Showing posts with label Amsterdam. Show all posts
Showing posts with label Amsterdam. Show all posts
27 August, 2013
Art Criticism: Symposium
"I am for an Art Criticism that",
November 2012
Symposium website
http://www.wdw.nl/event/i-am-for-an-art-criticism-that/
This symposium’s title takes inspiration from artist Claes Oldenburg’s 1961 manifesto “I Am for an Art” and similarly to an art manifesto, a statement intended to shock, inspire or offend, I AM FOR AN ART CRITCISM THAT…, is a symposium that stages various live discussions with the aim to cover, and uncover, the fertile ground between the arts and journalism.
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Symposium I AM FOR AN ART CRITICISM THAT...
Witte de With Center for Contemporary Art, Rotterdam
Introduction by Defne Ayas, Director of Witte de With
Reading of Claes Oldenburg's "I am for an Art" by Adam Kleinman
Keynote lecture by Jörg Heiser "From Assange to Zuckerberg and back again: Criticism at times of the super-nerd"
Panel 1: I AM FOR AN ART CRITICISM THAT IS UNIVERSAL
Carol Yinghua Lu, Anthony Downey, Ali Akay, Anna Tilroe / Moderator: Amira Gad
Panel 2: I AM FOR AN ART CRITICISM THAT HAS A VOICE
Hrag Vartanian, Barbara Visser, Quinn Latimer, Maarten Doorman, Marc Ruyters, Ingrid Commandeur / Moderator: Vivian Sky Rehberg
Brief introduction by Adam Kleinman & Audio Screening of The Economics of Film Criticism: A Debate, Jean-Luc Godard & Pauline Kael (1981)
Statement by Defne Ayas
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Panel 3: I AM FOR AN ART CRITICISM THAT IS INDEPENDENT
Brian Kuan Wood, Domeniek Ruyters, Aimee Lin, Sven Lütticken, Ahu Antmen / Moderator: Hrag Vartanian
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Symposium I AM FOR AN ART CRITICISM THAT... Day 2
Stedelijk Museum Amsterdam
Welcome by Hendrik Folkerts
Keynote lecture by Peter de Ruiter "Don't burn after reading"
Panel: I AM FOR AN ART CRITICISM THAT IS SELF-REFLECTIVE
Birgit Donker, Carol Yinghua Lu, Ali Akay, Anthony Downey/ Moderators: Hendrik Folkerts & Amira Gad
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Claes Oldenburg, I am for an art from Store Days, Documents from the Store (1961) and Ray Gun Theater (1962), selected by Claes Oldenburg and Emmett Williams, New York, 1967. Copyright Claes Oldenburg
full text here
https://www.msu.edu/course/ha/452/oldenburg.htm
15 May, 2013
Kunstrai Amsterdam
KUNSTRAI AMSTERDAM 2013
From 15to 20 May, the 29th edition of the KunstRAI will take place in Amsterdam. For the first time in twenty years KunstRAI will again be organized by theKunstbeurs Foundation. KunstRAI is the longest running contemporary art fair in the Netherlands. Over 75 well-known and emerging galleries show contemporary autonomous and applied art and design to a wide audience of connoisseurs and art lovers.
16th - 20th May
Amsterdam Rai
website
Participants
23 September, 2011
Egon Schiele - Nazi Looted
As with every smart collector, Leopold relied on his own aesthetic instincts and obtained Schiele and other early twentieth-century Austrian artists whilst the prices were low.
In 1955 Leopold, now working in Vienna as a professor of ophthalmology, proceeded to enhance the art historical reputation and hence the value of his collection by curating a highly successful touring exhibition to the more progressive art hubs of Eindhoven and Amsterdam. This was followed in the 1960s by transatlantic validation of the collection, with shows in both London and New York, and Vienna itself finally succumbing to the growing fame of their own native modern artists by exhibiting Leopold’s collection in 1968. In 1972-1973 Leopold followed up the travelling shows by producing an influential monography on Schiele in both German and English editions (published by Phaidon): this brought further widespread exposure to both the artist and the collection. The rise to fame of Egon Schiele was due in the main to Leopold’s collecting strategies.
full story
13 June, 2011
Dutch Art Cutbacks
Exract from petition.
... it is incomprehensible for a government which wants to prepare its citizens for a promising future to decide to remove the part of the social system which guides the public in this respect. The extremely hard approach adopted in relation to the sector of the visual arts (a reduction from 53.5 million to 31 million) is not supported in this memorandum by either logical or factual arguments.
