PhotoLexicon, Volume 11, nr. 23 (April 1994) (en)

Charly van Rest

Frits Gierstberg


Charly van Rest is an artist. Photography is one of the techniques or media he turns to for making collages, assemblages, and art installations. In his work, Van Rest incorporates both photographic images he finds as well as photos taken himself. In an incessant desire for experimentation, he has also developed a number of new techniques for producing images, which are more are less related to photography.




Charly van Rest is born in Jakarta, in the (former) Dutch East Indies. His father is a technical draftsman and inventor by profession, and a soldier working in the ‘Technische Dienst’ (‘Technical Department’) of the Dutch army.


The Van Rest family returns to the Netherlands and settles in The Hague.


Van Rest moves with his parents to Zwolle, where he attends the MULO (Meer Uitgebreid Lager Onderwijs, a lower-level secondary school). At around the age of fifteen, Van Rest begins to paint with ordinary house paint. He paints in all styles and genres, ending with Pop Art.


The Van Rest family moves back to The Hague, where Charly completes the MULO.


Charly’s father enrols him in a study at the RABK (Rotterdamse Academie van Beeldende Kunsten en Technische Wetenschappen, ‘Rotterdam Academy of Visual Arts and Technical Sciences’). Charly chooses the study programme ‘publiciteitsvormgeving en grafisch ontwerpen’ (‘publicity design and graphic design’). After two years, Van Rest receives lessons from Willy Schurman, Krijn Giezen, Peter Jansen, and others, which are not part of the official study programme. Already in the first year, Van Rest becomes friends with the so-called ‘Schiedam clique’: artists of same mentality, including Paul Beckman, Joop Schafthuizen, and Daan van Golden. Van Rest also becomes friends with Rick Vermeulen and Henk Tas, as well students at the academy in Rotterdam.


Van Rest becomes interested in Land Art and Arte Povera. Van Rest and Rick Vermeulen organise the boomverwarmingsprojekt (‘tree-heating project’), which entails insulating trees with straw.


Van Rest moves to Rotterdam. By this time, he is organising exhibitions at the academy on a regular basis, featuring the work of his artist friends and fellow students. He also organises—in the framework of the ‘studium generale’ programme—performances given by music theatre groups.


In connection with an internship, Van Rest travels to Sicily, initially to join an artists’ commune. Because the atmosphere is not to his liking, he decides to travel around the countryside of Sicily with a tent. There he starts making all kinds of objects from natural materials, which he subsequently photographs. Van Rest travels to Greece and Turkey.


At the academy, Van Rest becomes involved in a project of the RST (Rotterdamse Studenten Toneel, ‘Rotterdam Students Theatre’). He builds a decor and acts in a play. A growing interest in theatre inspires him to start giving performances of his own. He also makes art environments. During his final year at the academy, Van Rest gives his first performance in front of an audience. Van Rest leaves the academy without having completed any official exam, as he had never chosen for once specific study programme. He does receive a written reference. Van Rest travels to Turkey (Istanbul), Lebanon, and Egypt. He spends two months in Cairo.


Van Rest receives his first ‘start-up stipend’ of Dfl. 12,000 per year from the Rotterdamse Kunststichting (‘Rotterdam Art Foundation’). Van Rest travels with Paul Beckman to Turkey, Syria, Lebanon (Beirut), Sudan, and Egypt.


Van Rest travels to Indonesia, together with his artist friends Paul Beckman, Joop Schafthuizen, Henk Elenga, and Daan van Golden.


Van Rest gives performances in Rotterdam, Haarlem, Arnhem (Belgium), and Nice (France). In 1980, he makes his own music for during performances. Van Rest’s photos of his performances and installations are used again at a later point. These photos are more frequently independent works of their own—with or without changes added later.


Various experiments lead to the discovery of a new technique for generating images: the ‘Ionfot’—derived from the term ‘ion photography’—is born. Van Rest travels to the Dutch Antilles.


Van Rest travels to Egypt with Joop Schafthuizen.


Van Rest’s father dies. In the past, his father had given him a Yashica, but now he inherits a Nikon F2 and a Nikon F3. Van Rest begins to photograph on a frequent basis.


