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DADA en Drachten ( Dr8888 )

Most people do not know it and personally i did not realise the relationship between Drachten/ Dr8888 and the Dada and Merz mouvements until recently.

But it appears that some of the artists from Friesland had strong relationships with Dada artists and even were influenced by them . In the same way Dada artists freed themselves from the bourgeois morality, Werkman tried to do the same, although freedom in morality was less important than having a free spirit, searching freedom in his art. The Museum in Drachten finally realized some decade ago that their true importance was this heritage. Dada in the Netherlands is nothing else than Dada in Friesland and Drachten. They made a choice and exploited this heritage since and with one of these exhibition a magnificent catalogue was published, which is now available at www.ftn-books.com

holland dada aa

 

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Roberto Fanari (1984)

 

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Italian artist Roberto Fanari  imagined such a vivid story-telling collection of sculptures Seconda B 2012. Each piece forms itself  in a barely visible outline. Sweet subjects are wrapped in iron wire, appearing more dense toward the feet, hands, and head. Royal placement sets some high on a pedestal where a bit of romance introduces a ceramic glazed gentlemen.

An excellent expose on the art of Roberto Fanari is found at this site:

The sign of the material

a signed copy of his Nella MIa Foresta publication is available at http://www.ftn-books.com

fanari

 

 

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Reindert Wepko van de Wint Den Helder, (1942-2006)

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Without knowing, many people have encountered work by R.W. van de Wint. The large vertical paintings in the dutch National Assembly are paintings by R.W. van de Wint.

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RWVDW will become increasingly imortant for dutch art because  he bought a piece of land in the year of his death , meaning to turn this into a outside museum in which he and his friend artist could develop their works in an outside situation. Much like Ian Hamilton Finlay intended to do in the same your 2006. he also died in the year he started his developments, but there is a difference too. The Dutch municipal government of Den Helder embrased the plans and is now building a nice compact museum beside the sculpture garden.  The building is delayed because of the pandemic and the park/garden is not open yet, but this will be our first museum visit after the museums reopen. A great initiative and i can only recommend the park because personally i consider sculpture gardens among the most accessible and high valued cultural desitinations.

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On the first initiative, Arlette Brouwes designed this “bidbook” for the Nolen project in 1986. The idea is now 35 years in development and soon, the project will have been completed. Meaning a start for a collection of which RWVDW must have dreamed a very longtime.

wint nollenproject

 

 

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Bart de Vogel (1948-2020)

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The reason of this blog is not because Bart de Vogel is such a famous name in dutch art, but because i recently discovered some original photographs from 50 years ago in which de Vogel is at work at his glass furnace. He attended the Rietveld academy and was known for his clay sculptures and glas objects and at some time in 1970 these photographs were taken by Foto J. Cupido for an article in the Sixties dutch newspaper HET VADERLAND. Now i have these in my posession and the original photographs are a true document for glass artists in the Netherlands in the Sixties. The original photographs are for sale at www.ftn-books.com

 

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Sorel Etrog (1933-2014)

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For us in Europe this is a lesser known artist/sculptor. But it appears that Etrog had his exhibitions at the Marlborough gallery and Galerie d’Eendt in the mid Seventies.

In 2000, a Toronto newspaper dubbed artist Sorel Etrog the “Grand Old Man of Canadian Sculpture.” It was an apt description, after a career spanning five decades including the installation of outdoor sculptures across Toronto, Canada and beyond. Yet Etrog was much more – a painter, draughtsman, film maker and not least, a literary man. He was keen to collaborate with the great thinkers of his generation, including playwrights Samuel Beckett and Eugene Ionesco, Toronto media guru Marshall McLuhan and composer John Cage.

Etrog was born into a Jewish family in Romania in 1933. After a childhood spent in flight from the Nazis and Soviets, he immigrated with his family to Israel in 1950 where he began to study art and exhibit. In 1958 he won a scholarship to the Brooklyn Museum of Art School and moved to New York City. There, he had a chance encounter with Toronto collector and AGO patron Sam Zacks, who invited him to Canada.

