide and generated enormous publicity when first unveiled in 2007 at London’s White Cube. Dutch art historian Rudi Fuchs described it as “a supernatural skull, almost heavenly”. He relates Hirst’s work to the memento mori and vanitas motifs popular in the Dutch Golden Age. For the Love of God and Hirst’s personal selection of works from the Rijksmuseum collection reveal how fear of death has provided a theme in art over the centuries. Appropriately, For the Love of God appears in the Philips Wing, surrounded by the Masterpieces of the Golden Age. Never before has a work of art provoked as much dialogue as Damien Hirst's "For the Love of God". On this site you will encounter a whole universe of opinions by those who have actually seen the piece in the Rijksmuseum. www.fortheloveofgod.nl" />

For the Love of God

Nov 01, 2008 - Dec 15, 2008
rom 1 November to 15 December 2008 the Rijksmuseum presents For the Love of God, the celebrated diamond encrusted skull by Britain's Damien Hirst. This show at the Rijksmuseum brings the world premier of the work's international tour to Amsterdam. To accompany the exhibition Hirst has chosen a personal selection from the Rijksmuseum's collection of 17th-century art. For the Love of God opens to the public on 1 November for Amsterdam Museum Night and remains at the Rijksmuseum for six weeks. Damien Hirst: “As an artist I try to make things that people can believe in, that they can relate to, that they can experience. You therefore have to show them as well as possible.” (Interview with Damien Hirst in OOG, Rijksmuseum magazine for art and history, no. 4, 11 Sept. 2008) 'For the Love of God' is a platinum cast of a human skull encrusted with 8,601 flawless diamonds. Set on the forehead is a large, pear-shaped light fancy pink diamond, called the Skull Star Diamond. The teeth are from the original skull. It was hailed worldwide and generated enormous publicity when first unveiled in 2007 at London’s White Cube. Dutch art historian Rudi Fuchs described it as “a supernatural skull, almost heavenly”. He relates Hirst’s work to the memento mori and vanitas motifs popular in the Dutch Golden Age. For the Love of God and Hirst’s personal selection of works from the Rijksmuseum collection reveal how fear of death has provided a theme in art over the centuries. Appropriately, For the Love of God appears in the Philips Wing, surrounded by the Masterpieces of the Golden Age. Never before has a work of art provoked as much dialogue as Damien Hirst's "For the Love of God". On this site you will encounter a whole universe of opinions by those who have actually seen the piece in the Rijksmuseum. www.fortheloveofgod.nl
rom 1 November to 15 December 2008 the Rijksmuseum presents For the Love of God, the celebrated diamond encrusted skull by Britain's Damien Hirst. This show at the Rijksmuseum brings the world premier of the work's international tour to Amsterdam. To accompany the exhibition Hirst has chosen a personal selection from the Rijksmuseum's collection of 17th-century art. For the Love of God opens to the public on 1 November for Amsterdam Museum Night and remains at the Rijksmuseum for six weeks. Damien Hirst: “As an artist I try to make things that people can believe in, that they can relate to, that they can experience. You therefore have to show them as well as possible.” (Interview with Damien Hirst in OOG, Rijksmuseum magazine for art and history, no. 4, 11 Sept. 2008) 'For the Love of God' is a platinum cast of a human skull encrusted with 8,601 flawless diamonds. Set on the forehead is a large, pear-shaped light fancy pink diamond, called the Skull Star Diamond. The teeth are from the original skull. It was hailed worldwide and generated enormous publicity when first unveiled in 2007 at London’s White Cube. Dutch art historian Rudi Fuchs described it as “a supernatural skull, almost heavenly”. He relates Hirst’s work to the memento mori and vanitas motifs popular in the Dutch Golden Age. For the Love of God and Hirst’s personal selection of works from the Rijksmuseum collection reveal how fear of death has provided a theme in art over the centuries. Appropriately, For the Love of God appears in the Philips Wing, surrounded by the Masterpieces of the Golden Age. Never before has a work of art provoked as much dialogue as Damien Hirst's "For the Love of God". On this site you will encounter a whole universe of opinions by those who have actually seen the piece in the Rijksmuseum. www.fortheloveofgod.nl

Artists on show

Contact details

Sunday - Saturday
9:00 AM - 5:00 PM
Jan Luijkenstrasse 1 Amsterdam, Netherlands 1071 CJ

What's on nearby

Carrie Mae Weems</a>’s 2021 series Painting the Town will be on show in the Rijksmuseum’s photography gallery. At first glance Weems’ large and powerful works resemble abstract paintings. During the Black Lives Matter protests, campaigners wrote texts on the panels that shopkeepers had used to board up their windows as a precautionary measure. The authorities then rendered the slogans illegible by covering them with large patches of paint. The unintended result of this act of censorship was a series of painterly compositions. Weems uses her work to explore what it means to be a witness to history, through themes such as racism, sexism and discrimination.<p><br></p>" />
Jeroen Jongeleen</a>'s new solo exhibition, Grey Zone Tactics: Black Ops, White Noise. The works in this exhibition build on his earlier running-based projects but are more than ever imbued with a political layer. The crises of our time, such as war conflicts and the looming threat of climate change, are palpable in a series of works employing various media, including video, sculpture, and text.</p><p>Jongeleen's work almost always originates in public spaces, where he leaves traces that he documents. Through his interventions, he encourages the free use of public space, driven by his belief that freedom of expression and movement lies at the heart of a truly democratic society. From this perspective, he examines his role as an individual and citizen within broader political issues. Without passing moral judgment or pointing fingers, he exposes the power dynamics at play in public spaces.</p><p>With the exhibition's title, Jongeleen refers to the grey area between peace and war in international relations. It is an ambiguous space where (as yet) no direct conflict occurs, but tactics such as espionage, disinformation, and cyberattacks are employed. These forms of hybrid warfare are often invisible to the individual but play a crucial role in contemporary global conflicts. Jongeleen himself also operates in a grey zone: the liminal space between legality and illegality. He ventures into places where he is not permitted to be and leaves traces that sometimes verge on vandalism. This in-between space, where rules blur and actions become ambiguous, forms the playing field for his work and reflects the complex dynamics of modern conflicts.</p><p><br></p>" />
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