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Art Criticism

· Schrijver-criticus EMILE VERHAEREN en de kunst van zijn tijd in MSK Gent · EVA HESSE – Documentary film “Eva Hesse” about the German-American 1960’s artist and the art world of the 1960s · FOAM MAGAZINE #43: AIWEIWEI – FREEDOM OF EXPRESSION UNDER SURVEILLANCE · MAGAZINE “TEXTE ZUR KUNST #103” SEPTEMBER 2016 ABOUT POETRY · APOLLINAIRE, THE EYES OF THE POET, IN MUSÉE DE L’ORANGERIE PARIS · KAREL APPEL: RETROSPECTIEF · DUTCH ENTRY 56TH VENICE BIENNALE = herman de vries · Maartje Korstanje genomineerd voor de Volkskrant Beeldende Kunst Prijs 2014 · Literatuurcriticus Marcel Reich-Ranicki overleden · Robert Hughes In Memoriam (28 July 1938 – 6 August 2012) · Forum d’art contemporain Luxembourg: L.A. Raeven – Ideal Individuals · Chinese Artist Ai Weiwei detained by government

»» there is more...

Schrijver-criticus EMILE VERHAEREN en de kunst van zijn tijd in MSK Gent

Verhaeren verbeeld
De schrijver-criticus Emile Verhaeren en de kunst van zijn tijd
Nog te zien t/m 15.01.2017 in M.S.K. in Gent

 verhaeren-msk

In samenwerking met het Verhaerenmuseum in Sint-Amands aan de Schelde en de Université Libre de Bruxelles organiseert het Museum voor Schone Kunsten Gent een grote tentoonstelling over de uit Gent afkomstige dichter en kunstcriticus Emile Verhaeren, die 100 jaar geleden overleed.

De tentoonstelling belicht het universele karakter van Verhaerens oeuvre, zijn netwerk binnen de kunstwereld rond de eeuwwisseling en de internationale aandacht voor zijn werk, in eerste instantie in België en Frankrijk, maar ook in Rusland en andere landen.

verhaeren-msk2Emile Verhaeren volgde tussen 1880 en 1916 volgde hij nauwgezet de ontwikkeling van de Belgische avant-garde-kunst. Hij verdedigde het naturalisme en de sociale kunst, het impressionisme en het neo-impressionisme, het symbolisme. Bovenal was hij een verdediger van de moderniteit die hij in de kunst van zijn tijd terugvond.

In zijn poëzie en geschriften bundelt Verhaeren zijn gevoelens, passies en artistieke strijdpunten. Meer dan 100 jaar later laten ze ons toe het werk van nationale en internationale kunstenaars te herontdekken door de ogen van een eigenzinnig kenner.

De tentoonstelling brengt de historische en artistieke context tot leven waarin het oeuvre van de dichter-criticus tot stand kwam. Het MSK laat o.a. de rijke collectie schilderijen, beeldhouwwerken en werken op papier zien. Zoals publiekslievelingen als ‘De Lezing van Emile Verhaeren’ door Théo Van Rysselberghe of ‘Kinderen aan het ochtendtoilet’ van James Ensor in dialoog met collectiestukken die de reserves weinig verlaten.

Tegelijk haalt het MSK een grote reeks kunstwerken uit internationale publieke en private verzamelingen naar Gent, met stukken van ondermeer Auguste Rodin, Paul Signac, Maximilien Luce of Odilon Redon. Ook kunstenaars als Léon Frédéric, Eugène Laermans en Constantin Meunier, Jan Toorop en Guillaume Vogels, Henry Van de Velde, Fernand Khnopff en George Minne kunnen uiteraard niet ontbreken. In totaal brengt het MSK niet minder dan 200 werken uit het fin de siècle op zaal.

Verhaeren verbeeld
De schrijver-criticus Emile Verhaeren en de kunst van zijn tijd (1881-1916)
Nog te zien t/m 15.01.2017 in M.S.K. in Gent
Museum voor Schone Kunst Gent
Fernand Scribedreef 1
Citadelpark
9000 Gent

# Meer informatie op website MSK Gent

fleursdumal.nl magazine for art & literature

More in: Archive U-V, Art & Literature News, Art Criticism, Exhibition Archive, Historia Belgica, Verhaeren, Emile


EVA HESSE – Documentary film “Eva Hesse” about the German-American 1960’s artist and the art world of the 1960s

evahesse-110From the beginning, Eva Hesse’s life was marked by drama and social challenges. Born in Hamburg in 1936 to a German-Jewish family, the artist’s fierce work ethic may have developed from a complex psychology that was formed, in part, as a Jew born in Nazi Germany.

Having escaped the fate of her extended family, Eva and her older sister Helen were sent out on one of the last Kindertransports (trains that carried Jewish children to safety) and was eventually reunited with their parents in Holland. They made their way to New York but her family struggled to make a new home and her mother, after many years of depression and a failed marriage, committed suicide when Eva was 9 years old.

The artist graduated from Cooper Union and Yale School of Art, then returned home to Manhattan in late 1959 and began to receive attention for her highly original, abstract drawings. In 1961 Hesse met Tom Doyle, an already established sculptor, and in a whirlwind romance married him a scant 6 months after first glimpse. Their relationship was both passionate and competitive. Hesse struggled with the desire to be on equal footing with Doyle in terms of their art making but also wanted to be in a marriage with someone who could offer her the security that life often denied her.

In 1964 Friedrich Arnhard Scheidt, a German industrialist, offered an all-expenses paid artist’s residency to Tom Doyle for year of working in an abandoned textile factory near Essen, Germany. It was tough choice – go back to the country that had murdered her family or stay in New York and work menial jobs while trying to make art with any time and energy left over. Ironically, the work on which her reputation was built began to emerge during this extended visit to the homeland she had escaped 25 years earlier.

