Marinus Boezem (1934) belongs, together with Jan Dibbets and Ger van Elk, among the most important representatives of the Conceptual Art and Arte Povera movement in The Netherlands. In the 1960s, Boezem discovered that he could use elusive elements such as air, weather, wind and light as visual materials and made a name with radical, immaterial works that were far ahead of their time. Boezem was one of the initiators of the ground-breaking exhibition ‘Op Losse Schroeven: Situaties en Cryptostructuren’ (1969) at the Stedelijk Museum Amsterdam and took part in the equally influential exhibition ‘When Attitudes Become Form’ at the Kunsthalle Bern in the same year.
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In 1969 he created one of his most famous works of art, ‘Signing the Sky Above The Port of Amsterdam With an Aeroplane, 1969’: exactly as stated in its title, an aircraft’s condensation trails were used to spell out Boezem’s surname in the sky, the ephemeral wording disappearing almost as soon as it was created. In 1971 he made an artwork for television that was broadcast under the auspices of Gerry Shum’s legendary Fernseh Gallery. Furthermore, Boezem created numerous works in public space and land art. The Green Cathedral is a beautiful example: 174 Italian poplar trees are planted to reproduce the floor plan and measurements of the Cathedral at Reims, in a flat polder near Almere, the Netherlands.
In an oeuvre spanning more than sixty years, Marinus Boezem has created a body of work that stands quite independently in contemporary art. His works are part of many important museum collections, including the Museum of Modern Art, New York; Stedelijk Museum Amsterdam; Museum Boijmans van Beuningen, Rotterdam; Gemeentemuseum Den Haag; Museum Kröller-Muller, Otterloo; Museum Voorlinden, Wassenaar; and many more public art collections.
Todays blog on Christian Megert, because next Saturday afternoon an important Christian Megert exhibition will be opened at de Rijk/ Chabot fine art. Suisse born and one of the earliest ZERO artists, he researched space and composition mainly by using mirrors and reflecting materials .
Because of the reflections created this way his art is also very close to the Kinetic art which was made in those days. Megert stayed true to his discoveries in creating his compositions with reflecting materials (mainly mirrors) and is increasingly becoming more appreciated and collected by important collectors all over the world.
This is an exhibition not to be missed and any serious (ZERO) collector should pay a visit to the Megert exhibition at de Rijk/Chabot Fine Art.
I know his work and recognize it by his reflecting surfaces and mirror like qualities , but Pistoletto is much more than an artist who uses a “Gimmick”. Now , 85 years of age he has proven to be one of the most influential Italian artists from the last century and his works have spread all over the world . (I even have illy collection cups by Pistoletto in my collection ;-).
Why is he, i think, so important?…. Probably this is because he stayed true to his art and has developed it into a very personal and recognizable form which is now appreciated by many. Pistoletto had had his exhibitions in the Netherlands in the van Abbemuseum and Stedelijk Museum and has built steadily an appreciative audience because of these exhibitions in the Netherlands since his earliest one at the van Abbemuseum in 1986. Arte Povera is Pistoletto ….and within his works he brings together Fluxus and conceptual art. The admiration of Bacon started his art career, but since he has walked his own path of “REFLECTION”.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20