Etrog permanently settled in Toronto in 1963. Recognition came quickly with museum purchases, international exhibitions such as the Venice Biennale (1966), and a commission to design the Canadian Film Award statue, now known as the Genie (1968). Etrog resided in our city until his death in early 2014.

www,ftn-books.com has the Marlborough publication available

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Franco Canilla (1911-1985)

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Because of the purchase of a catalogue collection of the galleria del Cavallino i discovered over 2 dozens of Italian artists that i did not know of. One of the discoveries is the sculptor/goldsmith Franco Canilla. I learned …. agreat nam in the Sixties but nowadaus forgotten. Stil a great way to start to learn about these almost forgotten names in Italian art. The series of Galleria del Cavallino catalogues is now available at www.ftn-books.com

Italian sculptor and painter Franco Cannilla was also a talented jewelry maker. Although he was recognized internationally for his art, Cannilla’s jewels were a more intimate expression of his practice. These pieces were oftentimes produced in small or limited quantities and are regarded as true expressions of his art—small sculptures that were intended to be worn, or as Alexander Calder described, “living works of art.” Best known for his unique and ornate jewelry designs, often in gold, Cannilla first exhibited his jewelry in Milan in 1949. His career was prolific, and also featured many successful collaborations with other Italian designers.

cannilla

 

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Eric Bainbridge (1955)

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One of the painters i discovered in the early Eighties was Eric Bainbridge , who exhibition was held in 1989 at the Stedelijk Museum. It waas an absolute eye opening exhibition and since i cherish the catalogue ( also available at www.ftn-books.com).

Initially recognized in the 1980s for his object-based works covered in synthetic fur, Eric Bainbridge has evolved an extensive sculptural practice addressing existential themes on an everyday level through playful assemblages. Constructed out of commonplace objects and inexpensive building materials, his pieces continuously re-contextualize Modernist principles through a reconsideration of the found object using DIY home-repair and improvement supplies as well as kitschy consumer products. Carefully staged, Bainbridge’s assemblages investigate the domestic and the everyday whilst reflexively engaging with traditional sculptural concerns.

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Eric Bainbridge was born in Consett, County Durham, UK in 1955. He studied at Newcastle Polytechnic and completed a Masters in Sculpture from the Royal College of Art, London in 1981. Bainbridge has exhibited Internationally in significant group and solo exhibitions and is considered an influential figure to a younger generation of established British artists. Throughout the 1980’s and 1990’s he showed in important group exhibitions such as “Material Culture” at the Hayward Gallery, London and solo exhibitions including “View Points” The Walker Art Centre, Minnieapolis, “Eric Bainbridge” at The ICA, Boston, “Style, Space, Elegance” at The Stedelijk Museum, Amsterdam. Bainbridge was included in “Modern British Sculpture” at the Royal Academy, London – the most significant exhibition on British Sculpture in recent years, curated by Penelope Curtis and Keith Wilson

 

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Marc Bijl (1970)

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The most informative text on Marc Bijl i encountered on Wikipedia, but on a personal note, i agree with every element of this text. Marc Bijl stands for art on the borders of society in which gothic and punk are combined with Pop Culture…. I love it.

From 1992 until 1997 Marc Bijl studied at the Royal Academy of Art & Design in ‘sHertogenbosch. In 1996 he studied for a year at Glasgow School of Art. In his early work, Marc Bijl reacted to global themes and to popular fascination with symbols of political power, globalization of the economy, religion and nationalism. This resulted in interventions in public space, videos, sculptures and installations that underscored or undermined world views. Bijl endeavours to expose superficialities and myths via his work. Bijl switches in his work between political activity and street culture as he does between the media of image, text and music. He exposes the superficialities, icons and myths of popular culture in his work to stimulate the spectator to contemplate about moral and ethical issues. The symbol, the logo and the label are his potential targets and his artistic tools. He likes to upset, relocate and re-connote their superficial image and their mythmaking – always aiming at a critical analysis of the social conditions of the society. Bijl employs visual elements borrowed from punk and Gothic subcultures and from anarchism. His early works are representational, cartoon-like and often textual. His recent work is more abstract and minimalistic, exemplifying a shift in approach, by which he pares down different perspectives and methodologies to a new essence. The crux is no longer the ‘symbolism’ but what that symbolism represents and signifies. In these most recent works, Bijl makes clear references to modernist art-historical icons such as Mark Rothko, Mondriaan, De Stijl (Rietveld chair) and more subtle references to Jannis Kounellis and Joseph Beuys. Bijl adapts these classical works to his own corporate style. He seeks a more abstract formal language that is in many respects more ambiguous than his earlier vocabulary.