When the couple arrived for the residency, Doyle was clearly the artist of note. But something happened during those 14 months in the cold factory on the Ruhr River. Eva arrived in Germany a painter. But as she worked in the thin German light, she began to incorporate pieces of metal and string that she found in the corner of her studio into her work. By the time the couple were ready to return to New York in the fall of 1965, Eva had fully incorporated a 3-dimensionality into her work which was now neither painting nor sculpture, but an exciting cross-breed of the two. And people were beginning to take notice. Within months after returning to New York in the fall of 1965, her work was thriving but the marriage failed. Tom moved into his studio just across the Bowery.

For the next 5 years, Eva worked non-stop on an impressive body of work, completing dozens of major sculptural works and hundreds of works on paper. Although she sold little, critical attention was paid and she was showing often and in excellent venues. In 1969 Hesse, who had suffered with headaches for many years, began having debilitating episodes and was eventually diagnosed with a brain tumor. Although the subsequent operation was deemed a success, the tumors reappeared and she died in 1970 at the age of 34.

evahesse-112As the wild ride of the 1960’s came to a close, Eva Hesse, a 34 year-old German-born American artist was cresting the wave of a swiftly rising career. One of the few women recognized as central to the New York art scene, she had over 20 group shows scheduled for 1970 in addition to being chosen for a cover article in ArtForum Magazine. Her work was finally receiving both the critical and commercial attention it deserved. When she died in May, 1970 from a brain tumor, the life of one of that decades’ most passionate and brilliant artists was tragically cut short. As Jonathon Keats wrote in Art and Antiques Magazine “Yet the end of her life proved to be only the beginning of her career. The couple of solo gallery shows she hustled in the 11 years following her graduation from the Yale School of Art have since been eclipsed by multiple posthumous retrospectives at major museums from the Guggenheim to the Hirshhorn to the Tate.” Her work is now held by many important museum collections including the Whitney, MoMA, the Hirschhorn, the Pompidou in Paris and London’s Tate Modern.

Artists such as Dan Graham, Richard Serra, Nancy Holt, Carl Andre, Robert and Sylvia Plimack Mangold, Eva’s husband Tom Doyle and her friend, writer Lucy Lippard speak candidly and with great passion about the 60’s, Eva’s work and her life. In addition, Sir Nicholas Serota, Director of the Tate Museums and Whitney curator Elisabeth Sussman have added their views on Hesse’s work and legacy. Hesse’s journals and correspondence provides much of the guiding narration.

Eva Hesse deepens the understanding of this extraordinary artist, not only in terms of her ground-breaking work, but also the life that provided the fertile soil for her achievements. With dozens of new interviews, high quality footage of Hesse’s artwork and a wealth of newly discovered archival imagery, the documentary not only traces Eva’s path but engages in a lively investigation into the creative community of 1960’s New York and Germany.

The Movie-team
– Marcie Begleiter. Director-Producer
– Karen Shapiro. Producer
– Nancy Schreiber. Cinematographer
– Azin Samari. Editor
– Andreas Schäfer & Raffael Seyfried. Composers
Kia Simon. Motion Graphics Designer
– Michael Aust. Producer
– Louise Rosen. Consulting Producer

“Eva Hesse” is a sponsored project of Fractured Atlas, a non profit arts service organization. ‐
Contributions for the charitable purposes of the documentary must be made payable to “Fractured Atlas” and are tax deductible to the extent permitted ‐ by law.

# For more information about the documentary-project see the website

“This indispensable film will be shining a light on Hesse’s work, and her, for a long time to come.” Joe Morgenstern, The Wall Street Journal

EVA HESSE – Documentary film “Eva Hesse” about the German-American 1960’s artist and the art world of the 1960s.

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More in: Art & Literature News, Art Criticism, CINEMA, RADIO & TV, Eva Hesse, Eva Hesse, FDM in New York


FOAM MAGAZINE #43: AIWEIWEI – FREEDOM OF EXPRESSION UNDER SURVEILLANCE

aiweiwei_foam2016-2Foam Magazine #43: Ai Weiwei – Freedom of Expression under Surveillance

Foam is proud to launch the brand new and unique Foam Magazine, which was made in close collaboration with world-renowned Chinese contemporary artist and activist Ai Weiwei (1957, Beijing). Weiwei is guest editor for this issue that is entirely dedicated to the theme ‘Freedom of Expression under Surveillance’. Ai Weiwei himself is the central point of the magazine, as an artist under constant surveillance by the Chinese government. The magazine contains images he made while documenting his life by using Instagram and webcams, but also pays attention to Ai Weiwei’s constant endeavour to keep a sharp eye on the ones surveilling him.

ai-weiwei-free-berlin029Freedom of Expression under Surveillance
Containing an interview with, and quotes by the artist Foam Magazine #43 is divided into four parts: ‘Sousveillance”, ‘Self Surveillance’, ‘Urban Surveillance’ and ‘Art and Surveillance’. It reports on the way the artist worked the last few years. Instagram and Twitter became the means by which Ai Weiwei shared virtually every aspect of his life with a steadily growing multitude of followers all over the world. Part of the issue shows a selection of the endless stream of images posted on Instagram by Ai Weiwei. In another part Weiwei shares stills from the ‘Weiweicam’ he directed at himself 24/7. Foam Magazine #43 documents crucial and highly eventful period in the life of one of the most important artists of our age.

About Ai Weiwei
Ai Weiwei is an influential Chinese contemporary artist and activist. As a political activist, he has been openly criticizing the Chinese Government’s stance on democracy and human rights. In 2011, following his arrest at Beijing Capital International Airport he was held for 81 days without any official charges being filed. Recently he had his passport returned to him and was given the opportunity to travel abroad. Among art works by Ai Weiwei are Fairytale (2007), produced for Documenta 12, and Sunflower Seeds, an installation in London’s Tate Modern in 2010. A major solo exhibition of his work is currently on show at the Royal Academy of Arts, London.

