DOCSLIB.ORG

Annual Review 2017 Kröller-Müller Museum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annual Review 2017 Kröller-Müller Museum KRÖLLER-MÜLLER MUSEUM This summarized annual report gives an impression of the year 2017, with the main highlights, facts and figures. Enjoy! Lisette Pelsers Director ANNUAL REVIEW 2017 KRÖLLER-MÜLLER MUSEUM Content 05 Visitors 06 Exhibitions 11 International exhibitions 12 Activities 13 Schools 19 Collection 20 Cultural funds and other sponsorships 22 Special events 23 Visitor figures 3 25 Annual accounts 2017 ANNUAL REVIEW 2017 KRÖLLER-MÜLLER MUSEUM 4 ANNUAL REVIEW 2017 KRÖLLER-MÜLLER MUSEUM VISITORS The Kröller-Müller Museum received 352,581 visitors in Otterlo in 2017, thus surpassing the anticipated visitor figure of 350,000. Museum Card holders accounted for 25.8% of the total, at 91,068 visits. The museum received 12,831 primary school children (9,618 of which through the School Card) and 25,973 secondary school children. 130 primary schools made use of the School Card. The museum also drew large audiences elsewhere. The museum reached over 1.5 million visitors abroad in 2017, with exhibitions in Nagoya, Tokyo, Treviso, Melbourne, Sapporo, Margate and Vicenza. This means that over 1.8 million people physically came into contact with the collection of the Kröller- Müller Museum. 5 Visitor in the Van Gogh gallery ANNUAL REVIEW 2017 KRÖLLER-MÜLLER MUSEUM EXHIBITIONS Three exhibitions continued from 2016. life, Van Gogh was more interested Eight exhibitions opened in 2017. in the people on the margins of society, those who had to work hard Jos Kruit for their living, in humble workshops 10-9-2016 until 5-2-2017 and on farms in all kinds of weather. Jos Kruit (1945) was affiliated with The exhibition consisted of more the prestigious Art & Project gallery. than a hundred and twenty works In 2013, the former gallery owner from the period 1880-1885, all from Adriaan van Revesteijn donated over the museum’s own collection. The two hundred works of art to the exhibition focused on his drawings, Kröller-Müller Museum, including which are rarely shown due to their six by Jos Kruit. These were shown in sensitivity to light. The works were the presentation, along with several accompanied by comments by Van works from the museum’s collection. Gogh himself, taken from his letters. Many of Jos Kruit’s works relate to Guest curator Auke van der Woud her childhood in the countryside placed Van Gogh’s choice of themes of Noord Holland. She makes use in the context of the late nineteenth of motifs such as cow and horse century, in exhibition texts and in legs and natural materials, often in a setting of photographs by Henri combination with plastic and steel. Berssenbrugge. The early Van Gogh: ‘work against Move On indifference’ 26-11-2016 until 23-4-2017 24-9-2016 until 9-4-2017 Move On presented sculptures 6 The exhibition showed how, at the from the collection that are able to start of his career, Vincent van Gogh move (sometimes literally but often taught himself how to depict his view figuratively) by Gerrit van Bakel (1943- of the world. While contemporaries 1984), Tom Claassen (1964), Constant such as Isaac Israels and George (1920-2005), Martin van Oel (1967), Breitner focused on cosmopolitan city Panamarenko (1940) and Carel Visser Installation view The early Van Gogh ANNUAL REVIEW 2017 KRÖLLER-MÜLLER MUSEUM (1928-2015). Panamarenko seeks to on display as a landmark on the overcome gravity and air resistance crossroads by the museum. with handmade mechanisms and machines. His spatial models are not Ger van Elk only about the invention of a motor, 18-2 until 27-8-2017 but also about initiating thinking. Ger van Elk (1941-2014) is regarded Gerrit van Bakel’s machines move by as one of the pioneers of making use of the forces of nature. conceptual art in the Netherlands, In the nineteen fifties and sixties, together with his contemporaries Constant worked on his urban utopia Jan Dibbets, Marinus Boezem New Babylon, a city of the future for and Stanley Brouwn. But unlike Homo Ludens (man the player). All the ‘strict’ conceptual art, it is the works were from the museum’s not only the idea but also the own collection. execution of a work that plays an important role for Van Elk. With OTHER EXHIBITIONS an abundance of humour and by