Piet Dirkx cigarbox 075
Piet Dirkx cigarbox 075
Piet Dirkx cigarbox 074
Another and exciting small exhibition to be opened in Projectruimte Hoofdstraat 17 has just been announced . 3 artists will be presented in conjunction which each other. The homebase of Eja Siepman van den Berg gives room to 2 other artists. This time Riki Mijling and Armando will be the guests. Mijling is the least known of these three, but works are present in the most important and prestigious collections, Caldic, DSM , Zadelhoff and the British museum among them. Armando needs no introduction and is known for his participation in the NUL and Informelen mouvements. Personally i think his Berlin years are his strongest period with the beautiful and impressive Fahnen and Tree paintings. And last there are the sculptures by Eja Siepman van den Berg. Each time i visit the Projectruimte Hoofdstraat 17 i notice how excellent they blend with the works by the other artists. An exhibition to visit in the coming months.
Opening on the 27th of November 2016 and closing on Sunday 26th of February 2017.
Projectruimte Hoofdstraat 17
There are some nice publications available at www.ftn-books.com
Piet Dirkx cigarbox 073
It took us two months to finally visit the recently opened museum Voorlinden. Why so long….because we agreed to visit this together with friends and have dinner afterwards. The visit was postponed because of other obligations a few weeks earlier, but finally yesterday 11/11 the visit was there. It was late in the afternoon and still quite busy. Both parkings were more than half filled with cars and people were walking the park. We were early and walked around the museum building and saw the plants and garden layout by Piet Oudolf and both of us imagined how this must look like when early summer has arrived. A colorful “painting” of plants which can be admired from within the building, because one of the qualities of the architecture is that the “outside” is brought into the building by huge windows which show the garden by Oudolf as a work of art on its own.
What about the collection and the special exhibition? The museum feels more like an experience than a thoroughly prepared exhibition which teaches the visitor some aspects of art. Every museum room is such an experience. The Mueck and the Serra are excellent examples of this approach. You can compare yourself with the giant figures by Mueck and the Serra is one of the very best and impressive”mazes” he ever has made. It is like a smalle MATTER OF TIME ( see earlier post) Even the special exhibition with the works by Ellsworth Kelly feels like an experience. These works are extremely large and because of their sheer size you can only look at them thoroughly when you take your distance from them. Still it is almost unbelievable to see so many impressive and beautiful Kelly paintings in one exhibition and it will be a very long time before these will be brought together again.
It was a nice visit. The building is impressive and the architecture is almost as good as the Beyeler Museum in Basel. The Landscape is a highlight, the collection is worth visiting, The Kelly’s are a dream, but i am very curious about the future. This is at the moment one of the very best museums in the Netherlands, situated in arguably the best location and surroundings. Wim Pijbes the former director of the Rijksmuseum made the transfer to this museum, but resigned within 3 months. So this makes me curious what the next exhibitions will be without the guidance of Pijbes. Joop van Caldenborgh , the initiator of the museum , has a very large modern art collection, but it would be nice to not only show the established names, but to show the “young” in Modern art in relation to this establishment. I am hoping for exhibitions on Sol LeWitt and Anish Kapoor ( both in the Caldic collection), but also for lesser names like Ossip and Broszat . This is a quality museum and one of the very best museums in Europe supported by the Caldic collection…one of the most important private collections in the world
Conclusion: A Must visit …and do not skip this one when you come to the Netherlands.
btw. Dinner we had afterwards was great;-)
Piet Dirkx cigarbox 072
It was only 10 years ago that i first heard about Walter Leblanc. There was a small exhibition in a local gallery and at that time the owners predicted me that there would be a great interest in the works by Leblanc…… and they were right!….Leblanc was one of the artists related to the ZERO mouvement, but with a very personal approach to ZERO/NUL. His works were much more poetic and simplistic….a bit more like the early works by the Minimalists. But these works were completely different than most zero/nul works. These were “crafted” paintings with meticulously executed patterns made with “Twisted strings” or torsions, resulting in a composition which in many cases is closely related to Minimal Art. But Minimal art “avant la Lettre” because these works were made some 5 years before the first Minimal Art was made by Sol LeWitt, Carl Andre and Donald Judd. Walter Leblanc sadly died in a car crash in 1986 , but his works remain. The works are now brought together in a foundation and every once in a while an exhibition is organized. The last one being a Retrospective in Brussels in which sculptures, Torsions and Twisted string were all presented in a fantastic Retrospective on Leblanc.
