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PRESS ergeet New York, het Kröller-Müller Museum, het tijd later startte hij een project met draait het ook bij New Yorker Tentoonstelling Londen of Parijs. Gemeentemuseum Den Haag en exact dezelfde naam, waarbij hij in Robert Barry, die van zijn bulletin Wie in de jaren Museum Boijmans Van Beuningen. een klein zeilbootje de Atlantische een gedachte-experiment maakte. zeventig wilde Het Museum of Modern Art Oceaan probeerde over te steken. Aan de voorkant van zijn blad weten waar het in (MoMA) in New York kreeg de Hij verloor daarbij het leven. staan praktische gegevens als de kunst om ging, bulletins die tussen 1968 en 1989 In het pre-internettijdperk de openingstijden van zijn show. Art & Project reisde naar Amsterdam. Daar zette verschenen. Zes jaar geleden gebruikte Carl Andre zijn bulletin Binnenin typte hij de zin: ‘During Bulletins hetV Stedelijk Museum samen met organiseerde het museum daar een als oproepblaadje. De Amerikaan the exhibition the gallery will Middelpunt t/m 18 dec., The Merchant galeries en kunstenaars wereldwijd tentoonstelling over. Nu is de hele vroeg verzamelaars die zijn werk be closed.’ Nog radicaler was House, Amsterdam, de toon. Galerie Art & Project, die in collectie van 156 stuks voor het bezaten zich te melden, omdat hij Ian Wilson, die de lezer een leeg merchanthouse.nl 1968 opende, speelde daarbij een eerst te zien in Amsterdam. een catalogus wilde samenstellen. bulletin stuurde met alleen de da- belangrijke rol. Al vroeg toonden ze Het woord ‘bulletin’ klinkt een tum. Er was geen tentoonstelling. Amsterdam werk van internationale kunste- beetje belegen, maar in feite zijn Nog radicaler Daniel Buren spande de kroon. naars die in de decennia daarna het kunstwerken op papier. Bijzon- Soms was het publiek onderdeel Op zijn verzoek werd bulletin 24 zouden uitgroeien tot beroemdhe- der is dat de galeriehouders voor van een kunstwerk. In Jan Dibbets’ zelfs niet gepubliceerd. Kunstenaars als Sol LeWitt en Lawrence den: Sol LeWitt, Lawrence Weiner, elk bulletin één kunstenaar vroe- bulletin stond het verzoek de helft De eerste tien jaar rolden er 108 Weiner werkten graag voor de Amsterdamse Daniel Buren, maar ook Nederlan- gen. Binnen de beperking van een van het blad per ommegaande bulletins van de persen. Het waren ders als Jan Dibbets en Ger van Elk. vel A3-papier kreeg hij (slechts twee (gefrankeerd) terug te sturen. In de jaren waarin de conceptuele galerie Art & Project, die tot 2001 bestond. Galeriehouders Geert van Beije- keer ging het om een vrouw) carte de galerie in Amsterdam hingen Ian Wilson stuurde kunst floreerde, met Amsterdam Hun legendarische collectie ‘bulletins’ is nu ren en Adriaan van Ravesteijn van blanche. Bas Jan Ader zette op zijn plattegronden met daarop zwarte een leeg bulletin met als het middelpunt daarvan. Het is Art & Project leven niet meer, maar editie uit 1975 een foto van zichzelf lijnen, die de reis lieten zien van de zoals in die cartoon van The New integraal te zien in Nederland. hun kunstcollectie bleef deels in een zeilboot met daarbij de tekst teruggekeerde exemplaren. alleen de datum. Er was Yorker: vroeger, toen alles slechter Door Sandra Jongenelen bewaard. Ze schonken werk aan ‘In search of the miraculous’. Korte Om dat soort conceptuele kunst geen tentoonstelling was, was alles beter. Bulletin 35 van Richard Gilbert & George Bas Jan Ader zette op zijn editie uit Long. In de foto staat een maakten een aantal 1975 een foto van zichzelf in een couplet uit de song ‘I walk bulletins, onder zeilboot met daarbij de tekst ‘In the line’ van Johnny Cash. meer in 1974. search of the miraculous’. 44 | zaterdag 31 oktober 2015 | fd persoonlijk fd persoonlijk | zaterdag 31 oktober 2015 | 45 http://fd.nl/persoonlijk Exhibition MIDPOINT AMSTERDAM BY SANDRA JONGENELEN Artists like Sol LeWitt and Lawrence Weiner Art & Project Bulletins were eager to work with Amsterdam’s gallery Through December 18 Art & Project, which existed till 2001. Their The Merchant House, Amsterdam entire legendary collection of Bulletins is merchanthouse.nl now on view in the Netherlands. Forget New York, London, or Paris. Those who wanted to know In the pre-internet age, Carl Andre used a bulletin as a means of what art was all about in the 1970s travelled to Amsterdam. It solicitation. The American artist appealed to the collectors of his was here that the Stedelijk Museum, together with the galleries work to come forward because he wanted to compile a catalog. and international artists, set the tone. The gallery Art & Project, which opened in 1968, played a major role in this regard. Early Still more radical on it showed the work of international artists who in the later In some cases, the audience was part of the artwork. Jan decades grew to stardom: Sol LeWitt, Lawrence Weiner, Daniel Dibbets’s Bulletin included a request to send back half of the Buren, but also the Dutch Jan Dibbets and Ger van Elk, among sheet (stamped) by the return mail. The gallery in Amsterdam others. displayed the black-lined maps, which made it possible to see the journeys of the returned items. The Art & Project founders Geert van Beijeren en Adriaan van Ravesteijn are no longer alive but their art collection is quite well preserved. The works were donated to the Kröller-Müller Ian Wilson sent an empty bulletin with only the date. Museum, the Municipal Museum of the Hague and the Museum And there was no exhibition. Boijmans Van Beuningen. The Museum of Modern Art (MOMA) in New York received the Bulletins, which were originally published between 1968 and 1989. Six years ago the museum organized a This type of conceptual art can be also attributed to the New related exhibition. Now the whole collection of 156 pieces can be Yorker Robert Barry, who made a thought experiment with his seen in Amsterdam for the first time. Bulletin. The front page contained practical details such as his show’s opening hours. Inside, he typed one sentence: “During the The word “bulletin” sounds a touch dated, but these are in fact exhibition the gallery will be closed.” Still more radical was Ian artworks on paper. It’s most remarkable that the gallery own- Wilson, who sent the reader a blank Bulletin containing only the ers solicited one artist for each. Within a limitation of a single date. And there was no exhibition either. Daniel Buren deserves sheet of A3-size paper he—a woman was asked only twice— was the crown: at his request Bulletin 24 was not to be published. given carte blanche. In his 1975 edition, Bas Jan Ader showed a photograph of himself in a sailboat with the subscript “In search The first ten years saw 108 Bulletins leave the press. These were of the miraculous.” A short time later, he started the project with the years when conceptual art flourished, with Amsterdam at its the exact same name, which entailed an attempt to cross the center. To quote the New Yorker cartoon: “Everything was better Atlantic Ocean in a sail-boat. This cost him his life. back when everything was worse.” A modern take on the Amsterdam tradition of a merchant The Merchant House Open: A playful mix of life and commerce Herengracht 254 Every Friday from A radical shift in showcasing contemporary art 1016 BV Amsterdam 12–6 pm and by Art space founded by Marsha Plotnitsky in 2012 The Netherlands appointment.
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