putting things into perspective, How to handle a trowel he undermines the traditional 31-1 until 9-7 -2017 separations between painting, The presentation How to handle a sculpture and photography and trowel offered a glimpse into the between the two- and three- fascinating history of the 1971 work dimensional. For the majority of his Trowel by Claes Oldenburg (1929), artistic career Van Elk was affiliated prompted by the recent conservation with the prestigious Art & Project 7 of the work. For this, the almost gallery. Most of the works in this twelve metre-high sculpture was presentation were from Adriaan given a new coat of paint, for which van Ravesteijn’s donation (see Jos thorough research into the original Kruit), supplemented with works paint was conducted. From the start from the museum’s collection. of the presentation, Trowel was again Ger van Elk, It’s me twice as flat as I can be, 1973 ANNUAL REVIEW 2017 KRÖLLER-MÜLLER MUSEUM Arp: The Poetry of Forms Arp and Van Doesburg worked to 20-5 until 17-9-2017 redesign the interior of the Aubette The German-French sculptor, painter amusement centre in Strasbourg. The and poet Hans (Jean) Arp (1886-1966) designs for the Aubette also received was one of the most innovative and attention in a separate section of the influential artists of the European exhibition. avant-garde and played an important The exhibition included some role in the development of modern eighty works from the three Arp art. Arp: The Poetry of Forms was foundations in Berlin, Paris and the first major retrospective of Arp’s Locarno and from the Kunstmuseum oeuvre in the Netherlands since Basel and Tate London, among the nineteen sixties. The exhibition others. The exhibition was also focussed on the constant interaction shown at the Turner Contemporary between visual art and poetry in in Margate (Great Britain) from 13 Arp’s oeuvre and the humour and October 2017 to 14 January 2018. The playfulness in his work. Crucial to exhibition attracted 72,509 visitors in Arp’s work is his conception of the 2017. relationship between art and nature: for him, art is not about imitating the Christo: Revealing by concealing natural world. He seeks to develop 15-7 until 19-11-2017 new, independent forms out of their This small presentation focused own nucleus. He called this ‘concrete on the documentary that recounts art’. The exhibition featured work the realization of Christo’s work from throughout his career, but Running Fence (1973), a 40-kilometre 8 focused on the years 1920-1935, when long and 5.5-metre high curtain he developed this pure abstract art. in California. The documentary, His extensive network also included made by Albert and David Maysles, Theo van Doesburg, founder of shows the tiresome and lengthy De Stijl. In the years 1926-1928, Arp process that stretched over 42 together with his wife Sopie Taueber- months, during which landowners, Arp with navel monocle, circa 1926 Stiftung Arp e.V., Berlin ANNUAL REVIEW 2017 KRÖLLER-MÜLLER MUSEUM government authorities, and other Pjotr Müller, book for Mo stakeholders had to be brought on 16-9-2017 until 14-1-2018 board the project. And it also shows After some fifty years as an artist, the celebrations once the project had Pjotr Müller (1947) looks back on his finally been realized. career in the form of a self-illustrated autobiographical comic, initially Carel Visser intended for his son Mo, but which 2-9 until 8-4-2018 later developed into a complete life Carel Visser is a pioneer of Dutch post- story. The presentation comprised war sculpture. His earliest sculptures a selection of original drawings are abstract human and animal figures. from the autobiography, which was As of the nineteen fifties, Visser published in the form of a book. On produced austere geometric iron the occasion of the exhibition, the sculptures and later much freer works, sculpture Solaeres tristes was given with combinations of discarded and a permanent place in the sculpture natural materials. In addition to the garden, near the two other works sculptures, he created large pencil by Müller that are already there: drawings with abstracted motifs Nuraghe and Temple of everyday life. from nature, such as plants, trees and mountains. In collages, Visser The patron and the ‘house painter’. often uses cut-out photographs of Helene