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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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Kurt Schwitters (1887-1948)…. Die Scheuche. Märchen. (1925)

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This blog is on a book  i recently sold . The perfect reprint from 1980, but when i searched for it i found it to be no longer available anywhere, so I decided to photograph the pages before i shipped it to my customer in Switzerland and make it available in this Blog . It is one of the great books/ designs from last century:

Die Scheuche. Märchen. by Kurt Schwitters

Next year i will publish another blog on Kurt Schwitters , but to emphasize the importance of this publication i give you an integral version in this blog….enjoy!

and for other Schwitters books visit www.ftn-books.com

scheuche a.JPG

scheuche b.JPG

scheuche c.JPG

scheuche d.JPG

scheuche e.JPG

scheuche g.JPG

scheuche h.JPG

scheuche j.JPG

 

 

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Mario Merz (1925-2003)

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This was the first photograph i encountered on the Net of Mario Merz and i instantly was frightened. Here is an angry man if ever there was one. Mario Merz works are on show in the van Abbemuseum and the Stedelijk Museum and at the time Rudi Fuchs was director of the Haags Gemeentemuseum , there was one work on loan. What struck me at that time was the lightness and transparency of the works. Larger sized and as a work of art these works were changing the rooms in which they were shown and interacting with the space they were presented in. There is a nice example of such a presentation in the Castello de Rivoli in Torino which first exhibitions were also curated by Rudi Fuchs.

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These works take time for an art lover to be appreciated, but when you do so. There is no artist equal to Mario Merz and you forget about the “angry” old man in the photographs , but only see the sheer beauty of the works he created.

There ares ome nice examples of Mario Merz catalogues availabel at www.ftn-books.com including the first series of catalogues on the Castello di Rivoli project by Rudi Fuchs.