ISBN 9789491727825
Published December 2015
288 pages + 4 cover pages front + back
Printed on selected specialized paper
Swiss bound
300x230x25 mm
€22,50

# More information: www.foam.org

Photo Anton K. (FdM): Protest in Berlin, Linienstrasse, 2011

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More in: - Book News, Ai Weiwei, Art & Literature News, Art Criticism, MUSEUM OF PUBLIC PROTEST- photos, texts, videos, street poetry, Photography, REPRESSION OF WRITERS, JOURNALISTS & ARTISTS


MAGAZINE “TEXTE ZUR KUNST #103” SEPTEMBER 2016 ABOUT POETRY

TZK103Issue No. 103
September 2016
„Poetry“

TZK #103 addresses “poetry,” a language form central to the recent shift toward affect in contemporary critical writing. Seeing the “artist-poet” as a vital site for the intersection of politics, affect, and digitality, we consider her voice and her currency from various perspectives, pro and con, across generations, analyzing her rising success, also asking what is gained and lost in this move from “rational” thought to what one feels? Scanning populist poetry, anarchist poetry, post-millennial net-poetry, the poetry of surplus-language and social media, the art historical poetic/poet-turned-object, and shades of fading Poesie, this issue, conceived by the editors with John Kelsey and Isabelle Graw explores how the seeming immediacy of #poetry and the suggestion of a hyper-personal voice correlates with current economic demand to claim visibility.

Issue No. 103 – September 2016 “Poetry”

Table of contents

Vorwort
7   Preface
36   Tim Griffin What Is Poetry?
42   Joshua Clover Objectively Speaking / Remarks on Subjectivity and Poetry
48   Isabelle Graw The Poet’s Seduction / Six Theses on Marcel Broodthaers’s Contemporary Relevance
74   Liz Kotz Word Pieces, Event Scores, Compositions
82   Monika Rinck The Promise of Poetic Language
88   Ada O’Higgins If you don’t like the reflection. Don’t look in the mirror. I don’t care.
94   Chris Kraus and Ariana Reines The feelings I Fail to capitalize, I fail / Chris Kraus and Ariana Reines in conversation on auto-fiction and biography
108   Felix Bernstein The Irreproachable Essay / On the Amazon Discourse of Hybrid Literature
122   Daniela Seel IMMEDIACY, I MEET WITH SKEPTICISM / Three questions for Daniela Seel
130   Micaela Durand DEVIL SHIT
134   Karolin Meunier Hearing Voices / On the reading and performance of poetry
148   Dena Yago Empire Poetry

Short Cut
169   Four Theses on Branding / David Joselit on Berlin Biennale 9
173   Mantras der Gegenwart / Hanna Magauer über Berlin Biennale 9

Rotation
177   Sehnsucht nach der verlorenen Stadt / Johannes Paul Raether über “spiritus” von Honey-Suckle Company
182   BENJAMIN BUCHLOH, ART HISTORIAN / Christine Mehring on Benjamin H. D. Buchloh’s “Formalism and Historicity: Models and Methods in Twentieth-Century Art”
187   Es war zweimal sagte sie / Vojin Sasa Vukadinovic über Eva Meyers „Legende sein“
191   Less is more? / John Miller on Justin Lieberman’s “The Corrector’s Custom Pre-Fab House”
96   So machen wir’s / Eva Geulen über „The Use of Bodies“ (Homo Sacer IV.2) von Giorgio Agamben

Short Waves
203   Gunter Reski über Victor Man bei MD 72, Berlin / Harry Burke on Dean Blunt at Arcadia Missa, London / Rhea Dall on Stephen G. Rhodes at Eden Eden, Berlin / Tobias Vogt über Thea Djordjadze bei Sprüth Magers, Berlin / Deanna Havas on Marc Kokopeli at Lomex, New York / Martin Herbert on Fredrik Værslev at Bergen Kunsthall, Norway

Reviews
222   Habeas Corpus / Simon Baier über Francis Picabia im Kunsthaus Zürich
227   Marcel Broodthaers, Art Historian’s Artist / Trevor Stark on Marcel Broodthaers at the Museum of Modern Art, New York
232   Malerei als soziales Handeln? / Christian Spies über Fernand Léger im Museum Ludwig, Köln
226   Simulierte Musealisierung / Philipp Kleinmichel über Isa Genzken im Martin-Gropius-Bau, Berlin
240   Elegance is Resistance / Stephanie LaCava on Lukas Duwenhögger at Artists Space, New York

Nachruf
245   TONY CONRAD (1949–2016) by Diedrich Diederichsen
247   Jay Sanders TONY CONRAD (1949–2016)

Edition
Martha Rosler
Amy Sillman
Amy Sillman

More issues:
Issue No. 103 / September 2016 “Poetry”
Issue No. 102 / June 2016 “Fashion”
Issue No. 101 / March 2016 “Polarities”
Issue No. 100 / December 2015 “The Canon”
Issue No. 99 / September 2015 “Photography”
Issue No. 98 / June 2015 “Media”
Issue No. 97 / March 2015 “Bohemia”
Issue No. 96 / December 2014 “The Gallerists”
Issue No. 95 / September 2014 “Art vs. Image”
Issue No. 94 / May 2014 “Berlin Update”
Issue No. 93 / March 2014 “Speculation”
Issue No. 92 / December 2013 “Architecture”
Issue No. 91 / September 2013 “Globalism”
Issue No. 90 / June 2013 “How we aim to work”
Issue No. 89 / March 2013 “Mike Kelley”
Issue No. 88 / December 2012 “The Question of Value”
Issue No. 87 / September 2012 “Conflict”
Issue No. 86 / June 2012 “The Curators”
Issue No. 85 / March 2012 “Art History Revisited”
Issue No. 84 / December 2011 “Feminism!”
Issue No. 83 / September 2011 “The Collectors”
Issue No. 82 / June 2011 “Artistic Research”
Issue No. 81 / March 2011 “Where do you stand, colleague ?”
Issue No. 80 / December 2010 “Political Art?”
Issue No. 79 / September 2010 “Life at Work”
Issue No. 78 / June 2010 “Fashion”
Issue No. 77 / March 2010 “Painting”