Kröller-Müller and Bart van subjects from his environment, such der Leck as his dog or the works of illustrious 14-10-2017 until 2-4-2018 predecessors, such as Brancusi and Bart van der Leck was one of Helene 9 Arp. Carel Visser was affiliated with the Kröller-Müller’s favourite artists. prestigious Art & Project gallery. The Between 1912 and 1918 Van der works in this presentation were from Leck received an annual allowance Adriaan van Ravesteijn’s donation (see from her and in 1914 the artist was Jos Kruit) and from the collection of employed by the firm Wm H. Müller the Kröller-Müller. & Co. Van der Leck created posters Installation view exhibition Carel Visser ANNUAL REVIEW 2017 KRÖLLER-MÜLLER MUSEUM for the Batavier Line, a large stained (1938-1973) created Spiral jetty in glass window for the headquarters in Great Salt Lake in Utah: a spiralling The Hague, mosaics for the office in pier of 6,550 tons of earth, black London and colour designs for the basalt, limestone and gravel.
Load more

Recommended publications
  • International Journal of Education & the Arts
    International Journal of Education & the Arts Editors Terry Barrett Peter Webster The Ohio State University University of Southern California Eeva Anttila Brad Haseman Theatre Academy Helsinki Queensland University of Technology http://www.ijea.org/ ISSN: 1529-8094 Volume 17 Number 21 July 23, 2016 Land Art In Preschools. An Art Practice Ingunn Solberg Queen Maud University College of Early Childhood Education, Norway Citation: Solberg, I. (2016). Land art in preschools. An art practice. International Journal of Education & the Arts, 17(21). Retrieved from http://www.ijea.org/v17n21/. Abstract The basis for my article is how, and if, a collaborative land art project can provide opportunities for such co-creating as suggested in the national framework plan for preschools, which explicitly states the child as a co-creator of a shared expressive culture. I further wish to propose land art as a meaningful cultural practice, closely connected to children’s physical awareness and sense of place. In doing so, I use the concepts of sensation, making and knowledge, exploring them as mutually beneficial. The way I worked to explore these matters, was to initiate and conduct a land art project in an open air preschool. I was with a group of children for several days. Adults and children worked together to make a shape, in a landscape well known to the children. While initiating, suggesting and participating, I experienced and observed the children’s interaction with the land, with forms of knowledge and with each other. IJEA Vol. 17 No. 21 - http://www.ijea.org/v17n21/ 2 My experiences and observations, that constitute my data from this project, are composed into a story.
    [Show full text]
  • A Late Summer Full of Inspiration and Activities Diy
    Are the images not displayed? View the HTML version. A LATE SUMMER FULL OF INSPIRATION AND ACTIVITIES Summer is drawing to a close and the museum has a number of special activities on the agenda for September. The bomb shelter of the Kröller-Müller Museum is opening, DIY workshops are being organized in the Rietveld pavilion and new exhibitions are coming. Want to know how to attend the activities and how to learn more about art from home? Then read on. DIY WORKSHOPS IN THE RIETVELD PAVILION MAKE YOUR OWN GARMENT Do you like art and fashion? Then we have good news for you. To celebrate the 40th anniversary of HUMANOID, you can make your own garment or bag in the Rietveld pavilion from Friday 3 September to Monday 6 September. Under the guidance of the HUMANOID creative team, you will work with the designs of HUMANOID. Want to participate in one of the workshops? Sign up via the ticket page and choose a day and time. Six time slots are available per day and the workshop lasts 45 minutes. The workshop is free, but you do need a pre- booked online ticket for the museum. Please note: the museum is located in the middle of De Hoge Veluwe National Park. Therefore, you must also pay for the park and purchase a separate ticket for this. Don’t delay because only a limited number of places are available. Sign up for the DIY workshop >> Creations of the workshop that are shared via social media have a chance to win a voucher of 500 euros to spend in the HUMANOID webshop.