Van Rest discovers a method to produce new, abstract patterns by using UV (‘ultraviolet’) light on existing images. He refers to this work as an ‘Uvot’, derived from the term UV-photography.


Van Rest travels to Australia.


Van Rest receives a major (solo) exhibition of his work at the Museum Boijmans Van Beuningen in Rotterdam. He receives the Anjerfonds-Chabotprijs 1991, an award presented annually to an artist working in the ‘Rijnmond’ region.


During a workshop in Eindhoven, Van Rest experiments with silk screen techniques and discovers a method of making coloured photographs: the ‘Uvot 2’ is born.


As an artist, Charly van Rest uses photographic images taken himself or by others. He is not concerned with the documentary or registrational qualities of a photo, though elements referring to the real world always play a role. Van Rest is also interested, however, in the suggestive effect of images, arising from a single photo, but also in combination with other photographic images and/or objects. Van Rest’s work is not easily categorised into any one movement. His feeling for unusual and mysterious combinations of images and objects, the role that intuition and coincidence play in his work, and the use of existing images and (utilitarian) objects all make him an heir to the Dada movement, Surrealism, and Pop Art. Van Rest’s taste for theatricality betrays his past as a performance artist. His preference for natural materials demonstrates his affinity with the Arte Povera.

By the time Van Rest began attending the RABK (Rotterdamse Academie van Beeldende Kunsten en Technische Wetenschappen, ‘Rotterdam Academy of Visual Arts and Technical Sciences’) in 1967, he had actually already given up painting. Before this, he had experimented with ordinary oil-based house paint, applied in all kinds of styles and genres. At the academy, he decided on ‘publiciteitsvormgeving en grafisch ontwerpen’ (‘publicity design and graphic design’), a study programme where students were instructed in printing techniques and photography by Willy Schurman and others. Van Rest emerged as a jack-of-all-trades, possessing broad interests. After his second year at the academy, Van Rest began following his own study programme. His teacher Krijn Giezen gave him a tremendous amount of freedom and was an important inspiration, especially because Giezen himself was prone to incorporating natural materials in his work. In his academy days, Van Rest was chiefly interested in Pop Art, Arte Povera, and Land Art. It was during this period that he gave his first performances.

During these performances, which he also continued to give after leaving the academy, the influence of the Arte Povera was observable in the application of natural and everyday materials. Van Rest used these items to make objects for his performances, which later often became independent artworks in themselves. Van Rest’s interest in various aspects of theatre arose from this performance art: music, mime, and light effects began to play a significant role in his work. The installations—sometimes made in collaboration with other artists, e.g. The Return of Colonel Bogey with Paul Beckman in 1972—frequently took up the entire exhibition space. Van Rest shot photos of these performances and installations, which he often used again at a later point, either reworked or as they were.

Van Rest’s interest in Land Art was expressed in his boomverwarmingsprojekt (‘tree-heating project’), organised in Rijswijk together with Rick Vermeulen. The photos from this project, which involved insulating trees in the winter with straw, were later presented as independent works.

Electronic musical equipment gave Van Rest new opportunities to experiment with sound: he worked for quite some time as a disc jockey and compiled music cassettes for others.

In the 1970s, Van Rest travelled frequently to parts of the world such as the Near and Middle East, as well as North Africa and Indonesia. These trips intensified his interest in Eastern and exotic topics.

In 1986, Van Rest’s father died, leaving him all of his cameras. He began to photograph on a frequent basis and quit with giving performances. In his photography, Van Rest was chiefly drawn to scenes or elements in day-to-day life. The emphasis was on either the material or natural world, which often came across as mysterious or animated in his photos. No people figured in his photos.

Charly van Rest has made all kinds of things, perhaps with the exception of ‘bona fide’ paintings: collages, objects, assemblages, Land Art and performance art projects, art environments and installations, and photographs. In 1984, he presented a series of works that—in terms of their outer appearance—fall into a category somewhere between paintings and objects, which he referred to as ‘paint-jects’. The exhibition, entitled Schiljekten op de Rij (roughly translated ‘Paint-jects on the Row’), was held at the Westersingel 8 Gallery in Rotterdam. In addition, he developed a number of unique techniques for producing images, which he referred to with names such as ‘Ionfots’ and ‘Uvots’. Van Rest also devised a process to make coloured photograms.