# More information on website Texte Zur Kunst

fleursdumal.nl magazine

More in: Archive Concrete + Visual Poetry - Ready-mades, Art & Literature News, Art Criticism, LITERARY MAGAZINES, MODERN POETRY, POETRY ARCHIVE, PRESS & PUBLISHING


APOLLINAIRE, THE EYES OF THE POET, IN MUSÉE DE L’ORANGERIE PARIS

APPOLINAIRE2016_01Musée de l’Orangerie, Paris
Apollinaire, the vision of the poet
Until 18 July 2016

The exhibition Apollinaire, the Eyes of the Poet looks at the period between 1902 and 1918 when Guillaume Apollinaire was active as an art critic. This period of fifteen years, seemingly a brief span, would in fact see a prodigious concentration of schools, manifestos, experiments and discoveries flourishing throughout the arts. Apollinaire’s character, his artistic sensitivity and his insatiable curiosity, made him a witness, a participant and a privileged intermediary in the turbulent times of the early 20th century. With a keen eye for discovering the art of his time, Apollinaire “defined once and for all the approach of artists like Matisse, Derain, Picasso and Chirico (…) using intellectual surveying techniques not seen since Baudelaire” Breton declared in 1952.
The aim of this exhibition is to recognise the important effect that this poet-critic’s discerning eye had on his era, in much the same way as Baudelaire and Mallarmé had on theirs.

APPOLINAIRE2016_06Poet, critic, friend of artists and one of the first to discover African arts, Apollinaire proved to be a key player in the aesthetic revolution that led to the birth of modern art.
This exhibition aims to explore Apollinaire’s mental and aesthetic universe through a thematic display: from Douanier Rousseau to Matisse, Picasso, Braque and Delaunay, from Cubism to Orphism and Surrealism, from academic sources to modernity, from tribal arts to popular arts. One section will highlight in particular the poet’s links with Picasso.

The exhibition sits quite naturally in the Musée de l’Orangerie alongside the works collected by his friend Paul Guillaume, whom Apollinaire introduced into the avant-garde circles, and whose adviser he became.

Musée de l’Orangerie
Jardin des Tuileries
Place de la Concorde
Paris fr
+33 (0)1 44 77 80 07
+33 (0)1 44 50 43 00
Jours et horaires d’ouverture
Ouvert de 9h à 18h
Dernier accès : 17h15
Fermé le mardi

# Website: Le musée de l’Orangerie

fleursdumal.nl magazine

More in: Apollinaire, Guillaume, Archive A-B, Art & Literature News, Art Criticism, Exhibition Archive, FDM in Paris, SURREALISM


KAREL APPEL: RETROSPECTIEF

APPELKAREL_2016bKarel Appel
Retrospectief
Nu t/m 16-mei-2016

Wie denkt aan het werk van Karel Appel (1921-2006) ziet felle kleuren, sterke contourlijnen en ogenschijnlijke simpele vormen. Toch kent de ontwikkeling van de beroemde en kleurrijke Nederlandse kunstenaar ook een andere kant dan de jaren 50 en CoBrA waar hij vaak mee wordt geassocieerd. Appel experimenteerde, zocht de grenzen op en bleef tot op hoge leeftijd zijn werk vernieuwen. Van vroege speelse en kinderlijke voorstellingen, tot aan de latere sculpturen, waarin hij schilderkunst met gevonden voorwerpen combineerde, zijn stijl en materiaal wisselde vaak. Typerend voor Karel Appel is ook dat hij al vroeg samenwerkte met kunstenaars uit andere disciplines, zoals, dichters, muzikanten en choreografen.

In de bekende documentaire van Jan Vrijman uit 1961 wordt Karel Appel neergezet als een woest schildersbeest dat zwetend en grommend in gevecht lijkt met het schildersdoek. Spontaan en puur vanuit zijn instincten veegt en smijt Appel de verf op het doek. Hij lijkt het publiek te manipuleren door bewust een cliché van de wilde, romantische kunstenaar neer te zetten. Zijn beroemde uitspraak ‘Ik rotzooi maar wat an’ wordt te letterlijk opgevat en veroorzaakt veel ophef in Nederland. Appel schildert expressief en spontaan, maar gaat nauwkeuriger te werk dan hij doet voorkomen. Hij kiest zijn gereedschap en verf met zorg, maakt vooraf schetsen en haalt zijn inspiratie uit de kunstgeschiedenis. Hij bestudeert het werk van Rembrandt, Van Gogh, Picasso en Mondriaan grondig. Zijn kunstwerken blijken doordachte composities.

Vanaf het moment dat Appel in 1950 naar Parijs verhuist, ontvangt hij grote prijzen, wordt naar Biënnales afgevaardigd en krijgt eervolle opdrachten. Ondanks zijn wereldfaam, blijft hij zijn hele leven lang een gecompliceerde verhouding met Nederland houden. De elite hier wil niets van hem weten, terwijl het volk, vanwege zijn spontaniteit en ongekunsteldheid, met hem weg loopt. Door een kleine groep in de kunstwereld wordt zijn werk gewaardeerd en gepromoot. Vandaag de dag is zijn werk internationaal verspreid over vele belangrijke museale- en particuliere collecties.