Amongst other things, the Secretary of State has decided:
- to halve the budget of the Mondriaan fund;
- to drastically reduce the number of presentation institutions in the BIS from 11 to 6. The institutions which are no longer in the BIS cannot go to the Mondriaan fund either, and therefore have no chance of survival;
- to no longer provide any subsidy for art magazines;
- to put a complete stop to the government subsidy for functions which are now carried out by biennial Manifesta, SKOR | Stichting Kunst en Openbare Ruimte (Foundation for Art in Public Spaces), the sectoral institute Premsela, Virtual Platform, the Netherlands Media Art Institute (NIMk);
- to put a stop to financing post-academic education for artists in the Ateliers, Rijksakademie voor beeldende kunsten (Royal Academy for Visual Arts), European Ceramic Work Centre and the Jan van Eyck Academy;
to only support the continued development of 50 visual artists who have proved themselves as top talents in the next four years;
- to halve the individual basic stipends and working grants for artists, and to COMPLETELY stop the present subsidies which serve to provide an income.
The direct and immediate effects of these measures for the PUBLIC which wants to see and experience contemporary art are catastrophic:
The makers, producers and artists form the basis of the cultural infrastructure. After all, with no artists, there is no art. No subsidies or insufficient subsidies for artists to focus professionally and full time on creating work means that there will be no innovative work.
No post-academic education means there will be no growth of new artists who excel and can represent the Netherlands abroad. Removing this function will immediately lead to a reduction in the provision of Dutch presentation institutions, so that the Netherlands will lose its competitive position. This will result in the total impoverishment of the art market in the Netherlands and to a weaker position of the Dutch galleries on the international art market.
A minimal number of presentation institutions means that the new art will not find its way to the public and will remain locked up in studios and warehouses. The Dutch and international public in the Netherlands will not be able to see any innovative art.
Removing an institution such as SKOR means that the presence of art in public spaces -- democratic and by definition "anti-elitist", because it is accessible to everyone free of charge -- will decline.
Closing an institution such as NIMk means that a valuable, partly digital heritage -- video art and film art and media art -- will become fragmented and will no longer be accessible to the public.
The innovative part of the field of the visual arts, which also determines the international image of the creative Netherlands, cannot survive without a financial injection from the state.
the petition: http://petities.nl/petitie/bezuinigen-op-cultuur-zonder-alle-feiten-nooit
(source Netbehaviour)
11 June, 2011
My Name in Lights - Stedelijk
From June 1 to 26, the Stedelijk continues its commitment to bringing international artists to Amsterdam for the Holland Festival, exploring the relationship between the visual and performance arts.
This time, it will involve a 30 meter-wide LED screen.
"Iconic American conceptual artist John Baldessari is looking for people, who want their name in lights, but just for 15 glittering seconds. Your Name in Lights reflects the changing cult of celebrity in modern society and recalls Andy Warhol's prediction that in the future everyone will have their 15 minutes of fame."
Curator of Exhibitions at the Stedelijk Museum, Martijn van Nieuwenhuyzen ... researching the shortlist of potential artists to work with ... discovered Baldessari’s YOUR NAME IN LIGHTS. It was part of the Sydney Festival and it fit exactly what the Stedelijk was after. The high level of audience participation was too good to pass up. Baldessari agreed to bring it to Amsterdam, the only other time the work is planned to be on display.
YOUR NAME IN LIGHTS will occupy a transitional space between the institution’s walls and the public square. The large LED screen blurs the boundaries between the two. In return, members of the public get to add their name to be displayed right on the side of the museum.
full info at Sydney Festival
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JOUW NAAM / YOUR NAME: BLAKKBYRD
zal 15 seconden schitteren om / will be screened for 15 glittering seconds on:
Dinsdag, 14 juni 16:16:20 / Tuesday, 14 June 4:16:20 PM CET
New Time
16:16:20 Tuesday June 14, 2011 in converts to
00:16:20 Wednesday June 15, 2011 in Sydney
==========
Watch live streaming video from yournameinlights at livestream.com
http://www.yournameinlights.nl/
more info at the Stedelijk Museum
http://journal.stedelijk.nl/2011/05/behind-your-name-in-lights/
23 May, 2011
Van Gogh and Russell
Vincent Van Gogh and John Peter Russell
Ann Galbally
Ann Galbally traces the passage of the extraordinary and unlikely friendship between Vincent Van Gogh and John Peter Russell.
A huddle of wooden sheds in a courtyard off the Boulevard Montmartre known as Cormon's atelier was where the handsome art student from Sydney, John Peter Russell, first met the haunted, intense newcomer from Holland, Vincent van Gogh. Both were foreigners in the competitive art world of Paris in the 1880s, and over the next two years both would discover a passion for colour painting.
Now, for the first time, Ann Galbally traces the passage of this extraordinary and unlikely friendship. The two spent hours together in a Paris studio experimenting with the fast-moving changes in art practice. Both artists ultimately rejected the Impressionist's world of urban sophistication and left Paris to develop colour painting in isolation, Van Gogh at Arles in Provence, and Russell on Belle Ile off the coast of Brittany.