In 1982, Van Rest came up with a method to make drawings using dust particles in the air. With the help of an ionisator, a device that produces ions (negatively charged molecules), he was able to produce a shower of dust. When the electrical charges of the dust particles were neutralised by the ions, they fell directly to the floor. By placing stencils and objects on top of paper, Van Rest was able to create patterns subsequently outlined by the falling dust. In the places where the stencils and objects had been laid, the paper remained white; after their removal, a drawing—or an ion photo = an ‘Ionfot’—became visible. Not only did the production of these drawings require several weeks’ time, but new dust or soot had to be continually supplied to the space where the Ionfot was being made. Van Rest achieved this with the help of a candle and an electric fan, and by regularly emptying a vacuum cleaner bag in the drawing’s proximity. This technique also proved to be useful for making colour drawings. Cigarette smoke, for instance, produced a brown residue, while incense produced a green residue. One was able to produce gradations in the tonal greys by varying the amount of time one left the stencils laying on the paper. Because the dust remains embedded in the paper, Ionfots have a long print permanence. Van Rest first exhibited drawings produced with this technique in 1986.

Using a sun lamp, Van Rest also produced what he called ‘Uvots’—derived from the term ‘ultraviolet photography’. This process entailed reworking images with the ultraviolet light produced by such an apparatus. The aggressive UV-light discoloured parts of an image not covered with stencils, thus bleaching the pigment in the inks used to print the image. As a result, a new image arose on top of the old. By applying this technique, an abstract-geometric pattern could be added to already existing images, such as posters or other reproductions. A second Uvot technique conceived by Van Rest is based on the use of UV-sensitive emulsions used in the silk screen industry. With a brush or a roller, Van Rest applied such emulsions to ordinary paper instead of a nylon silkscreen frame. The UV-light was projected directly onto the (vertically positioned) paper. By placing stencils and objects in the path of light, a photogram emerged. By adding a halftone and colour, a ‘Uvot 2’ was produced. Painterly effects could be achieved by varying the thickness of the emulsion.

Experimentation is an important part of Van Rest’s working method. In an interview with Jan van Adrichem, a former city curator of Rotterdam, Van Rest once said: ‘Every artist working effectively spends time experimenting. Continually developing new techniques is something that fascinates me. I am not looking for existing media, but for techniques derived, for instance, from the laws of physics. Eventually, the experiment always leads to new and surprising results. Technique is not what interests me most in this. It’s the final result that counts. The technique is merely a means of achieving the final result.’ Another aspect of Van Rest’s working method involves continually collecting objects and images, including existing pictures from magazines etc., photos he comes across, and—last but not least—photographs taken himself. Van Rest stores these images away in the closet— sometimes for years—until suddenly retrieving them for an installation or collage based on a new idea or recent discovery. Presentation and finishing are given significant attention, bringing an astounding degree of neatness and precision to his work. The combination of a sharply developed power of observation, a feeling for unusual topics—for matters ‘exotic’ or ‘primitive’—and the great care devoted to presentation gives Van Rest’s work a serene, crisp, and well-conceived quality on one hand, but also an alienating, almost mysterious mood on the other hand. Characteristic is his use of unconventional materials and the unconventional use of everyday materials, often in the aftermath of an in-depth study into their suitability and the visual effect to be achieved. Randomness can play a significant role when shooting photos—he takes them anywhere, e.g. while traveling or in his day-to-day life, whenever certain objects or a striking combination of objects catches his eye—just as when devising combinations of photographic images in a collage or installation. Virtually all of Van Rest’s photos are shots in colour, though the images he finds and reuses are also regularly in black-and-white.