In 2016 is het tien jaar geleden dat Karel Appel is overleden. Een mooi moment om een frisse blik te werpen op zijn veelzijdige oeuvre dat zich over meer dan zes decennia uitstrekt. Gemeentemuseum Den Haag belicht met dit grootse retrospectief, bestaande uit 67 schilderijen, 12 beelden en meer dan 60 tekeningen, Appel vanuit verschillende gezichtspunten. Zo komen zijn vroege interesse in Outsider Art aan bod, zijn experimenten met uiteenlopende stijlen en de zeer eigen – soms bijna abstracte – interpretatie van klassieke thema’s zoals het naakt, het portret, het landschap en het stadsgezicht.

Gemeentemuseum Den Haag heeft een lange traditie met Karel Appel. Eerder vonden er belangrijke tentoonstellingen plaats en de kunstenaar schonk in 1983 en 2002 een groot aantal tekeningen aan het museum. Dit retrospectief markeert opnieuw de bijzondere band. De tentoonstelling vormt een spil van een brede internationale herontdekking van Appels werk. Ook in steden als Parijs, München en Washington zijn tentoonstellingen georganiseerd.

APPELKAREL_2016aCatalogus en kinderkunstboek
Bij de tentoonstelling verschijnt een indrukwekkend naslagwerk over Karel Appel dat te koop is in de winkel van het museum. Het boek verschijnt in het Engels en Nederlands en wordt uitgegeven door Uitgeverij Walther König in Keulen. Naast teksten van Rudi Fuchs, Klaus Ottmann en dr. Franz-W. Kaiser is er een interview in opgetekend met kunstcriticus Michel Ragon, een van de laatste tijdsgetuigen uit de CoBrA-tijd in Parijs. Dankzij nieuw onderzoek is, behalve een uitgebreide chronologie, ook het beroemde contramanifest van Karel Appel, compleet geactualiseerd opgenomen.

Het nieuwe kinderkunstboek Karel Appel uit de kapperszaak in de Dapperstraat van Imme Dros en Harrie Geelen vertelt het verhaal van de jonge Karel die in plaats van kapper, zoals zijn vader, een droom heeft om een beroemd kunstenaar te worden. Het kleurrijke prentenboek is alweer het vijftiende deel uit de serie kinderkunstboeken die het Gemeentemuseum Den Haag uitgeeft in samenwerking met Uitgeverij Leopold.

De tentoonstelling is mede mogelijk gemaakt dankzij de Karel Appel Foundation.

Gemeentemuseum Den Haag
Stadhouderslaan 41
2517 HV Den Haag

# Meer info website Gemeentemuseum Den Haag

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More in: Art & Literature News, Art Criticism, Exhibition Archive, Karel Appel


DUTCH ENTRY 56TH VENICE BIENNALE = herman de vries

vriesherman_Biennale11

herman de vries
to be all ways to be
Dutch entry 56th Venice Biennale

herman de vries (b. 1931) is representing The Netherlands at the Biennale Arte 2015. Under the title to be all ways to be the Dutch pavilion exhibits new sculptures, objects, works on paper and photography by de vries. Educated as a horticulturist and natural scientist, de vries gathers, orders, isolates and displays objects from nature, directing our attention to both the unity and the diversity of the world around us. In his preparatory travels to Venice, de vries collected many objects from the Laguna, the Giardini and the city, resulting in multiple works both in the Dutch Pavilion and on the deserted island of Lazzaretto Vecchio in the southern Laguna. The exhibition is curated by Colin Huizing and Cees de Boer.

herman de vries has been working for more than sixty years on an uncommonly versatile oeuvre in which art, science and philosophy are juxtaposed with the reality of the world. Initially involved in the international ZERO movement, he has since then focused on natural processes and phenomena and presents these as the primary, physical reality of human existence. The strength and richness of de vries’ oeuvre stems from the biotope developed in his hometown of Eschenau (Germany) and during his travels, including Venice.

The Dutch Pavilion in the Giardini in Venice built by Rietveld in 1954 with its open, transparent and spatially poetic character, symbolizes the rational and optimistically progressive thinking that prevailed during the first half of the Twentieth Century. The organic and natural materials in the work of herman de vries, counter this notion and attest to the idea that natural processes and phenomena are too complex to explain rationally.

The title of the exhibition to be all ways to be, expresses the idea that the experience of and reflection on human existence takes many divergent paths, none of which is superior or inferior to the other. Experienced through the eye, ear, body and nose, the works within the pavilion, the Giardini and at different locations within the Venetian Lagoon, will question existing definitions and positions with regard to nature and culture.

As part of the exhibition herman de vries has explored the surroundings of the city of Venice, the Giardini and the Laguna. One of de vries’s pivotal works: From the Laguna of Venice – a journal, introduces this habitat into the Dutch pavilion. People are encouraged to engage with this habitat: a special boat will ferry them to de vries’s sanctuarium: natura mater at the Lazzaretto Vecchio, several times a week. Tickets for these trips are available at the Dutch Pavilion.

Works by herman de vries are included in museum collections worldwide. In 2014 and 2015 de vries is participating in the retrospective ZERO exhibitions in the Guggenheim Museum New York, Martin Gropius Bau Berlin and Stedelijk Museum Amsterdam.

Colin Huizing (b. 1965) is chief curator at the Stedelijk Museum Schiedam. He curates exhibitions on artists and significant developments in the visual arts since 1960 until today. In 2011 he organized in close cooperation with the ZERO Foundation (Düsseldorf) the exhibition nul = 0, dutch avant-garde in an international context, 1961-1966. In 2014 he curated the exhibition herman de vries – all in the Stedelijk Museum Schiedam.