With a supporting cast including Gauguin, Rodin, Monet and Matisse this is a
journey through the struggles and failures, plots and intrigues of artistic life. A tale of love found and lost and ultimate tragedy, it makes for enthralling reading.
more (preview book here)
http://catalogue.mup.com.au/978-0-522-85376-6.html
Ann Galbally
Ann Galbally traces the passage of the extraordinary and unlikely friendship between Vincent Van Gogh and John Peter Russell.
A huddle of wooden sheds in a courtyard off the Boulevard Montmartre known as Cormon's atelier was where the handsome art student from Sydney, John Peter Russell, first met the haunted, intense newcomer from Holland, Vincent van Gogh. Both were foreigners in the competitive art world of Paris in the 1880s, and over the next two years both would discover a passion for colour painting.
Now, for the first time, Ann Galbally traces the passage of this extraordinary and unlikely friendship. The two spent hours together in a Paris studio experimenting with the fast-moving changes in art practice. Both artists ultimately rejected the Impressionist's world of urban sophistication and left Paris to develop colour painting in isolation, Van Gogh at Arles in Provence, and Russell on Belle Ile off the coast of Brittany.
With a supporting cast including Gauguin, Rodin, Monet and Matisse this is a
journey through the struggles and failures, plots and intrigues of artistic life. A tale of love found and lost and ultimate tragedy, it makes for enthralling reading.
more (preview book here)
http://catalogue.mup.com.au/978-0-522-85376-6.html
14 May, 2011
Art Amsterdam 2011
Art Amsterdam
http://www.artamsterdam.nl/nl/en/Exhibit/Pages/OnlineArtFair.aspx
Art Amsterdam will be the first art fair in the world to have both a physical and an online presence. To this end, Art Amsterdam 2011 is collaborating with openartcollection.com, a New York-based pioneer in virtual collectors’ networks and online art fairs.
On openartcollection.com over 70 exhibitors at Art Amsterdam 2011 exhibit all the works on show at the fair and sometimes even additional works. Members of openartcollection.com (over 5,000 collectors from 28 countries) can subsequently submit questions concerning or bids for the work on display.
Visit Art Amsterdam online from May 11th onwards.
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Videos from Vernissage TV
http://vernissage.tv/blog/
http://www.artamsterdam.nl/nl/en/Exhibit/Pages/OnlineArtFair.aspx
Art Amsterdam will be the first art fair in the world to have both a physical and an online presence. To this end, Art Amsterdam 2011 is collaborating with openartcollection.com, a New York-based pioneer in virtual collectors’ networks and online art fairs.
On openartcollection.com over 70 exhibitors at Art Amsterdam 2011 exhibit all the works on show at the fair and sometimes even additional works. Members of openartcollection.com (over 5,000 collectors from 28 countries) can subsequently submit questions concerning or bids for the work on display.
Visit Art Amsterdam online from May 11th onwards.
======
Videos from Vernissage TV
http://vernissage.tv/blog/
10 May, 2011
Peanut Butter Art - Rotterdam
Museum Boijmans Van Beuningen acquired the concept for the ‘Peanut-Butter Platform’ (1962) by Wim T. Schippers in December 2010.
From March 5th, during the Rotterdam Museum Night, this floor sculpture is on view in a presentation that includes other Schippers works from the museum collection, such as the floating stone ‘Het Is Me Wat / And Now What’s Up’ (1999) and ‘Eggs’ (1966), a white carpet of interwoven swabs that is strewn with green eggs.
Wim T. Schippers is best known among the general public as a producer of television, radio and theatre, as a writer and as a visual artist. Schippers has produced many controversial works of art, including a long period when food played a major part in his oeuvre.
In 1962 Museum Fodor exhibited a pink pudding which was so big that visitors could not walk through the gallery to the garden. For the museum’s garden room Schippers created a presentation of objets trouvés, including a child’s mattress, a slab of chocolate (from the Van Houten factory, where his father worked as an accountant), a packet of ice-cream cones, a container of money and a plasticised lump of coal.
The Museum Fodor presentation included two floor sculptures – one gallery was completely covered in salt while another was filled with broken pieces of sheet glass – and it was here that the concept for the ‘Peanut-Butter Platform’ originated. Schippers conceived a floor of cooked spinach for an exhibition at Felix Valk’s Gallery ’20 (the later Galerie Jaki Kornblitt), but the gallery owner did not think this was such a good idea, whereupon Schippers proposed using endives instead.
Other works that employed food include a chair which Schippers ‘upholstered’ with chow mein noodles in 1965. The noodle chair and a table with garden peas were created during the ‘Modern Evenings’ that he organised at various locations throughout the Netherlands. Schippers also conceived ‘food groupings’ for these events, following the example of Daniel Spoerri, who was famous for his ‘eat-art’.