In addition to influences from Arte Povera and Pop Art, elements of primitive and oriental art can also be identified in his work, though rarely concrete. Van Rest described this himself as an ‘inclination towards the exotic’. This is perhaps linked to his background, but without doubt greatly inspired by his countless trips to countries in the Near East, the Middle East, and Africa. The artistic climate in Rotterdam has also had an influence on his work, though Van Rest himself has contributed to shaping this climate. In 1988, his work was part of the exhibition Rotterdamse School? (‘Rotterdam School?’), which brought together a number of Rotterdam artists sharing a similar artistic mentality and working method. In the catalogue Compositie met Rozen (‘Composition with Roses’), which accompanied an exhibition of the same name featuring the work of Paul Beckman, Daan van Golden, Charly van Rest, and Joop Schafthuizen, Jan van Adrichem formulated this communal mentality and working approach as follows: ‘While a collective programme is lacking, the shared interest in re-using visual material is unmistakeable. Pre-existing images undergo photographic and painterly reproductive modifications or are confronted by images from other contexts in collages.’ Although no direct mutual influence exists, the shared artistic mentality to be observed may very well stem from the four artists’ friendship, which has remained close from 1967 to the present day.

The significance of Charly van Rest’s work with respect to Dutch photography cannot be readily defined. His unconventional use of photos in collages and installations, as well as his experimentation with all kinds of techniques associated with photography, are encountered nowhere in the artistic production of any other Dutch artist or photographer. The same applies to Van Rest’s intuitive feeling for the mysterious and exotic elements of day-to-day reality, which he brings to life in his photos. Although Van Rest has been exhibiting his work outside Rotterdam as early as 1985—and as well outside the Netherlands—it seems as if people are only now becoming aware of the relevance and distinctiveness of his work. The first signs of this acknowledgement are Van Rest’s solo exhibition in Museum Boijmans Van Beuningen in 1991, his winning the Anjerfonds-Chabotprijs (‘Carnation Fund/Chabot Prize’), and his participation in the exhibition Vrij Spel, fotografie in Nederland 1970-1990 (‘Free Rein, Photography in the Netherlands 1970-1990’).


Secondary bibliography

Catalogus tent. Sonsbeek buiten de Perken, Rotterdam (Lijnbaanscentrum) 1971, deel 2, p. 80-81.

Dolf Welling, Het Lijnbaancentrum moet u deze keer vooral niet missen, in Rotterdams Nieuwsblad 30 juni 1971.

Catalogus tent. Hollanderska Tkanina Artystyczna, Wlókienneictwa etc (Museum Historii Wlókienneictwa) 1972.

Jan Donia en Gosse Oosterhof, Charly van Rest, in Rotterdam Art News (1972/1973) 2, p. 2-15.

Catalogus tent. Variaties in Textiel, Rijswijk (Ministerie van WTVC) 1974.

Catalogus tent. Stofwisselingen, Haarlem (Frans Halsmuseum /De Hallen) 1979, p. 36-37.

Catalogus tent. Charly van Rest en Fred Benjamins, Haarlem (Galerie VAN) 1979, p. 3-7.

P. Koster, Een avond en nacht bij de waterleiding, in Het Vrije Volk 21 september 1979, p. 5.

Ph. Charton, A propos d’une performance, in Calibre 33 is it art? (maart 1980) 3, p. 29.

(Vouwblad tent.) Het Eigen Verhaal, Rotterdam (Rotterdamse Kunststichting/Lijnbaancentrum) 1983.

Catalogus tent. Verbeeld Afval Scrap, Rotterdam (Centrum Beeldende Kunst) 1986.

Catalogus tent. Momentopname, Rotterdam (Galerie Westersingel 8) 1986.

Catalogus Rijksaankopen 1985, Den Haag (Logement van de Heren van Amsterdam) 1986, p. 236.

J. Raab, Substanzen und Energiën zu den Arbeiten von Charlie van Rest, Rotterdam (Centrum Beeldende Kunst) 1986, p. 3.

Jan van Adrichem, Beeldende Kunst en Kunstbeleid in Rotterdam, Rotterdam (Museum Boijmans Van Beuningen) 1987, p. 88, 118.

Linda Roodenburg, Charlie van Rest en Joop Schafthuizen, in Perspektief (april 1988) 31/32, p. 20-31 (met foto’s).