    [Show full text]
  • 'The World Is My Poetry' Some Moments from the Life = Work of Herman De Vries1
    'the world is my poetry' Some moments from the life = work of herman de vries1 Cees de Boer What a wonderful tree! And so old! It has survived so many centuries! How could it have become this thousand-year old tree? Well, because the tree was completely useless. Its wood was not suitable for making wagon wheels or furniture, not suitable for making charcoal to keep someone warm or cook food. And now that it is old, it is really not worth cutting down. It is a completely useless tree. (After Chuang Tzu) During the preparations for the great retrospective of his work in 1980 at the Groninger Museum, herman de vries wrote to the then director Frans Haks, that he was looking forward to his first group exhibition. Haks observed de vries' ironic remark to be very meaningful: 'the outer forms of de vries' work change, but 'it is clearly based on a number of principles.' There is indeed a great diversity of forms in de vries' work: informal art, monochrome art, concrete art, concrete poetry, conceptual art and artist's books. Haks: 'the drawback is that these are names which in fact bear on the external features of the work, which say nothing about the intention of its maker.' The above- mentioned terms are therefore only illuminating for a short period of time: truly important artists do not repeat themselves but develop and renew themselves. This can particularly be said of herman de vries.'2 Apart from a few cognoscenti (and the very few collectors in the Netherlands who incorporate a historic perspective in their collection), the name of herman de vries will chiefly bring to mind those works which present elements from the natural world such as the leaves of a blueberry plant (ill.#) or deer droppings (ill.#).
    [Show full text]
  • Jan Eric Visser CV
    Jan Eric Visser CV Born in 1962, Leeuwarden. Lives and works in Rotterdam. Education 1982-1987 Art Academy, Kampen (NL) Upcoming: 2020 Muse in a Bin, curated by Colin Huizing, Stedelijk Museum Schiedam, 11 Jan - 22 March Selected solo exhibitions 2018 TrashArt, Ground Work Gallery, King’s Lynn (UK) Supported by Embassy of the Kingdom of the Netherlands London 2013 Form Follows Garbage, Art Affairs Gallery, Amsterdam 2009 Aquadyne Sculpture et al, RAM Gallery, Rotterdam. Opening: Anne Berk (art critic) 2008 Transformatie II, Art Society Bergen Beyond Language, Exhibition on the occasion of 80th birthday Jan Verhoeven, collector of abstract modern art, Woudrichem 2007 WasteNewsWax; Overview 1987-2007. Opening: Wim van der Beek (art critic), Gorcums Museum, Gorinchem Selected group exhibitions 2019 What branches grow out of this stony rubbish, l’étrangère, London, UK Residue, VierVaart Project Space, Groede, The Netherlands CODA Paper Art, The Netherlands 2018 Big Art, Art Affairs Gallery @ De Bijlmerbajes, Amsterdam 2017 Lost in Garbage, Verbeke Foundation, Kemzeke (B) Big Art, RAM gallery @ De Zonnewyser, Amsterdam Beelden 2017, Aaltje Snijdershal, Anningahof, Zwolle Ruins of Desire @ Sculpture garden PAK, Gistel (B) Art per Gram @ Verbeke Foundation Gallery, Kemzeke (B) Up Memory Lane, 30 years RAM, booth 51 Art Rotterdam. Curator: Berry Koedam With: Karin Arink, Luc Deleu, Jurgen Bey, Marinus Boezem, Robin Kolleman, Pieter Laurens Mol, Zaida Oenema, Vanessa Jane Phaff et al. Editions & Multiples, We Like Art @ Art Rotterdam 2016 What Remains, CODA Apeldoorn. Curator: Wim van der Beek Up Memory Lane (part 2), RAM Gallery, Rotterdam Beelden 2016, Landgoed Anningahof, Zwolle Untitled 2015, IP 2 @ Verbeke Foundation.
