This can not be coincidence…. On the left there is the NUL exhibition catalogue for the Peeters, Armando, Schoonhoven exhibition and on the right there is the Al Held catalogue from 1966 , designed by Wim Crouwel for the Held exhibition at the Stedelijk Museum Amsterdam. The white fond and the strong circle part on the back must have impressed Crouwel, since he used almost exactly the same layout as the ZERO/NUL catalogue which was published 2 years earlier for the Haags Gemeentemuseum exhibition.
http://www.ftn-books.com has both catalogues available and of course the special stitched multiple by Henk Peeters which was published shortly before his death.
It was a few months ago that i was fortunate to buy a small collection of ARMANDO books. Only 25 cm’s of books, but among the 16 books , 6 were signed by the master himself. Since his death , Armando paintings, drawings and etchings have become highly collectable items and the books are no exception. Publications that are in most cases of a very high quality and the ARMANDO signature makes them even more wanted and collectable. ww.ftn-books.com has them now for sale, so please take a look at them at my site and search for the many Armando items i have for sale.
Camargo was an almost forgotten sculptor until there was a sudden raise of interest in Brazilian art in the Nineties. This meant that his works were considered to be important for the development in Modern Art and sculpture in Brasil. When you look at the studio pictures in the books that is for sale at http://www.ftn-books.com, you will soon conclude that Camargo was inspired by Brancusi and Chillida, but still there is so much of his own .
Where Brancusi was inspired by nature, Camargo is much more inspired by the minimal forms. It has been over 20 years now that the last show took place in Europe. Time again to present Camargo again and put his works into context with European and minimal sculptors.
One of the reasons why i started this blog is to introduce artists and their works to a larger audience and here is one of these artists. Erik Oldenhof has had a lng time careeer now and his abstract art leans towords Zero and more abstract painting. However his technique reminds me of Jakob Gasteiger who molds his paint after he has applied it to the canvas. This is what Oldenhof must also do when i look at his paintings. There is a growing interest in his works, but still they can be bought at fairly reasonable prices at galleries and art loan institutions and whenever you find a painting by Oldenhof put up for auction they can be outright cheap. Still this stands in no relation with the artistic values. Oldenhof his paintings have a personality of their own and will not bore for a long time to come.
It was in the mid eighties that i first heard of Gilberto Zorio. An Italian artist rooted in the Arte Povera mouvement. At that time we had a book distributor at the Gemeentemuseum who had this impressive catalogue on Zorio. I bought it for the bookshop, but i must have been the only one who admired it, because years later we still had the book andeventually it was sold with a huge discount. Times have changed, Zorio has now become one of the great names in the Arte Povera and his works fetch high prices at auction. It is not the easiest from of art Zorio makes, but his often huge installations always fascinate me.
Zorio’s artwork shows his fascination with natural processes, alchemical transformation, and the release of energy. His sculptures, paintings, and performances are often read as metaphors for revolutionary human action, transformation, and creativity. He is known for his use of materials including: incandescent electric light tubes, steel, pitch, motifs, and processes through the use of evaporation and oxidation.
OLYMPUS DIGITAL CAMERA
OLYMPUS DIGITAL CAMERA
OLYMPUS DIGITAL CAMERA
OLYMPUS DIGITAL CAMERA
btw. It was the silver one with the red lettering we were stuck with, but i have it now once again available at www.ft-books.com
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.
Savelli is the Italian master of “WHITE”. Practically all works by Savelli from 1959 on are executed in White. The difference is their shape and the materials used. This makes this Italian artist almost on par with the dutch Jan Schoonhoven , who used “WHITE” too. The difference… Schoonhoven is rooted in the Zero mouvement whereas Savelli is more an abstract constructivist who uses different kind of materials and execute them in WHITE.
Savelli is not very known outside Italy, but in prepaartion of this blog i found that some of his paintings are in famous museum collections. Moma and White Chapel gallery have work in their collections and when you look into his oeuvre you notice that his art must be now in fashion. it tends to Zero and has some qualities of the arte Povera. Both mouvements in art that now are in “Fashion” and are collected worldwide.
Perhaps the next 2 decades Savelli will be discovered by many and become a household name like Jan Schoonhoven’s name has become nowadays. www.ftn-books.com has Savelli publications available.
Nouvelle Tendance is an international group of avant-garde artists founded in Paris. Under this title, five international exhibitions were organized with innovative art.
The artists in this movement experimented with lighting effects, kinetic art and Opart. In 1968 they brought one of the first exhibitions with computer art. From that moment, they published nine issues of their magazine Bit International, including two double issues.
Many of the members of Nouvelle Tendance were affiliated with local movements such as ZERO, Nul, Grav, Equipo 57 and others. In contrast to these local moves, Nouvelle Tendance had no statutes or regulations.
This in short what i found as a description of this mouvement. However there is more because in 1964 this mouvement was received an important exhibition at the Musee des Arts decoratifs, recognizing it as an important international art form. Karl Gerstner designed the poster for the exhibition and now i have this original poster for sale. The poster is in excellent almost MINT condition and i believe this to be the only copy currently to be on the market.
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