Hripsimé Visser, Rotterdamse School?, in Perspektief (augustus 1988) 33, p. 30-58 (met foto’s).

Ida Jager, De Rotterdamse School bestaat niet echt, in Hervormd Nederland 3 september 1988, p. 34.

Catalogus tent. I.S. in de Hal, Rotterdam (Stichting Fonds voor Beeldende kunsten, Vormgeving en Bouwkunst) 1989, p. 18.

Jan van Adrichem, Compositie met Rozen, Rotterdam (Museum Boijmans Van Beuningen) 1989.

Catalogus tent. Verzameld Werk 1. Stadscollectie 1988, Rotterdam (Museum Boijmans Van Beuningen) 1989, p. 19, 48-49.

Auteur onbekend, Compositie met Rozen, in NRC Handelsblad 12 juli 1989.

G. Schleijpen, Een gedeelde fascinatie, in Avenue 23 (augustus 1989) 8, p. 12.

Bianca Stigter, Een spel van licht en schaduw met verf, foto’s en veel bekende namen, in NRC Handelsblad 5 augustus 1989.

IJsbrand van Veelen, Het onzichtbare zichtbaar maken, in Het Parool 5 augustus 1989, p. 10.

Catalogus tent. 90 Fotografie, Venlo etc (Museum Van Bommel Van Dam) 1990, p. 22.

Catalogus tent. Verzameld Wrerk 2. Stadscollectie 1989, Rotterdam (Museum Boijmans Van Beuningen) 1990, p. 36-37.

Jan Donia, Surrogaat-Surrogate, 15 jaar Galerie ‘t Venster, Den Haag (SDU) 1990.

Renée Steenbergen, Liever stof dan verf, in NRC Handelsblad 21 september 1990, p. 4.

Jan van Adrichem, Charlie van Rest, in Kunst, Europa, Düsseldorf (Kunstverein für die Rheinlande und Westfalen) 1991, p. 15.48-15.49.

Lynne Cooke, Going Dutch, in Negen 9, Rotterdam (Witte de With) 1991, p. 24-28.

Jan Donia, De allure van Charlie van Rest, in De Krant op Zondag 27 januari 1991, p. 27.

J. Huisman, De werkelijkheid ontmaskerd en vervormd, in De Volkskrant 9 augustus 1991.

Din Pieters, Nederlandse kunst in de jaren negentig: tussen saai en anders, in Museumjournaal 2 (1991) 6, p. 58-64.

Catalogus tent. Negen, Rotterdam (Witte de With) 1991, p. 24-28.

Y. Friedrichs, Jeder ein Europäer, in Rheinische Post (14 augustus 1991) 187.

Catalogus tent. Verzameld Werk III. Stadscollectie 1990, Rotterdam (Museum Boijmans Van Beuningen) 1991, p. 43-44.

Catalogus tent. 9 Artisti Olandesi Contemporanei, Prato (Museo d’Arte Contemporanea Luigi Pecci) 1991, p. 34-39.

Catalogus tent. Charlie van Rest. Hypodroom, Rotterdam (Museum Boijmans Van Beuningen) 1991.

Anna Tilroe, Keukenblokken aan de Costa del Sol, in De Volkskrant 29 maart 1991, p. 7.

F. Riocomini, Misterioso Van Rest outsider olandese, in La Nazione Prato 27 juli 1991, p. 3.

Renée Steenbergen, Gesprek met Charly van Rest, in NRC Handelsblad 12 november 1991, p. 6.

F. Stiemer, De Hermes van Rotterdam, in Het Gebaar december 1991, p. 12-13.

H. Oerlemans, Hypodroom, in Magazijn (december 1991) 210, p. 33.

C. Jacobs, Charlie van Rest maakt uit huisstof moeiteloos schoonheid, in Utrechts Nieuwsblad 6 december 1991.

M. Schenke, Dromen met Charlie van Rest, in Algemeen Dagblad31 december 1991.

Catalogus tent. Negen, Hasselt (Provinciaal Museum) 1992.

Catalogus tent. 13 critics, 26 fotografs, Barcelona (Centre d’Art Santa Monica) 1992.

