This is the title of one of the most important artists books in dutch art. Yes, of course tghis is my personal opinion, but look at it and you will undoubtedly agrre with me.
The publication was neglegted for over 3 decades, but now that the art of Dekkers is discovered again, the interest in his publications rises too. ……and, this is one of the nicest and best of his publications . Just some details. designed by Baer Cornet, printed by one of the best in the business, Rosbeek, who were up to the extreme printing qualities of the drawings that had to be reproduced in this 1977 publication. Oblong shaped, cahier stitching and a very small print run makes this a highly desirable and collectable artist book and available at www.ftn-books.com
A blog on a very speciual multiple that was published on the occasion of the Henk Peeters Retrospective at the Gemeentemuseum Den Haag in 2011. On that occasion a reprint of the famous Nul/Zero 1964 catalogue was made in a small edition. It is the catalogue with the ZERO presentations by Armando, Peeters and Schoonhoven. All of these legendary artists have now passed away, but Peeters realized the importance of that catalogue and from that facsimile edition Peeters took some 20 copies and made multiples out of them by Stitching the front , back and inner work together and sign them with ECHT PEETERS. This has become one of the rarest of the later Peeters multiples and now one of those multiples is for sale at www.ftn-books.com
Henk Peeters (b. The Hague, 1925-2013)) was the most active member of the Dutch Nul group, notably with regard to the organization; he made the international contacts, organized the international ZERO (Nul) exhibitions at the Stedelijk Museum Amsterdam, and wrote on the theory of art. It was also he who first actively participated in international exhibitions with artist groups such as the German ZERO, the Italian Azimuth, and with artists Yves Klein, Yayoi Kusama and Lucio Fontana. He initiated the (utopian) project “Zero on Sea,” with more than fifty participating artists from over ten countries, and remained true to the fundamental concept of the Nul movement right up to his death in 2013. He sought to use his works of art to make the viewer conscious of his environment; he wanted to bring about a sensitive consciousness-raising, as it were. The materials that Peeters selected for his works frequently had a very tactile appeal, while he simultaneously created a certain untouchability; thus he stuck candle tapers behind plastic foil, or placed mesh in front of cotton wool. He also used fire on canvases, leaving behind traces of thick smoke, or burned holes into plastic, the so-called “Pyrographies.” With these – often white – works he was visually closely related to the German ZERO artists, but there was also a clear relationship with Nouveau Realisme; Peeters also used ready-mades, which he bought in inexpensive stores and isolated in the work of art. In these, he had a preference for modern, clean, industrial materials, such as plastic and nylon. He once said: “with my work, I have always wanted it to look just as fresh as if it was in the HEMA (the Dutch chain store). It must not be artified… I had no need for artistic cotton wool.” Henk Peeters also worked with natural processes, such as light and water reflections, and with ice, rain, snow and mist. Art and life should be joined together inextricably. And thus, in 1961 Henk Peeters became a work of art himself, when Piero Manzoni appointed him as one; this was certified and signed by the Italian artist. Until his death (Hall (NL), 2013), Henk Peeters restored artworks from the Nul period and remained an active spokesman for the group.
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.
Yes, it took a period of over 50 years for Peeters to become the household name in Zero art as he is now. Shortly before his death in 2013 there was a retrospective exhibition at the Gemeentemuseum Den Haag. At that occasion the famous Nul/Zero catalogue from 1963 was published as a facsimile. The original catlogue is an extremely hard find these days and when you encounte a copy. The condition in most of the cases is not what you had hoped for. At one time www.ftn-books.com had the the original, the facsimile and the multiple signed Peeters edition available, but that was a long time ago. All sold out at record prices, but now i am lucky to have bought the best copy i have ever owned. The condition is MINT_ and it is now available at www.ftn-books.com.
Here are the images of the originalNul/Zero book now available condition is MINT-
and these are my pictures from the multiple by Peeters published on the occasion of his Retrospektive:
For those interested in Peeters history read here the text the Gemeentemuseum published at the occasion of the Henk Peeters Retrospective:
10 September 2011 till 12 February 2012
‘The world is going to change radically.’ Henk Peeters (b. The Hague, 1925) said so more than once. The statement was an expression of his deep desire for a Communist society. It was not to be, but Peeters remained an idealist. Together with Armando and Jan Schoonhoven, he founded the Nul group – the Dutch arm of the international ZERO movement (including artists like Piero Manzoni en Lucio Fontana), with which he maintained close contacts. Their art was all about eliminating the artist’s personal style and elevating everyday life to art through the use of ordinary materials. Peeters used cotton wool, feather and hair in his artworks and even ‘drew’ and ‘painted’ with smoke and fire. This autumn, the Gemeentemuseum’s Willem Cordia Room welcomes the first ever one-man show of Henk Peeters’ work from the 1960s. A major installation involving bags of water will be recreated especially for the occasion. It was originally on show at the successful international ZERO-0-NUL exhibition held at the Gemeentemuseum in 1964.
Peeters was a spider in the web of the international ZERO movement of the 1960s and it was thanks to his efforts that the big Zero/Nul exhibition was held in the Netherlands (partly at the Gemeentemuseum in the The Hague, the city where the Nul group enjoyed its heyday). He disseminated and published Nul and ZERO manifestos and even today is an important source of information for researchers and writers concerned with the history of ZERO and Nul.