    [Show full text]
  • Size, Scale and the Imaginary in the Work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim
    Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim © Michael Albert Hedger A thesis in fulfillment of the requirements for the degree of Doctor of Philosophy Art History and Art Education UNIVERSITY OF NEW SOUTH WALES | Art & Design August 2014 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Hedger First name: Michael Other name/s: Albert Abbreviation for degree as given in the University calendar: Ph.D. School: Art History and Education Faculty: Art & Design Title: Larger than life: size, scale and the imaginary in the work of Land Artists Michael Heizer, Walter De Maria and Dennis Oppenheim Abstract 350 words maximum: (PLEASE TYPE) Conventionally understood to be gigantic interventions in remote sites such as the deserts of Utah and Nevada, and packed with characteristics of "romance", "adventure" and "masculinity", Land Art (as this thesis shows) is a far more nuanced phenomenon. Through an examination of the work of three seminal artists: Michael Heizer (b. 1944), Dennis Oppenheim (1938-2011) and Walter De Maria (1935-2013), the thesis argues for an expanded reading of Land Art; one that recognizes the significance of size and scale but which takes a new view of these essential elements. This is achieved first by the introduction of the "imaginary" into the discourse on Land Art through two major literary texts, Swift's Gulliver's Travels (1726) and Shelley's sonnet Ozymandias (1818)- works that, in addition to size and scale, negotiate presence and absence, the whimsical and fantastic, longevity and death, in ways that strongly resonate with Heizer, De Maria and especially Oppenheim.
    [Show full text]
  • Abakanowickz En/And Hicks
    Henriëtte Heezen Een van de opvallendste zalen van De Poolse kunstenaar Magdalena Abakano- van Abakanowicz naast textiele werken van wicz maakte in de jaren zestig een ware zege- de Joegoslavische Jagoda Buic en de Ameri- de collectiepresentatie ‘Revolution in tocht door Europa en de Verenigde Staten. kaanse Sheila Hicks. De enorme, soms vrij the Air – de Sixties en het Stedelijk’ Haar volumineuze geweven werken, amorfe zwevende, robuuste werken uit eind jaren is wel die met textielsculptuur. figuren gemaakt van touw, sisal en paarden- zestig en begin jaren zeventig maken na al haar, waarmee ze een hele zaal kon omtover- die jaren nog steeds indruk. Niet alleen van- In tegenstelling tot hard kunststof, en in een woud van mysterieuze gestalten, wege die krachtige, fysieke aanwezigheid, de metaal en de felle kleuren in de hebben overal de aandacht getrokken. Jean ongekunstelde vorm en het ruwe, organische meeste andere zalen voeren hier jute Leering, toenmalig directeur van het Van materiaal. Ook door die minder makkelijk te Abbemuseum, haalde Abakanowicz in 1968 benoemen spanning tussen de uitnodigende en wol de boventoon. Begin dit jaar naar Nederland. tactiele kant van het werk en de absurde vor- ontving het Stedelijk bovendien een De tentoonstelling reisde verder langs musea men die een ietwat macabere of zwaarmoedi- schenking van Schiphol: het wand- in Haarlem, Schiedam en Groningen. Het jaar ge sfeer ademen. kleed ‘Hommage aan Kho Liang Ie’ daarop was werk van haar te zien in het Het contrast met de kleurrijke, koele registra- Gemeentemuseum Arnhem en op de tentoon- ties van de Amerikaanse Pop Art uit de zaal van Sheila Hicks, dat ook op de ten- stelling ‘Perspectief in Textiel’ in het Stedelijk ernaast is groot.