Cees de Boer (b. 1955) studied General Literature and Philosophy and was awarded a Ph.D. for his research on the collage novels of Max Ernst. Currently he works as a freelance curator, art critic and art advisor. He published books on Sjoerd Buisman and Norman Dillworth; in 2000 he curated Ulay: Performing Light at de Appel arts centre, Amsterdam together with the artist. September 2014 appeared his study of philosophical aspects of the work of herman de vries: Overal stroomt mijn oog.

     vriesherman_Biennale12

Publication: The Valiz/Mondriaan Fund publication herman de vries – to be all ways to be offers a parallel world to the exhibition, illuminating all the works on view and highlighting herman de vries in dialogue with Jean-Hubert Martin (Magiciens de la Terre, Centre Georges Pompidou / Grande Halle Parc de la Vilette, 1989; Affinités insolites, Grand Palais Paris, April 2016). Martin confronts de vries with key concepts such as synesthesia, mimesis, craftsmanship, sound and music, smell, nature and ecology, and interweaves the works and thoughts of de vries, with images and other sources throughout his text. This publication opens up historical, art historical and philosophical contexts and perspectives.

For the exhibition and the publication designer Remco van Bladel has transformed the Futura typeface by Paul Renner into a specially customized version, called natura. herman de vries has been using the Futura typeface for more than four decades throughout his work. The natura, which consists only of lower case letters, contains some of the glyphs Renner originally designed in 1925, which were slightly more geometrical than the final Futura. Van Bladel set a system of variables to define the shape of each of these original glyphs through chance operations, thus making the individual letters of the natura both identical yet slightly different as well, in that way constituting a parallel to de vries’ concept that nature presents individual entities only.
ISBN 978 90 78088 99 8

hermandevriesschiedam04The Dutch pavilion at the Venice Biennale is a significant platform for furthering the international appreciation of contemporary art from the Netherlands, by producing new and topical work dealing with relevant themes in art and society. The Mondriaan Fund is responsible for the Dutch entry to the Venice Biennale. For the 56th edition the Mondriaan Fund again issued an open call to curators, who were asked to produce a plan together with one or more artists in keeping with a State event. A specially appointed jury selected the de vries and Huizing/De Boer plan from five shortlisted proposals. The jury consisted of Hester Alberdingk Thijm (director AkzoNobel Art Foundation), Saskia Bos (dean Cooper Union for the Advancement of Science and Art), Aernout Mik (visual artist), Martijn van Nieuwenhuyzen (curator Stedelijk Museum Amsterdam and chairperson Birgit Donker (director Mondriaan Fund).

herman de vries
to be all ways to be
Dutch entry 56th Venice Biennale
Curators: Colin Huizing and Cees de Boer
Commissioner: Mondriaan Fund
9 May-22 November 2015

# website mondriaanfonds
# website herman de vries

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Maartje Korstanje genomineerd voor de Volkskrant Beeldende Kunst Prijs 2014

korstanje005(2)

Maartje Korstanje genomineerd voor de Volkskrant Beeldende Kunst Prijs 2014

Het Stedelijk Museum Schiedam organiseert in samenwerking met de Volkskrant, de NTR en het BNG Cultuurfonds de Volkskrant Beeldende Kunst Prijs 2014. Voor de achtste editie van deze prijs hebben specialisten uit de kunstwereld vijf getalenteerde kunstenaars rond de 35 jaar en werkzaam in Nederland genomineerd. Dit zijn: Giorgio Andreotta Caló, Floris Kaayk, Maartje Korstanje, Emmeline de Mooij, Emma van der Put.

Aan de Volkskrant Beeldende Kunst Prijs is een geldbedrag van 10.000 euro verbonden. Dit bedrag is gefinancierd door het BNG Cultuurfonds. In een speciale uitzending van KunststofTV op zondag 13 april wordt de winnaar bekendgemaakt. De jury bestaat uit voorzitter Sanne Wallis de Vries (cabaretière en kunstliefhebber), Ahmet Ögüt (kunstenaar en eerder winnaar van de VKBK Prijs), Sacha Bronwasser (kunstcriticus de Volkskrant) en Hans Kemna (casting director en verzamelaar).

De tentoonstelling met het werk van de genomineerden is van 15 februari tot en met 11 mei 2014 te zien in het Stedelijk Museum Schiedam. Het publiek wordt uitgenodigd te stemmen. Op de slotdag van de tentoonstelling wordt de publieksfavoriet bekend gemaakt.

Tentoonstelling Metamorfoses van Maartje Korstanje nog tot en met 4-05-2014 te zien in Museum Jan Cunen Oss

Deze tentoonstelling vormt de eerste museale solopresentatie van beeldhouwster Maartje Korstanje (1982). Haar sculpturen, die overwegend in karton zijn vervaardigd, bevinden zich in het gebied tussen abstractie en figuratie. Korstanje heeft een fascinatie voor de natuur die duidelijk herkenbaar is in haar werk: figuren doen associaties oproepen met bijvoorbeeld prehistorische dieren, insecten en skeletten. Tegelijkertijd zou je er fantasiewezens of monsters in kunnen herkennen.

“Mijn inspiratie haal ik uit een oude dierenencyclopedie ( . . . ). Het staat vol met zwart-wit afbeeldingen waardoor je vormen goed ziet. Mijn werk is eigenlijk een optelsom van vormen, die mij fascineren. De sculpturen zijn geen herkenbare dieren want de onderdelen zijn zo gefragmenteerd en op ongewone manieren met elkaar verbonden dat een ander beeld ontstaat dan dat we kennen. Ik vind het fijn als mensen naar mijn werk kijken en allerlei associaties hebben, daarom gebruik ik ook geen titels.”