The ‘Peanut-Butter Platform’ was first realised in 1969 at Gallery Mickery in Loenersloot, the Netherlands, and was later included in a Wim T. Schippers retrospective at the Centraal Museum in Utrecht. From March 5th the ‘Peanut-Butter Platform’ is on view at Museum Boijmans Van Beuningen. Schippers’ peanut butter installation is a work which can be realised in different ways, and at Museum Boijmans Van Beuningen, in contrast to other realisations, the floor sculpture is not perfectly square, and is 4 x 12 meters in size.
Visitors are able to ask Wim T. Schippers questions via an interactive video link (called: Peanut-Butter Post) and he responds to a selection via webcam. The presentation includes a video that shows how the ‘Peanut-Butter Platform’ was realised, and interviews with the artist and the art collector Harry Ruhé, in which they shed light on the work’s creation and significance, are also screened in the gallery. These videos will be posted on the museum’s ArtTube video channel.
The ‘Peanut-Butter Platform’ was made possible thanks to the generous support of theMondriaan Foundation and Unilever.
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Would you like to know what Wim T. Schippers has said about about his artwork the floating stone 'Het Is Me Wat / And Now What's Up'? Check out here the episode about gravity on Boijmans TV.
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more info and pics here
http://www.boijmans.nl/en/7/calendar-exhibitions/calendaritem/783/the-peanut-butter-platform-by-wim-t-schippers
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Pinda = Peanut
Kaas = Cheese
Pindakaas = Peanut butter
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======
Would you like to know what Wim T. Schippers has said about about his artwork the floating stone 'Het Is Me Wat / And Now What's Up'? Check out here the episode about gravity on Boijmans TV.
=======
more info and pics here
http://www.boijmans.nl/en/7/calendar-exhibitions/calendaritem/783/the-peanut-butter-platform-by-wim-t-schippers
========
Pinda = Peanut
Kaas = Cheese
Pindakaas = Peanut butter
07 May, 2011
Twente Biënnale
Twente Biënnale International Art Festival
London --- Hengelo --- Berlin ---------------- Moscow
12 - 22 mei - 2011 - Hengelo NL - The best international art and talent from the East of the Netherlands on 3 ha of industrial heritage in the heart of Twente.
Twente Biënnale addresses current affairs in a post 9/11 society and the contemporary culture of the all encompassing presence of mass media. Addressed topics are, among others, the changing cultural identity and political ideology, the ever-faster growing technology, but also the social meaning of the visual arts circa 2011.
Information
Twente Biënnale is a new event with a challenging and controversial program of contemporary art, taking place on 3 ha industrial heritage near the centre of Hengelo. The best international art is found side by side with talent from the East of The Netherlands: from established artists to art students.Twente Biënnale is mainly taking place in and around the former factory halls of Hazemijer Holec, a 20th century producer of heavy electrical switch-boxes and measuring equipment. Several years ago the terrain was renamed Creatieve Fabriek (creative factory) and got a new destination as a hotbed for art, culture and creative economy. The new foundation Hazartfactory is a platform organising events such as the Twente Biënnale, Power-Up Gaming Festival and Pecha Kucha Nights on the terrain.
http://2011.twentebiennale.nl/
Artists and videos here
(There are several of my friends showing in this - Congratulations guys. Ed.)
25 April, 2011
Amsterdam Art/Book Fair 2011
The first Amsterdam Art/Book Fair will take place the 14 & 15 of May 2011, presenting a high end international selection of art publications. The fair aims to reflect on the emerging practices and new development in art, through a selection of publishers from 16 countries. Printed matter and digital media edited by independent publishers and artists, magazines and institutions, art schools and graphic design studios are featured in this first edition.
Vlaams Cultuurhuis De Brakke Grond
Nes 45, NL-1012KD Amsterdam
www.brakkegrond.nl
talks & lectures
http://www.amsterdamartbookfair.com/talks_lectures.html
After Show Party
Sunday 15 May
22:00 (Time to be confirmed)
Trouw Gebouw Amsterdam
11 August, 2010
Christophe Stibio - Melbourne
Artist's Website
http://christophestibiogallery.blogspot.com/search/label/Galerie%20%2F%20Gallery
Currently on exhibition at Flinders Lane Gallery, Melbourne
http://www.flg.com.au/Exhibitions/Exhibitions2010/FLG_theartists_Stibio2010.html
============
For the past few years whilst I was living in an Amsterdam canelfront apartment I have been working on a series of paintings depicting water, but using only lines. I was very interested to discover Christophe's paintings in Flinders Lane and to examine how he had resolved the technical difficulties involved. There are similarities in subject and approach, but the two bodies of work are quite different. Ed
(there's a detail of one of my paintings here)
31 December, 2009
Happy New Year!