    [Show full text]
  • Marinus Boezem
    ! MARINUS BOEZEM Nato nel 1934 a Leerdam NL Vive e lavora a Middelburg NL FORMAZIONE & INSEGNAMENTO 1954 Vrije Academie Artibus, Utrecht NL 1955 Vrije Academie, Den Haag NL 1971-1975 Insegnante presso Vormingsinstituut voor werkende jongeren, Gorinchem & Dordrecht NL 1971 Insegnante ospite, residenza d’artista presso International Highschool Herning, DK 1976-1980 Diretore presso Institute for Artistic Formation 1979-1986 Professore Straordinario di “Studi sulla forma fondamentale” TH Delft NL MOSTRE PERSONALI 2019 Marinus Boezem: Gothic Gestures & A volo d’uccello, Oude Kerk, Amsterdam NL Marinus Boezem. Bird’s-eye View, Galleria Fumagalli, Milano IT 2018 Dell’Uomo, Gorky Park Museum, Moscow RU Views, Upstream Gallery, Amsterdam NL 2017 Marinus Boezem, 1584 La lumière Cisterciënne 2016. Baudelo Gent, Verbeke Foundation, Kemzeke BE 2016 Marinus Boezem in de Oude Kerk, Oude Kerk, Amsterdam NL 2015 Het Syndroom van Stendhal - op zoek naar een archetypisch beeld van schoonheid (2002-2015), installation, SBKM/De Vleeshal, Middelburg NL Boezem & Co. De Stad als Podium, SBKM/De Vleeshal, Middelburg NL 2014 Marinus Boezem: The Absence of the Artist, Upstream Gallery, Amsterdam NL 2012 Marinus Boezem: Della Scultura Rustica, Upstream Gallery, Amsterdam NL ! ! ! Marinus Boezem: La Lumiere Cistercienne, Art Afairs, Amsterdam NL 2011 Marinus Boezem / Gilberto Zorio, Galerie Mueller-Roth, Stutgart DE 2010 Marinus Boezem: A volo d’uccello (‘In vogelvlucht’), De Vleeshal, Middelburg NL 2009 Marinus Boezem: 1968 - L’AIR DU TEMPS, Revolution 100.000.000etc Gallery, Middelburg NL 1999 Gotische reflecties, Stadsgalerij, Heerlen NL Mental Map. ACHK-De Paviljoens, Almere NL Marinus Boezem. Het vroege werk 1960-1975. Rijksmuseum Kroller Muller. Oterlo NL Marinus Boezem: Panorama, Vleeshal Markt, Middelburg NL 1996 Marinus Boezem.
    [Show full text]
  • L'internationale. Post-War Avant-Gardes Between 1957 And
    EDITED BY CHRISTIAN HÖLLER A PUBLICATION OF L’INTERNATIONALE BOOKS L’INTERNATIONALE POST-WAR AVANT-GARDES BETWEEN 1957 AND 1986 EDITED BY CHRISTIAN HÖLLER TABLE OF CONTENTS 13 63 162 OPEN Approaching Art through Ensembles Should Ilya Kabakov Bart de Baere Be Awakened? 14 Viktor Misiano Museum of Parallel Narratives, 85 Museu d’Art Contemporani An Exercise in Affects 177 de Barcelona (MACBA), Barcelona (2011) Bojana Piškur Forgotten in the Folds of History Zdenka Badovinac Wim Van Mulders 95 31 What if the Universe 192 Museum of Affects, Started Here and Elsewhere Is Spain Really Different? Moderna galerija, Ljubljana (2011 / 12) Steven ten Thije Teresa Grandas Bart de Baere, Bartomeu Marí, with Leen De Backer, 106 203 Teresa Grandas and Bojana Piškur Age of Change CASE STUDIES Christian Höller 37 204 Prologue: L’Internationale 119 A. ARTISTS Zdenka Badovinac, CIRCUMSCRIBING Bart De Baere, Charles Esche, THE PERIOD 205 Bartomeu Marí and KwieKulik / Form is a Fact of Society Georg Schöllhammer 120 Georg Schöllhamer Connect Whom? Connect What? 42 Why Connect? 215 METHODOLOGY The World System after 1945 Július Koller / Dialectics Immanuel Wallerstein of Self-Identification 43 Daniel Grún Writing History Without 134 a Prior Canon Recycling the R-waste 224 Bartomeu Marí (R is for Revolution) Gorgona / Beyond Aesthetic Reality Boris Buden Branka Stipancic 52 Histories and 145 230 Their Different Art as Mousetrap: OHO / An Experimental Microcosm Narrators The Case of Laibach on the Edge of East and West Zdenka Badovinac Eda Čufer Ksenya Gurshtein
    [Show full text]