If a new exhibition is programmed on this artist i will keep you informed through my blog but for now i can recommend some nice publications on www.ftn-books.com
Piet Dirkx cigarbox 071
Last Tuesday we visited once again the studio of Eja Siepman van den Berg. In the gallery we visited an excellent and beautiful exhibition by Aubertin, Schad and the sculptures of Eja and to complete it …..a fantastic surprise lunch. We were joined by Roland Janssen and discussed the possibilities of presenting some of the statues on our site which will soon be live. Yes ,within a few weeks www.ftn-art.com will be “live”. Including a selection of the sculptures by Eja Siepman van den Berg. To get some impression of the sculptures that will be presented and which are for sale we made a pre selection of 3 sculptures. Any purchase of these sculptures will be accompanied by me personally and i will escort you to the studio of Eja Siepman van den Berg to meet the artist and show you the other works by Eja Siepman van den Berg. For all inquiries please contact me at : firstname.lastname@example.org or fill in the form below.
Artist: Eja Siepman van den Berg
title: Kinderkopje ( Lucas)
year : 2003
material : marble ( white)
size : approx. 11 x 12 x 16 cm.
artist: Eja Siepman van den Berg
title : Standing Girl
year : 1998
material : bronze
size : approx. 114 cm x 25 x 30 cm.
price : p.o.a.
artist : Eja Siepman van den Berg
title : Man
material : bronze
size : approx. 138 x 30 x 30 cm.
price : p.o.a.
for more information please fill in the form below
A youtube item on Eja Siepman van den Berg is to be found on this location : https://youtu.be/w_ZIGea1AVU
Willem Mengelberg, conductor of the Amsterdam Concertgebouw Orchestra, was grasped by Mahler’s music when he attended the first performance of his Third Symphony in Krefeld (G) in 1902. Right from that moment, he vigorously took on promoting Mahler’s music, claiming Mahler to be “the Beethoven of his time”. In his persistent efforts to introduce Mahler’s music, Mengelberg gradually acquired an outstanding position both in The Netherlands and in Europe, in this respect leaving behind other contemporary conductors.
Time and again, Mengelberg tried to persuade Mahler to conduct his own works in Amsterdam. This materialized in 1903, 1904, 1906 and 1909. During these visits, the composer was staying with the Mengelbergs at their home. However, because of his numerous engagements elsewhere, Mahler was often compelled to decline Mengelberg’s invitations for conducting.
Mengelberg’s commitment to promote Mahler’s music should not be underestimated. At the time, a substantial part of the public would leave the concert hall to demonstrate their disapproval of Mahler’s music, which was, on top of that, often ridiculed by the critics. Mengelberg was convinced of Mahler’s genius, which inspired him to persist in his dogged endeavours, taking for granted that this implied rowing against the stream . Only after years of sustained perseverance, a ‘Mahler community’ came into existence in The Netherlands, which formed the basis of the unprecedented success of the ‘Mahler Feest’ in 1920, drawing worldwide attention. In the 1920’s, Mengelberg, who had by then also become conductor of the New York Phiharmonic, repeated his efforts to promote Mahler’s music to the American public.
Mengelberg was one of the most important Mahler pioneers who deserves a special place of honour in our remembrance. His tireless efforts to make Mahler’s music better known to a greater public contributed greatly to the international Mahler culture of this era.
The Willem Mengelberg’s archives in the Netherlands Music Institute contain, amongst other things, his conducting scores, which are characterized by his colourful annotations that clearly indicate his conductors interpretation of the work concerned. In addition, many of these scores also contain instructions and remarks of Mahler himself: tangible and visible evidence of the close ties between Mengelberg and Mahler.
the above text is from willemmengelberg.nl
Why this blog on Mengelberg? It was about 20 years ago that well before the “craze” of huge and impressive publications ( Newton, Araki) that this tremendous large publication was published on the occasion of the Mengelberg Festival 1995. It is indeed a huge publication. Weight being well over 5 kg and published in a cardbox blue linnen covered container with a text plublication and in a different volume the musical score by Mengelberg with his annotations . This is the perfect facsimile.
Best of all: designed by one of my heroes ….Wim Crouwel. This is such a publication that will be in demand for a very long time and very hard to find. Now i have two copies available from a remainder stock and both in “new” condition at www.ftn-books.com