To all my readers and friends I wish you everything you desire in the new year.
May 2010 be a great year for the arts.
Last year I saw in the new year in Taiwan at the 101 building, the previous years in Amsterdam, and this year its Sydney again. In Amsterdam they combine cracker night with NYE and its like a war zone. There are huge fireworks displays in every major square in Amsterdam but my favourite spot to be is outside the church where Rembrandt was buried, see the video above.
Things have been quiet here in the past few months as I have been very busy in real life setting up my home and studio in Sydney. I resolve that 2010 will see an increase in posts to former levels, a continuing focus on the best in international art and a resumption of my own art practice. Look out for the next print exchanges and a Blakkbyrd exhibition in 2010.
all the best to you all
Blakkbyrd
13 December, 2009
Blakkbyrd News
Festive Greetings
Its that time of year when you take stock of your achievements for the past twelve months and look ahead to the new year. Its just over twelve months since I packed up my Amsterdam studio and headed back down under via Asia. I was berating myself about how little art I had made this year until I started reviewing what I had actually done, living from a suitcase.
Four months in Asia, Taiwan, Hong Kong, Singapore and Thailand. The Taiwan and Singapore Biennales, Museums, exhibitions and meeting artists. Photoshoots, 'halls of fame' Taiwan, Hong Kong, Melbourne. Reviewing the Sydney and Melbourne art scenes. Conferences. Reviewing the Sydney real estate market, locating and purchasing new premises. Lawyers, conveyancing and removalists. Packing and shipping a full studio around the world.
I'm unpacking the old Sydney studio and its an interesting exercise. Its a snapshot in time, an art practice suspended for six years. So little of it relates to the new. Unpacking the Amsterdam studo with its new promises and new works.
Through it all the Aviary continues. 156 posts to Blakkbyrd, 200 posts to Bellebyrd, over 500,00 hits to both blogs. Over 300 posts to Lyrebyrd and significantly, Lyrebyrd will turn 10 in January. That's ten years of active participation, discussion exhibitions and art projects.
All very exciting. In terms of new art made, very little. In terms of building infrastructure and setting up a new practice, huge progress.
So now its time to take a festive rest and look ahead to what the new year holds.
Print Australia is undergoing a revival. New members, new impetus, new projects.
For my own art practice, new works and exhibitions forthcoming. Curators note, I brought back five year's worth of art works from Amsterdam, ready for exhibition in Australia.
Stay tuned.
Blakkbyrd
23 October, 2009
De Appel - Amsterdam
De Appel is pleased to announce that, commencing in February 2010, it will be making use of a new exhibition space at the Eerste Jacob van Campenstraat 59 (tram 3, 12 or 25, stop Ferdinand Bolstraat). This will mark the end of de Appel’s temporary ‘disembodiment’ in 2009 - a year in which the regular, additional programme of performances, projects, lectures, ‘informances’ and publications came to the fore in various locations in the city, with the Frascati and Stadsschouwburg theatres as institutional partners. This emphasis on text, (spoken) word and gesture will shift in 2010 back again to object and image with a series of exhibitions. De Appel’s intrinsic line and its ambition to remain progressive and ‘unusual’ on the basis of its long past history is thus being continued.
Having been housed on the Brouwersgracht, Prinseneiland and the Nieuwe Spiegelstraat, de Appel has manifested itself in very different ways since 1975. Now, through this relocation, de Appel is cropping up again at an unexpected spot in Amsterdam. The building on the Eerste Jacob van Campenstraat was built at the end of the nineteenth century as a ‘3rd class’ public primary school for boys, in what was then the rapidly burgeoning district known as De Pijp on the edge of Amsterdam. After that it had different functions, from music library to a training school for midwives. Because of its historical character and its central location in a striking and lively ambiance, a stone’s throw from the Museumplein and de Ateliers, it offers de Appel an exquisite place for resuming its exhibition programme in full swing.
A brief pick from what will be presented in 2010. In February 2010 we will be opening with the group exhibition “For the blind man in the dark room looking for the black cat that isn’t there”, produced in collaboration with the Saint Louis Museum (Saint Louis, USA), ICA (London) and Kulturgest (Lisbon), which focuses on the ‘enigma’ of contemporary art and presents ‘non-understanding’ as a positive attitude. Among the artists included are Marcel Broodthaers, Eric Duyckaerts, Peter Fischli & David Weiss and Frances Stark. With solo exhibitions by Rod Bianco/Bjarne Melgaard (AUS/USA), Valérie Mannaerts (BE), Matt Mullican (USA), Mika Rottenberg (ARG/USA) and Emily Wardill (GB), de Appel will, as in previous years, be exploring the idiolects, personal mythologies and private preoccupations of a number of young and more established artists.