  • Of Dutch Conceptual Artists Ger Van Elk and Bas Jan Ader
    The ironic turn: the ‘self-portraits’ of Dutch conceptual artists Ger van Elk and Bas Jan Ader Radboud University Nijmegen Research master thesis HLCS Art and Visual Culture Charlotte Vromans 4174313 January, 2017 Dr. W.J.G. Weijers Dr. M. Gieskes Table of Contents Introduction ............................................................................................................................................. 4 Chapter 1. The ‘self-portraits’ of Dutch artists Bas Jan Ader and Ger van Elk ................ 15 1.1 Introduction ............................................................................................................................... 15 1.2 The historical contextualisation of conceptual art with references to the work of Van Elk and Ader ............................................................................................................................. 15 1.3 Conceptual art ........................................................................................................................... 19 1.3.1. The methodology of conceptual art .......................................................................................... 20 1.3.2. Conceptual art in the Netherlands: Beeren, Gilardi and Cornwell ............................... 21 1.3.3. A Synthesis……………………...............................................................................................................24 1.4 Reception: irony ......................................................................................................................
    [Show full text]
  • Zó Hollands Zó Hollands – Impressie
    Zó Hollands Zó Hollands – Impressie ZóHollands Het Hollandse landschap in de Nederlandse kunst sinds 1850 Antoon Erftemeijer FRANS HALS MUSEUM | DE HALLEN HAARLEM Haarlem 2011 Woord vooraf Toeristen, boeren en tulpenkwekers, molenaars, fietsende dagjesmensen, vogelspotters en natuurbeheerders: het Hollandse landschap is belangrijk en dierbaar voor zeer velen. Zeker ook voor beeldend kunstenaars. Eeuwen lang al zwerven zij er in rond, met krijt, verf, camera’s of andere materialen. En bijzonder veelsoortig zijn de resultaten van hun artistieke zoektochten. De tentoonstelling ‘Zó Hollands’ richt, net als dit bijbehorende catalogus- boek, de aandacht op het Hollandse landschap in de Nederlandse kunst van de afgelopen anderhalve eeuw. Van de Haagse School en Piet Mondriaan tot Jan Wolkers en land art- projecten. Wonderlijk genoeg was nooit eerder zo’n overzicht samengesteld. En waar kan dit beter plaatsvinden dan in Haarlem: deze oer-Hollandse stad, bakermat van de Hollandse landschapschilderkunst met figuren als Jacob van Ruisdael en diens oom Salomon, en vanwege de zeer afwisselende natuurlijke omgeving eeuwenlang trekpleister voor talloze landschapskunstenaars. Tentoonstelling en boek bieden tezamen de gelegenheid om ons unieke landschap vanuit vele onverwachte gezichtspunten te bekijken en te beleven. Dit project kon alleen gerealiseerd worden door de steun en medewerking van velen. Veel dank gaat in de eerste plaats uit naar alle bruikleengevers die royaal werken beschikbaar hebben gesteld voor ‘Zó Hollands’: diverse collega-musea; Stichting Kees Verwey; de Rijks - dienst voor het Cultureel Erfgoed; Provinciaal Bestuur van Noord-Holland; Kunst - commissie van het Kennemer Gasthuis, Haarlem; Caldic Collectie, Rotterdam; collectie Smithuis; collectie Manders; kunsthandel Simonis & Buunk, Ede; Kunstzalen A. Vecht, Amsterdam; Else Kupperman-Maas; Kunsthandel A.H.