Frans van Burkom, Charlie van Rest, in Catalogus Nederlandse Kunst 1991 Rijksaankopen, Den Haag/Zwolle (Rijksdienst Beeldende Kunst/Waanders) 1992, p. 162.

Catalogus tent. Verzameld Werk 4. Stadscollectie 1991, Rotterdam (Museum Boijmans Van Beuningen) 1992, p. 39-40.

Catalogus tent. Muses de la Meuse. Stadscollectie Museum Boijmans Van Beuningen Rotterdam, Parijs (Institut Néerlandais) 1992, p. 27-31.

Catalogus tent. Franeker Cosmologie, Rotterdam (Centrum Beeldende Kunst) 1992.

J. Guillamon, 13 critics, 26 fotografs: La imagen textualinada, in La Vanguardia 22 april 1992, p. 5.

Catalogus tent. Verzameld Werk 5. Stadscollectie 1992, Rotterdam (Museum Boijmans Van Beuningen) 1993, p. 32.

Catalogus tent. Vrij Spel. Hedendaagse Nederlandse Fotografie 1970-1990, Nijmegen (Nijmeegs Museum Commanderie van Sint-Jan) 1993, p. 13,24.

Catalogus tent. De Kracht van het Heden, Amsterdam (Stichting Fonds voor Beeldende Kunsten, Vormgeving en Bouwkunst) 1993, p. 233-238.

H. Meutgeert, Vrij Spel. Hedendaagse kunst te boek, in Leidsch Dagblad 18 februari 1993, p. 9.

C. van Houts en J.B. Klaster, De Kracht van het Heden, in Het Parool 15 mei 1993, p. 41.

Flora Stiemer, Expositie De Kracht van het Heden: Harmonie Ontbreekt, in Algemeen Dagblad 19 mei 1993, p. 11.


1990 Rotterdam Art Award 1990.

1991 Anjerfonds-Chabot Prijs 1991.


1971 (g) Rotterdam, Lijnbaanscentrum, Sonsbeek buiten de Perken.

1971 (g) Rotterdam, Lijnbaanscentrum, Sweet Home.

1971 (g) Schiedam, Stedelijk Museum, Salon van de Maassteden.

1972 (g) Den Haag, Galerie Mathoom.

1972 (e) Rotterdam, De Lantaren, The Return of Colonel Bogey (met Paul Beekman).

1972 (g) Wlókiennictwa, Museum Historii Wlókiennictwa, Hollanderska Tkanina Artystyczna (rondreizende tentoonstelling Lódz, Listopad, Grudzień).

1973 (e) Rotterdam, Galerie Flos Mulder, (met Arie de Groot).

1973 (e) Arnhem, Galerie De Rietstal, (met Bennie Heinze).

1974 (g) Variaties in Textiel (rondreizende tentoonstelling).

1975 (e) Rotterdam, Galerie Delta, Charlie van Rest.

1977 (e) Rotterdam, Galerie ‘t Venster, (met C.O. Paeffgen en Douwe Jan Bakker).

1978 (g) Haarlem, Frans Halsmuseum/De Hallen, Stof wisselingen.

1979 (e) Haarlem, Galerie VAN, (met Fred Benjamins).

1980 (e) Nice, Galerie CALIBRE 33 is it art?, Charlie van Rest. Atteindre l’air libre.

1983 (g) Rotterdam, Lijnbaanscentrum, Het Eigen Verhaal.

1984 (e) Rotterdam, Galerie Westersingel 8, Schiljekten op de Rij (met Johan Meijerink).

1986 (g) Rotterdam, Centrum Beeldende Kunst, Verbeeld Afval Scrap.

1986 (e) Keulen, BBK Köln Hahnentorburg, Side Step Zeigt: Charlie van Rest en Marcelle van Bemmel.

1986 (g) Rotterdam, Galerie Westersingel 8, Momentopname.

1986 (g) Den Haag, Logement van de Heren van Amsterdam, Rijksaankopen 1985.

1987 (g) Amsterdam, Aorta, Van Verre.

1987 (g) Rotterdam, Galerie Delta, Tekenen ’87.

1988 (e) Rotterdam, Perspektief, Charlie van Rest. Recent werk.