The exhibition space on the Eerste Jacob van Campenstraat, from now on named ‘de Appel-Boys' School’, will be used as de Appel's exhibition space during 2010 and 2011. At the end of 2011 de Appel will permanently 'settle' at 142 Prins Hendrikkade in Amsterdam, in a building traditionally known as the Zeemanshoop. Officially commissioned by the City of Amsterdam - the building on the Prins Hendrikkade is being renovated. Architectural offices were assigned in August this year and a selection was made in September. The winning office is the Nieuwe Generatie (www.denieuwegeneratie.nu) in collaboration with ADP (www.adp-architecten.nl), an excellent combination of enthusiasm and expertise. The definitive design and the building application should be ready before the end of the year.
Having been housed on the Brouwersgracht, Prinseneiland and the Nieuwe Spiegelstraat, de Appel has manifested itself in very different ways since 1975. Now, through this relocation, de Appel is cropping up again at an unexpected spot in Amsterdam. The building on the Eerste Jacob van Campenstraat was built at the end of the nineteenth century as a ‘3rd class’ public primary school for boys, in what was then the rapidly burgeoning district known as De Pijp on the edge of Amsterdam. After that it had different functions, from music library to a training school for midwives. Because of its historical character and its central location in a striking and lively ambiance, a stone’s throw from the Museumplein and de Ateliers, it offers de Appel an exquisite place for resuming its exhibition programme in full swing.
A brief pick from what will be presented in 2010. In February 2010 we will be opening with the group exhibition “For the blind man in the dark room looking for the black cat that isn’t there”, produced in collaboration with the Saint Louis Museum (Saint Louis, USA), ICA (London) and Kulturgest (Lisbon), which focuses on the ‘enigma’ of contemporary art and presents ‘non-understanding’ as a positive attitude. Among the artists included are Marcel Broodthaers, Eric Duyckaerts, Peter Fischli & David Weiss and Frances Stark. With solo exhibitions by Rod Bianco/Bjarne Melgaard (AUS/USA), Valérie Mannaerts (BE), Matt Mullican (USA), Mika Rottenberg (ARG/USA) and Emily Wardill (GB), de Appel will, as in previous years, be exploring the idiolects, personal mythologies and private preoccupations of a number of young and more established artists.
The exhibition space on the Eerste Jacob van Campenstraat, from now on named ‘de Appel-Boys' School’, will be used as de Appel's exhibition space during 2010 and 2011. At the end of 2011 de Appel will permanently 'settle' at 142 Prins Hendrikkade in Amsterdam, in a building traditionally known as the Zeemanshoop. Officially commissioned by the City of Amsterdam - the building on the Prins Hendrikkade is being renovated. Architectural offices were assigned in August this year and a selection was made in September. The winning office is the Nieuwe Generatie (www.denieuwegeneratie.nu) in collaboration with ADP (www.adp-architecten.nl), an excellent combination of enthusiasm and expertise. The definitive design and the building application should be ready before the end of the year.
09 August, 2009
Fiona Tan
website
http://www.fionatan.nl/
images
http://www.fionatanvenice.nl/pub/26/images/
==============
at vernissage tv: For some reason I can't get the embed codes to work. Go directly to VTV's blog entry to see the videos here
on blog
Amsterdam-based film and video artist Fiona Tan represents the Netherlands at the 53rd International Art Exhibition of La Biennale di Venezia. Fiona Tan was born in Indonesia and grew up in Australia. In 1988 she moved to the Netherlands to pursue studies at the Rietveld Academie and the Rijksakademie. Her work has been exhibited widely in numerous international exhibitions and institutions including Documenta 11 (Kassel), Yokohama Triennale (Japan), and the New Museum (New York). Fiona Tan lives and works in Amsterdam, where she teaches at De Ateliers.
In Venice, she presents three video installations: Disorient (2009), a new video installation that draws on the city’s medieval influence before the discovery of new routes to Asia diminished its power; Provenance (2008), a research on 17th-century, “Golden Age” portrait paintings; and Rise and Fall (2009), a video installation that focuses on images of water — turbulent, churning as well as slow-moving and placid — as a metaphor for how memory is formed. Excerpts of the videos are available on the Dutch Pavilion website.
Fiona Tan: Disorient. Dutch Pavilion, 53rd International Art Exhibition La Biennale di Venezia 2009.