Korstanje gaat intuïtief te werk, zonder vooropgezet plan of voorstudies creëert ze aldoende haar beelden. Toeval speelt daarbij een belangrijke rol. Ze gebruikt vooral ‘arme’ materialen als karton, behanglijm, Polyurethaan (PU) schuim of kunststof. Het resultaat is betoverend, de behandeling van de materialen geven de beelden grote uitdrukkingskracht. Kleine stukken karton die losjes over elkaar heen zijn aangebracht geven het oppervlak een levendig karakter. Kortstanje speelt ook met contrasten in haar materiaal. Hoogglanzende, gladde, gekleurde onderdelen van epoxy contrasteren sterk met het matte, bruine karton. Ook heeft ze bijvoorbeeld wel eens een kartonnen sculptuur aan de binnenkant met bladzilver bekleed.

De tentoonstelling biedt een overzicht van Korstanjes werk van de afgelopen jaren. Daarnaast heeft ze speciaal voor de tentoonstelling een ruimtevullende sculptuur vervaardigd.

 korstanje002a

Workshop carnavalsvakantie door Maartje Korstanje

Altijd al eens met een echte kunstenaar willen werken? Dat kan!

Op zondag 9 maart tussen 14.00 en 16.00 uur is Maartje Korstanje in het museum. Tijdens het bekijken van de tentoonstelling leer je hoe Maartje Korstanje haar beelden maakt en ga je tijdens een workshop samen met haar een nieuwe sculptuur maken. Ook opa, oma, vader of moeder kunnen meedoen, want deze workshop is zowel voor volwassenen als kinderen bedoeld.

Aanmelden kan bij de receptie van Museum Jan Cunen

E: museumjancunen@oss.nl

T: (0412)-629328

# website museum jan cunen oss

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Literatuurcriticus Marcel Reich-Ranicki overleden

marcelreichranicki

Literatuurcriticus Marcel Reich-Ranicki overleden

De invloedrijke Duitse literatuurcriticus Marcel Reich-Ranicki is op 18 september op 93-jarige leeftijd overleden. Reich-Ranicki (1920 – 2013) werkte decennialang voor het literatuurkatern van de toonaangevende Frankfurter Allgemeine Zeitung.

Reich-Ranicki werd in 1920 uit Pools-joodse ouders geboren. Toen hij negen was verhuisde zijn familie naar Berlijn. In 1938 werd hij als jood uit Duitsland gezet. In het getto van Warschau leerde hij zijn vrouw kennen. Over die tijd deed hij uitgebreid verslag in zijn autobiografie Mein Leben (1999). Er werden 1,2 miljoen exemplaren van dit boek verkocht.

fdm bookslit02

Marcel Reich-Ranicki leidde meer dan 15 jaar lang de literatuurredactie van de Duitse kwaliteitskrant Frankfurter Allgemeine Zeitung. Van 1988 tot 2011 presenteerde hij het Literarische Quartett, de literatuuruitzending van de publieke omroep ZDF. Als literatuurcriticus was hij zowel geliefd als gevreesd.

Reich-Ranicki was een bewonderaar van Nederlandse auteurs als Nooteboom en Mulisch, die hij ook regelmatig welwillend besprak voor een Duits publiek.

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Robert Hughes In Memoriam (28 July 1938 – 6 August 2012)

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Robert Hughes In Memoriam

(28 July 1938 – 6 August 2012)

´In art there is no progress, only fluctuations of intensity .´

Robert Hughes, art critic of Time magazine and twice winner of the American College Art Association’s F. J. Mather Award for distinguished criticism, is author of The Shock of the New, and of Heaven and Hell in Western Art. He is also author of the acclaimed Nothing if Not Critical, a work on Frank Auerbach; Barcelona, and Culture of Complaint, essays on the fraying of America. Robert Hughes died in August 2012.

´I have never been against new art as such; some of it is good, much is crap, most is somewhere in between.´


Robert Hughes, available titles

The Shock of the New

The Fatal Shore: The Epic of Australia’s Founding

Rome: A Cultural, Visual, and Personal History

Nothing If Not Critical: Selected Essays on Art and Artists

American Visions: The Epic History of Art in America

Barcelona

Lucian Freud Paintings

Goya

Culture of Complaint: The Fraying of America (Oxford American Lectures)

Things I Didn’t Know: A Memoir

A Jerk on One End: Reflections of a Mediocre Fisherman (Library of Contemporary Thought)

Frank Auerbach

Amish: The Art of the Quilt

Nothing If Not Critical

 

Robert Hughes (1938 – 2012)

´The greater the artist, the greater the doubt. Perfect confidence is granted to the less talented as a consolation prize.´

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Forum d’art contemporain Luxembourg: L.A. Raeven – Ideal Individuals

L.A. Raeven, Mindless Living, 2011, video still. Courtesy Ellen de Bruijne Projects Amsterdam

Casino Luxembourg – Forum d’art contemporain

L.A. Raeven – Ideal Individuals

28 January 2012 – 22 April 2012

Twin sisters Liesbeth and Angelique Raeven (*1971, Heerlen, Netherlands; live and work in Amsterdam) began their artistic collaboration under the generic name of L.A. Raeven in 1999. Their work rests on investigations surrounding the notion of “the ideal individual”, which they analyse through videos, drawings, installations and performances. L.A. Raeven study the status of the body and body image within western societies and the inherent social pressures. Adopting a critical attitude towards fashion and media dictates, they defy traditional representations of feminine beauty by integrating the codes of this same society to better lay them bare. Through doing this, a debate vis-a-vis the questions related to ideal body image and its social construction, within various cultural and historical contexts, is set up.

The exhibition was formerly shown in the Museum voor Moderne Kunst Arnhem and in the Museum of Contemporary Art in Belgrade. Curator: Kevin Muhlen

Casino Luxembourg – Forum d’art contemporain – 41, rue Notre-Dame | B.P. 345 | L-2013 Luxembourg

≡ Website CASINO LUXEMBOURG- FORUM D’ART CONTEMPORAIN, LUXEMBOURG

≡ Website L.A. RAEVEN

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Chinese Artist Ai Weiwei detained by government

Ai Weiwei

Chinese Artist Ai Weiwei

detained by government

4 april 2011 The detention of China’s most famous artist and political critic Ai Weiwei is a troubling development in a widening crackdown on dissent which has seen dozens of activists detained over the last few months, Amnesty International said today.