    [Show full text]
  • GALLERIA ENRICO ASTUNI Bologna
    GALLERIA ENRICO ASTUNI Bologna 31 march - 2 april 2017 MARINUS BOEZEM DAVID MEDALLA MAURIZIO NANNUCCI MALICK SIDIBÉ Curated by Lorenzo Bruni Pad. 3 Stand B43 For Miart 2017 Galleria Enrico Astuni, is presenting a project curated by Lorenzo Bruni, with artworks male in the sixties by Marinus Boezem, David Medalla, Maurizio Nannucci e Malick Sidibé. The show explores the themes of the book 66|16. 66|16. Ieri, oggi, domani, eccetera…,edited by Prearo and Sputnik Edition and connected to the exhibition showed at the gallery in Bologna in January 2016. The exhibition conceived for the Miart 2017 booth focused not so much on the comparison between the works of the sixties and the recent ones produced by each artists, but on comparing the researches and nontraditional techniques they faced at the beginning of their path in the name of the question of what could be considered a work of art and its role towards the mediatic society that was expanding in that period. Marinus Boezem (Leerdam, 1934; lives and works in Middelburg) he is among the first artist to have introduces in the sixties, conceptual art in the Netherland. One of the artworks that will be presented in the booth is the sculpture Untitled, 1966. The work consists in a metal structure that suspends a wooden stretcher, which becomes the framing space of the surrounding context and no longer an object that contains un illusory pictorials space. This work, like the photograph of the sky above the port of Amsterdam of the project Singing in the sky of 1969, perfectly testifies his research of new directions for the traditional western representative way while maintaining a fruitful dialogue with it.
    [Show full text]
  • Beademen Van De Beeldbuis Marinus Boezem
    Beademen van de beeldbuis Marinus Boezem Vooraf Dit verslag geschreven aan de hand van structuur die door de balansgroep werd ontwikkeld parallel aan het verloop van het onderzoek. Deze structuur is aan het publiek gepresenteerd tijdens de SBMK-dag 19 juni 2008 in het Van Abbemuseum te Eindhoven. Eerdere versies van het verslag werden derhalve naderhand aan- en ingepast aan en in dit format. Het verslag dient tevens om de bruikbaarheid van de ontwikkelde structuur aan de praktijk te toetsen. 1 Presentatie kunstwerk 24 oktober 2006 Gaby Wijers, Nederlands Instituut voor Mediakunst Amsterdam stelt voor: kunstenaar: Marinus Boezem titel: Beademen van de beeldbuis materiaal / techniek: video Umatic, film16mm afmetingen: respectievelijk 2 min. 37 sec. (2’37”) en 3 min. 0 sec. (3’00”) jaartal: 1971 inventarisnr.: 838 verwervingsdatum: onbekend (in feite gaat het hier om twee objecten) korte beschrijving van het werk en zijn betekenis Het gezicht van Boezem verschijnt op het televisiescherm. Hij staart naar de kijker en beademt de beeldbuis. Na enige tijd beslaat het beeld en vervaagt het beeld van de kunstenaar voor een aantal seconden. Terwijl de condens wegtrekt blijft Boezem emotieloos in de lens kijken, totdat zijn gezicht weer goed is te zien. De kunstenaar maakt zichzelf als object onzichtbaar door middel van zijn eigen adem. Hij probeert een ruimte te creëren die niet wordt bepaald door een concreet beeld. De tijd tussen het verdwijnen en verschijnen alsmede het voortdurende geluid van zijn ademhaling spelen een belangrijke begeleidende rol. In navolging van Gerry Schum produceerde de Nederlandse televisie onder leiding van Frans Haks, Beeldend kunstenaars maken televisie.
    [Show full text]