11 June, 2009
Intensely Dutch - AGNSW
Intensely Dutch Image, abstraction and the word, post-war and beyond
This exhibition presents the work of some of the most important post-war Dutch artists, including those associated with CoBrA and art informel, and those who preceded them, such as Willem de Kooning. Works have been borrowed from Dutch museums, augmented with loans from Australian galleries, the Pompidou, Paris, and private collections in the Netherlands and Australia.
film screenings
http://www.artgallery.nsw.gov.au/events/cal/intensely_dutch_films
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The animation "Father and Daughter" was blogged on Bellebyrd in 2008
Dukok de Wit
http://printaustralia.blogspot.com/2008/07/dudok-de-wit.html
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The exhibition is an examination of Dutch Cobra and followers plus whatever they could find that was remotely connected from Australian collections. It doesn't give an accurate picture of contemporary Dutch art as I experienced it in Amsterdam and the Netherlands in the past five years.
The Dutch films disregard the work of director Theo Van Gogh (descendent of the other Theo Van Gogh) who was a leading figure in Dutch cinema and politics until he was assasinated for his views in 2004.
http://en.wikipedia.org/wiki/Theo_van_Gogh_(film_director)
http://www.youtube.com/watch?v=FFy1weYDmCk
Submission - the film
The film's title is a direct translation of the word "Islam". The film suggests the mistreatment of women born to Muslim families. The film was shown on the Dutch public broadcasting network (VPRO) on August 29, 2004. It portrays a Muslim woman as having been beaten and raped by a relative. The bodies are used in the film as a canvas for verses from the Qur'an
http://video.google.com/videoplay?docid=-7106648073888697427
This exhibition presents the work of some of the most important post-war Dutch artists, including those associated with CoBrA and art informel, and those who preceded them, such as Willem de Kooning. Works have been borrowed from Dutch museums, augmented with loans from Australian galleries, the Pompidou, Paris, and private collections in the Netherlands and Australia.
film screenings
http://www.artgallery.nsw.gov.au/events/cal/intensely_dutch_films
==========
The animation "Father and Daughter" was blogged on Bellebyrd in 2008
Dukok de Wit
http://printaustralia.blogspot.com/2008/07/dudok-de-wit.html
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The exhibition is an examination of Dutch Cobra and followers plus whatever they could find that was remotely connected from Australian collections. It doesn't give an accurate picture of contemporary Dutch art as I experienced it in Amsterdam and the Netherlands in the past five years.
The Dutch films disregard the work of director Theo Van Gogh (descendent of the other Theo Van Gogh) who was a leading figure in Dutch cinema and politics until he was assasinated for his views in 2004.
http://en.wikipedia.org/wiki/Theo_van_Gogh_(film_director)
http://www.youtube.com/watch?v=FFy1weYDmCk
Submission - the film
The film's title is a direct translation of the word "Islam". The film suggests the mistreatment of women born to Muslim families. The film was shown on the Dutch public broadcasting network (VPRO) on August 29, 2004. It portrays a Muslim woman as having been beaten and raped by a relative. The bodies are used in the film as a canvas for verses from the Qur'an
http://video.google.com/videoplay?docid=-7106648073888697427
05 June, 2009
Blurb at Picnic 08
Eileen Gittens, founder and CEO of Blurb, has built a creative publishing platform that makes it easy for anyone to design, publish, share and sell real, bookstore-quality books
http://www.picnicnetwork.org/page/22482/en
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This is from the video archive of Picnic 08.
See conference videos
Picnic 07
Picnic 08
Look for Picnic 09 on Blakkbyrd
09 May, 2009
Curating Conferences
Comparing conferences is Sydney and Amsterdam.
Sydney
Artspace Public Programs include regular symposia and conference events, often presented in partnership with peer organisations and educational institutions.
http://www.artspace.org.au/public/public_symposia.php
17 - 18 April 2009
Artspace Visual Arts Centre & Art Gallery of New South Wales
Spaces of Art
An international conference on institutional / post-institutional curatorial and related practices in contemporary art
Convenors: Reuben Keehan and Blair French
Spaces of Art engages questions crucial to the future of art institutions and their relationship to contemporary practice in the 21st century, with particular reference to curatorial and artistic strategies in Australia and the Asia-Pacific.
more info
http://www.artspace.org.au/public_archive/conference_spacesofart.php
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I missed this conference, but have been assured by Artspace that they will be publishing the procedings
"We will be publishing papers at some point - late this year or early next - and will advertise this on our website."
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Amsterdam
I was not able to physically attend the Conference in Amsterdam that took place last night. This was "Positions in flux: On the changing role of the artist and institution in the networked society" a symposium forming part of the 30th anniversary celebrations at the Nederlands Instituut voor Mediakunst (Montevideo)
"The symposium 'Positions in flux: On the changing role of the artist and institution in the networked society' will center on some of the major parameters for the current and future development of contemporary art. In particular it will reflect on the aspect of cultural sustainability of art projects, art and technology initiatives and art curating."
http://www.nimk.nl/nl/
http://www.nimk.nl/en/index.html
see blog post
http://blakkbyrd.blogspot.com/2009/05/conference-amsterdam.html
When I was in Amsterdam I regularly visited Montevideo for its exhibitions, openings and conferences. I discovered that the conferences were streamed live and that people could particpate remotely via online chat. Thus I was able to watch the proceedings, streamed live over my internet connection last night from here in Sydney.