Bijl undermines systems but at the same time he is depended on these systems. Bijl’s work is often rebellious and tends to the illegality. His work is clearly rooted in street culture and possesses elements of graffiti, performance and installation art.

www.ftn-books.com has some nice Marc Bijl publications available.

marc bijl nai

 

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Piet Tuytel (1956)

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I just “discovered” Piet Tuytel and his art and made my first acquisition. I have encountered his works on numerous auctions and always thought his work to much random, but now that i have read more about the artist and have seen some of his works exhibited, i must alter my opinion. This is far from random. He varies on a theme and uses the materials you can find at construction markets in a way nobody does. Using colors to enhance and constructing/ welding materials to make his sculptures and multiples. The multiple i have acquired is one from a series of 3. Signed numbered and dated 1990. In this period he uses rubber hoses. mesh, constructing steel and in this case a baking form for cakes. The impression he makes with this ‘ ADONIS” is a strong person perhaps a body builder , just the outline and one keeps being fascinated by the materials used. Rough , but a joy to look at and admire. The “Adonis ” sculpture is now available at www.ftn-books.com

tuytel adonis

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Susana Solano (1946)

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Susana Solano’s creative structure has taken shape all throughout her career like one of the metallic meshes that are a constant feature of her works. It has shaped a map of communicating vessels in which material, space, senses and life experience make up a fluid continuum. Susana Solano’s works, regardless of the materials used and their size, correspond to an underlying idea of witnessing existence through its materialization as a memory of her emotional relationships with spaces, shapes and people. For this reason, every sculpture absorbs and expresses personal experiences that radiate out over the setting and transform them, as if it were a cosmic game.

Jack Shainman Gallery, West 20th St Susana Solano A Meitat De Cami-Halfway There-1My ideal space is a unique space, empty of stories, with which I could fall in love. A space unknown to me, an atmosphere of thought. I want now to concentrate on a life in which there is nothing and to work with the minimum possible.

–       Solano, Susana. Susana Solano: Dibuixos, Escultures, Fotografies, Instal·lacions : Muecas. Barcelona: Museu D’Art Contemporani De Barcelona, 1999.

Solano is best known for her abstract sculptures made from a range of materials that includes iron, steel, lead, glass, rattan and wire mesh. She belongs to a generation of pioneering female sculptors who expanded a realm conventionally dominated by men. Within the traditions of post-minimalism, Solano’s work conveys a connection to personal memory, domestic space, and the natural world. With the artist’s hand leaving traces of her process, the rigidity of the materials is counterbalanced with the personal. Her approach is one that channels architectural forms and consideration of space with a delicate quality that balances the natural and the industrial.

Susana Solano lives and works in Barcelona. Her group exhibitions include Skulptur Projekte Münster and Documenta 8 in Kassel, Germany (1987), São Paulo Biennial (1987), the Spanish Pavilion at the Venice Biennale (1988), the Carnegie International (1988), and the Museo Nacional del Prado, Madrid (2007). She has also had solo exhibitions at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (1989-90), the San Francisco Museum of Modern Art (1991), the Museo Nacional Centro de Arte Reina Sofía, Madrid (1992 and 2003), Whitechapel Gallery, London (1993), the Museu d’art Contemporani de Barcelona (MACBA) (1999), and Museo Casa de la Moneda, Madrid (2012-13). Her work is included in numerous public collections, including the Museum of Modern Art, New York; the Guggenheim Museum, Bilbao; Museo Nacional Centro de Arte Reina Sofía, Madrid; Stedelijk Museum, Amsterdam; Museum moderner Kunst Stiftung Ludwig Wien, Vienna; Fine Arts Museums of San Francisco and the Carnegie Museum of Art, Pittsburgh, among others.

www.ftn-books.com has one Solano title avaialble.

susana solano