Peeters elevates everyday life to art; he believes in the synthesis between the two and wants to make art accessible to everyone. This was also the ideal of the Nul movement; Armando used ordinary gloss paint and Schoonhoven cheap extra-thick wall paint as part of the effort to undermine the elevated status of the artwork. Peeters also used materials that needed no personal handling; he used cotton wool, feathers, hair, smoke and fire to create works that may not exhibit the personality of the artist in the handling of their materials, but are nevertheless capable of conveying great sensitivity through their texture and relief.
A deep-rooted democratic principle underlies Peeters’ art, choice of materials and personal philosophy. The socialist ideals inculcated in him during his childhood are a major motivation for all his activities – of which there have been many. In addition to being an artist, Peeters has also been at various times a museum education officer, an art school teacher, a typographer, a creative arts therapist, a curator, an organizer, an activist, a television-maker and an advisor to public institutions.
The exhibition is realized in close cooperation with the ZERO foundation, Düsseldorf.
To mark the occasion of the forthcoming exhibition, the catalogue of the Haags Gemeentemuseum’s 1964 exhibition Zero (Mack/Piene/Uecker) – Nul (Schoonhoven/Armando/Henk Peeters) is to be republished as multiple.
At one time in the last decade there was a true Armando Museum in AMERSFOORT, but since a fire destroyed the museum in 2007 the largest part of the Armando collection had to be relocated and found a place in the MOA museum / Museum Oud Amelisweerd.
and of course this great short documentary in the series HOLLANDSE MEESTERS which is an excellent portrait of thsi dutch master.
This site contains over 2100 works by Armando , which makes it the most important public place on the internet to view the works by Armando (Herman Dirk van Dodeweerd). You can spent some great time over there, but what it lacks is the story and the essential timeline on the works by Armando. No problem , because www.ftn-books.com has some great titles on Armando available at www.ftn-books.com to read and see whyArmando is such a great artist.
Personally i think that Jaap van den Ende is the only true successor of Jan Schoonhoven. Specially his early works have the similar qualities as the ones Schoonhoven made in the sixties and early seventies. The Stedelijk Museum has some excellent examples of these early works in which little cut out pieces of grey plastic foil are placed on a white surface according a well though over pattern. the System and pattern make the composition, but thus creating a fascinating , lively work of art.
A little like the way Struycken worked, but with a simplicity that resembles the great early Sol LeWitt works. I love this early works, Later he changed his style into more colorful compositions, but always along a line of well thought over abstract contructivist forms. Since 1997 his works become far more realistic. Seascapes, parks and landscapes are all painted with perfection . a fascinating artist which you can encounter in several dutch museum collections. There are some nice van den Ende publications available at www.ftn-books.com
Later this year i will devote another short blog to Henk Peeters. Peeters has become world famous for his contributions to the art world as a ZERO / NUL artist. Since yesterday i added a small composition by Henk Peeters to my inventory. A s good as his best Informal and Zero paintings, but on a very small scale this is a great little piece of art and now available at www.ftn-books.com
Yesterday, the first of my new acquisitions was discussed in my blog. Today the second one will be presented to my readers. This one is another one from the 1967 publications by Edizioni Flaviana within their series of Minimultipli. Title …..Campo Tissurale….Condition of this one too is excellent and another one well worth collecting now, because these beautiful publications are getting more scarce every month and i believe to be the only seller on the internet who is offering 2 of these rare publications. Ugo La Pietra is still active as an artist and designer, but none of his work is considered more important than his sixties work in which he showed his admiration and close relationship to other ZERO / NUL artists. This exquisite small publication shows why and is available at www.ftn-books.com
Manzoni, La Pietra, Colombo, Christo and Enrico Castellani. What do they have in common?. Yes , they were all artists who started their careers in the early sixties, but an another lesser known fact is that they were all chosen to publish within the Minimultipli series by Edizioni Flaviana a small, but also art collection worthy, work of art. The ones which i added today to the inventory of my store are considered to be the best of the series. Tomorrow the Ugo de La Pietra. But here is the Superficie Oro by Enrico Castellani from 1967.
This Enrico Castellani is believed to have been published in an edition of only 1000 copies ( others within the series were published also in 1000 copies) of which few will have survived as good as this one. The “envelope”, plastic covered inlay and the multiple are all in exceptional condition . Published in 1967. This Castellani is a true ZERO work of art. He encountered many dutch and german artist who belonged to the ZERO and NUL mouvements in Germany and the Netherlands and he himself , as his friends Fontana and Manzoni, were influenced by the ideas of these groups of artists. The ” Superficie Oro” shows it in the smallest scale possible, but even at this size, it truly is an outstanding work of art and now available at www.ftn-books.com.
Ad Dekkers was probably the first dutch minimal artist and even is somehow related to the dutch NUL / ZERO art of the sixties and because of his age 36 , on the day he died, there are not too many works by Dekkers. His oeuvre is limited and most of the important works are to be found in dutch ( museum) collections. ALL important dutch museums have work(s) by Ad Dekkers in their collections and these works prove to be more and more important when you look at them in conjunction with other art from the sixties and seventies. Dekkers announced his own death. He was manic depressed and his suicide was no surprise to the ones that had known him. He left us a great and important oeuvre and many of the publications are available at www.ftn-books.com
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