The program, stream and chat are here
http://www.montevideo.nl/en/agenda/detail_agenda.php?id=303&archief=
So somparing the two events, Artspace looks at the future of curating and the art institution with particular reference to the Asia Pacific Region. It is only accessible to physical participants and there is a year's wait for the opportunity to purchase written proceedings. The presenters are named but there are no links to their websites or works.
Montevideo looks at the future of curating and the art institution in an internationally networked society. The proceedings are accessible immediately, internationally by anyone with an internet connection. I think they will load the conference videos online soon. There are links to the websites and artworks presented at the conferences.
It is difficulties in accessing information about art events in Australia and the lack of access to new technologies that are keeping the Australian art scene from international participation in the 21st century.
15 April, 2009
Holland Paper Biennial 2008
The Holland Paper Biennial 2008 consists of an exhibition of work by international paper artists in both museums and a publication entitled Pure Paper. As has become customary, a book and paper shop will be open for the duration of the exhibition in Museum Rijswijk and the traditional paper fair will take place on Sunday 14 September from 13.00 till 17.00. For more information, please be referred to the pressrelease.
full info & images
http://www.museumryswyk.nl/hpb2008/uk/index.html#
The work of 27 international paper artists will be on show at the 2008 Holland Paper Biennial. In Museum Rijswijk a wide selection of pieces by 22 artists will be presented in all the exhibition rooms, while the CODA Apeldoorn will be exhibiting the monumental work and installations of 21 artists:
23 August, 2008
Horst Janssen- Rembrandt House
From 31 May to 24 August the Rembrandt House Museum is staging an exhibition of works by the German graphic artist Horst Janssen (1929-1995). Janssen was a virtuoso draughtsman with an extraordinarily expressive handling of line. Although his work is largely figurative, he never slavishly imitated the truth. The reality in his portraits, self-portraits, landscapes, still lifes and erotic scenes is always distorted and dramatized. He was a great admirer of Rembrandt and often took his inspiration from the master's work, particularly in his many self-portraits and landscapes. The hundred finest etchings have been selected from Janssen's huge oeuvre, supported by some of the highlights among his drawings. This is the first exhibition in the Netherlands to be devoted to Horst Janssen's prints.
Horst Janssen
Janssen is one of the greatest printmakers of the twentieth century. Dozens of monographs have been published about him. Horst Janssen is as famous in Germany as he is unknown outside its borders. Without doubt this has to do with his absolutely individualistic position in the post-war art climate. The visible world was always the point of departure for his work. This meant he was diametrically opposed to the spirit of the modernist schools in the second half of the twentieth century, where abstraction predominated. Now that figuration is an enduring feature of contemporary art, modern artists like Horst Janssen, whose work is more figurative, are at last getting the appreciation they deserve. In 1999 the Horst Janssen Museum, dedicated solely to his work, opened in Oldenburg, where he spent his youth and where he was buried in 1995. In Hamburg, where he was born in 1929, and where he continued to live and work after the war, there is a separate room in the Kunsthalle where his work is on permanent display. The exhibition in the Rembrandt House has been organized in close collaboration with these two museums.
Janssen was a virtuoso draughtsman with a highly individual use of line. This virtuosity and expressiveness is perhaps seen to greatest effect in his prints. It is therefore not surprising that Janssen regarded himself first and foremost as a printmaker, specifically an etcher. Like Rembrandt, Janssen experimented throughout his life with the expressive possibilities presented by the technique. On one of his prints, a reworking of an etched self-portrait by Rembrandt, he added the telling inscription: nach 'Ihm' (after 'him'). We may infer from this that he revered Rembrandt as his hero. Janssen was certainly also influenced by a great many other artists of the past-Callot, Segers, Goya, Füssli, Friedrich, Utamaro, Hokusai, Meryon, Klinger, Munch, Schiele, to name just a few-but to him Rembrandt was more than an admired exemplar: he saw him as a soul-mate. The Rembrandt House Museum is thus an entirely fitting venue for the first exhibition ever devoted to Janssen's graphic work in the Netherlands. His kinship with Rembrandt is most clearly expressed in his many self-portraits and landscapes, and it is for this reason that the works in the exhibition have been selected primarily from these areas of his immense oeuvre. Three essays in the publication accompanying the exhibition explore the areas where the two artists come together.
sitemap
http://www.horst-janssen-museum.de/index.php?id=3&L=1
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