Police detained Ai Weiwei at Beijing airport on 3 April. His wife and several members of his studio staff were also briefly detained on the weekend.

“Ai Weiwei was not even involved in any call for ‘Jasmine’ protests. There seems to be no reason whatsoever for his detention, other than that the authorities are trying to broadcast the message that China’s time for open dissent has come to an end” said Sam Zarifi, Amnesty International’s Director for the Asia-Pacific.

Since online calls for Chinese ‘Jasmine Revolution’ protests inspired by people’s movements in the Middle East and North Africa began circulating in late February, the Chinese authorities have rounded up dozens of activists, lawyers and bloggers.

“We’ve already seen the chilling effect the ‘Jasmine Revolution’-related arrests have had on Chinese activists and netizens over the past month. Holding Ai Weiwei takes this to another level” said Sam Zarifi.

“If the authorities are so bold as to grab this world-renowned artist in broad daylight at Beijing airport, it’s frightening to think how they might treat other, lesser known dissidents.”

‘Sunflower Seeds’ by Ai Weiwei,Tate Modern London Turbine Hall

Chinese government wages campaign of

harassment against lawyers

05-04-2011 The Chinese government is waging a campaign of harassment and intimidation of lawyers, to stop them defending the dozens of activists and political critics rounded up by the authorities in the last two months.

Since an anonymous online call on 17 February to stage a ‘Jasmine Revolution’ in China, a group of high profile human rights lawyers have been detained, and at least a dozen more lawyers say they have been briefly detained, pressured by the authorities, and even told by police to stop tweeting about detained people.

“China is abandoning the rule of law,” said Sam Zarifi, Amnesty International’s Director for the Asia-Pacific. “The government is trying to systematically break the will of the country’s lawyers.”

“It is giving its security forces free rein to pervert the course of justice and deny activists and critics the right to a legal defense. The most disturbing thing is that there is no sign of the government relaxing its grip this time around. We fear that this is just a taste of things to come.”

Most recently, Beijing lawyer Liu Xiaoyuan was briefly detained on 2 April under suspicion of “picking quarrels and provoking trouble”, and berated by police for posting messages on Twitter about a missing Shanghai lawyer Li Tiantian. He was detained after making a request to visit his client Wang Lihong, a prominent female activist detained in Beijing in relation to the ‘Jasmine’ protests.

Guangdong lawyer Liu Zhengqing has not been heard from since he was detained by police on 25 March. He had been attempting to represent fellow lawyer, Tang Jingling, who was detained 22 February. Amnesty International has grave fears for the safety of both lawyers.

Other lawyers have had their computers confiscated, and have been visited every few days by the police, who warned them against representing fellow lawyers or lobbying on their behalf.

Three of China’s most high profile advocates Teng Biao, Tang Jitian and Jiang Tianyong were detained in late February and have been denied access to lawyers. Teng Biao and Jiang Tianyong are still in incommunicado detention, while Tang Jitian is under house arrest.

“It seems China not only wants to silence potential critics, but also to render them utterly defenseless,” Sam Zarifi said. “This is not behaviour we should accept from a modern world power.”

Ai Weiwei, Documenta 12

February’s call for a

‘Jasmine Revolution’ in China

did not result in any significant protests or unrest

6 april 2011 Oproepen voor een Chinese ‘Jasmijn Revolutie’ hebben de afgelopen twee maanden tot een golf van arrestaties geleid. Sinds eind februari zijn meer dan 100 activisten opgepakt, geïntimideerd, of vermist.

Deze week nam de intimidatie verder toe door de arrestatie van China’s bekendste kunstenaar, Ai Weiwei. Hij was een van de ontwerpers van het Olympisch stadion het Vogelnest in Peking. Ai Weiwei werd op 3 april gearresteerd op het vliegveld van Beijing. Zijn arrestatie past in een patroon van repressie dat schrijvers, bloggers, advocaten, journalisten en activisten treft.

Intimidatiecampagnes

Advocaten die deze mensen willen verdedigen worden zelf ook getroffen door een intimidatiecampagne van de Chinese autoriteiten. Sinds de internetoproep van 17 februari voor een ‘Jasmijnrevolutie’ is een gerenommeerde groep mensenrechtenadvocaten gevangengezet en onder huisarrest geplaatst, en hebben tal van advocaten te maken gekregen met korte detentie, druk van de overheid en zelfs politiewaarschuwingen om niet meer te twitteren over gedetineerde activisten.

Op 2 april werd de advocaat Liu Xiaoyan kort gearresteerd op verdenking van “het veroorzaken van ruzie en problemen”. Hij werd gearresteerd na een aanvraag om zijn client Wang Lihong, een prominente activist gearresteerd in verband met de “Jasmijn” protesten, te bezoeken.

“Dit gedrag mogen we niet accepteren van een moderne wereldmacht”, aldus Sam Zarifi, Amnesty International’s directeur voor Azië en de Pacific. “De regering probeert op systematische wijze de spirit van advocaten te breken en hen in hun mensenrechtenwerk te belemmeren. Het geeft de veiligheidsdiensten de vrije teugel om te voorkomen dat recht wordt gedaan, en ontneemt activisten en critici hun recht op juridische verdediging. Het meest alarmerende is dat de regering zijn greep niet lijkt te verminderen. We vrezen dat dit aleen nog maar erger wordt.’

Ai Weiwei was op geen enkele wijze betrokken bij oproepen die gedaan zijn tot ‘Jasmijn protesten’. Wel is hij één van de ondertekenaars van Charta 08.

Source: Amnesty International

Ai Weiwei, Birdnest stadium Bejing

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