1988 (e) Berlijn, Galerie P.T.T. Red, Charlie van Rest. Der Lachende Makrofag.

1988 (e) Keulen, Kaos Galerie, Charlie van Rest.

1988 (g) Rotterdam, Museum Boijmans Van Beuningen, Rotterdamse School?.

1989 (g) Rotterdam, HAL, I.S. in de HAL.

1989 (g) Amsterdam, RAI, KunstRAI 1989 (Stadscollectie Rotterdam).

1989 (g) Utrecht, Centraal Museum, Compositie met Rozen.

1989 (g) Schiedam, Stedelijk Museum, Compositie met Rozen.

1989 (g) Rotterdam, Museum Boijmans Van Beuningen, Verzameld Werk 1. Stadscollectie 1988.

1990 (g) Hannover, Der Kubus, Compositie met Rozen.

1990 (g) Rotterdam, Museum Boijmans Van Beuningen, Verzameld Werk 2. Stadscollectie 1989.

1990 (g) Venlo, Museum Van Bommel Van Dam, 90 Fotografie (verkooptentoonstelling; gelijktijdig in Eindhoven, De Krabbedans, Zwolle, Librije Hedendaagse Kunst en Rotterdam, Centrum Beeldende Kunst).

1990 (g) Keulen, Kaos Galerie, Himmel und Holle.

1990 (e) Rotterdam, Galerie Delta, Charlie van Rest.

1990 (g) Amsterdam, RAI, KunstRAI 1990 (Stadscollectie Rotterdam).

1991 (g) Rotterdam, Museum Boijmans Van Beuningen, Verzameld Werk III. Stadscollectie 1990.

1991 (e) Amsterdam, Galerie Swart, Charlie van Rest: Hybriden.

1991 (g) Rotterdam, Centre for Contemporary Art Witte de With, Negen.

1991 (g) Prato, Museod’Arte Contemporanea Luigi Pecci, 9 Artisti Olandesi Contemporanei.

1991 (g) Düsseldorf, Kunstverein für die Rheinlande und Westfalen, Kunst, Europa.

1991 (e) Rotterdam, Museum Boijmans Van Beuningen, Charlie van Rest. Hypodroom.

1992 (g) Rotterdam, Museum Boijmans Van Beuningen, Verzameld Werk 4. Stadscollectie 1991.

1992 (g) Hasselt, Provinciaal Museum, Negen.

1992 (g) Barcelona, Primavera Fotografica, Centre d’Art Santa Mönica, 13 critics, 26 fotografs.

1992 (g) Parijs, Institut Néerlandais, Muses de la Meuse. Stadscollectie Museum Boymans-van Beuningen.

1992 (e) Rotterdam, Centrum Beeldende Kunst, Franeker Cosmologie.

1992 (g) Dordrecht, Centrum Beeldende Kunst, Reflecties.

1992 (g) Amsterdam, Loods 6, De Kracht van het Heden.

1992 (g) Rotterdam, Kunsthal, Rotterdamse Kunst, collectie Museum Boymans-van Beuningen.

1993 (§) Rotterdam, Museum Boijmans Van Beuningen, Verzameld Werk 5. Stadscollectie 1992.

1993 (g) Nijmegen, Nijmeegs Museum Commanderie van St. Jan, Vrij Spel. Hedendaagse Nederlandse Fotografie 1970-1990.

1993 (g) Amsterdam, RAI, KunstRAI 1993 (Staten-Galerie).

1993 (g) Eindhoven, De Fabriek, Honden Hamer, kunst in culturele transmissie.

1993 (g) Groningen, Kwadrant, Centrum Beeldende Kunst, Vrij Spel. Hedendaagse Nederlandse Fotografie 1970-1990.

1993 (g) Breda, Nieuwe Brabantse Kunststichting, Een Beeldschone Aanklacht.


Rotterdam, Charly van Rest, documentatie en mondelinge informatie.


Den Haag, Rijksdienst Beeldende Kunst

Rotterdam, Centrum Beeldende Kunst.

Rotterdam, Museum Boijmans Van Beuningen (Stadscollectie Rotterdam)