When he started teaching by the end of the 1970s, there was a kind of split between traditional craftsmanship and (traditionilised) conceptualism at the Academy, and there was little room for individual artistic development.
Krijn GiezenKrijn Giezen
Both sides took themselves extremely seriously and Giezen, as a newcomer, didn’t seem to fit in very well.
Bram De JongheChaim van Luit
He appealed to the inventiveness and imagination of his students, which was quite unusual at the time (and which is still, or again, a sensitive point at the Royal Academy and in education in general).
Krijn GiezenKrijn Giezen
He didn’t care very much for technique or aesthetics, contrary to what we had learned so diligently.
Chaim van LuitChaim van Luit
“Make a chair!” he told us, for our first assignment.
Chaim van LuitKrijn Giezen
Students who were all thumbs, like me, were initially shocked, but soon it became clear that it was nowhere necessary at all to construct a piece of furniture.
Krijn GiezenBram De Jonghe
His ways of seeing and working didn’t influence me immediately, but later on they did so undeniably.
Semâ Bekirovic
As a teacher he was easy going, accessible, good humoured and never imposing himself as the master who knows all.
Semâ BekirovicKrijn Giezen
That is also how his work looks like.
Krijn GiezenKrijn Giezen
Giezen was very inquisitive about the playful en inventive aspects of humanity, again, not interested in technique or aesthetics, and extremely uninterested in financial and eternity values.
Otterness, who started his career with amongst others the questionable video Dog Shot Film in 1977, made this far more endearing small sculpture (2004) as part of a number of fairy tale figures along the coast next to the museum.
The small sculpture used to stand in front of the museum’s entrance, but was recently removed to stand more near his fellow sculptures, pointing towards the museum (as can be seen in the last pictures).
Zwei Formen übereinander (Two Forms on Each Other), 1952
I leave you here with this non-representative selection of works, as i’ve written already quite extensively about the show in VLR.
Tachismus 4 (Tachism 4), 1958Napoleon und Brigitte Bardot, 1961Selbstporträt als Astronautin (Self-portrait as an Astronaut), 1968-69Stilleben mit Apfelsäge (Still Life with Apple Saw), 1969The Murder of ML, 1973Selbstporträt mit Maulkorb (Self-portrait with Muzzle), 1973Self-portrait with Butterflies, 1975Die Atommütter (The Atomic Mothers), 1984Jungfrau mit Stier (Virgin with Bull), ca.1988Raketenbasis, Missiles I und II (Missile Base, Missiles I and II), 1989Wangen-, Stirn- und Kinnsensationen (Cheeks, Forehead and Chin Sensations), 1996Nasenfilter (Nose Filter), 1998Die Illusion von meiner Tierfamilie (The Illusion of my Animal Family), 1999Zwei Arten zu sein, Doppelselbstporträt (Two Ways of Being, Double Self-portrait), 2000Ideenfischer (Idea Anglers), 2001Die Trauer (The Mourning), 2003Die unschuldige Blick (The Innocent Gaze), 2008Vom Tode gezeichnet (Drawn by Death), 2011 (detail)
As i didn’t plan to write a review i only made a few pictures just for the fun of it, so what you see here is not really representative of the experience as a whole.
Navid Nuur
All the more reason to go there and see it all for yourself!
Dear Villa watchers/readers, i decided to extend my holidays as the weather is improving a bit and i must say i like the feeling of not being pressed.
Orazio Gentileschi, Judith, a Servant and Holofernes’ Head, 1620s
What does your editor do when not visiting art exhibitions?
Simon Vouet, David & Goliath, around 1621
Well, visiting art exhibitions, i guess.
Caravaggio, Medusa, 1598/9
There were and are some interesting shows these days.
Valentin de Boulogne, TheCrowning with Thorns, 1620s
In England the brexit crisis is quickly gaining momentum, in this country a narcissistic appendix has won the elections, but in the mean time i saw more important things.
Spadarino, Christ showing his Wounds, 1625/35
Not in the least in the Centraal Museum in Utrecht where i visited the much touted exhibitionUtrecht, Caravaggio and Europe. I am usually not an enthusiastic visitor of the Centraal Museum as i always find it a bit gloomy and depressing, in spite of its interesting collections.
Orazio Gentileschi, The Crowning with Thorns, 1610/15
Happily the caravaggists exhibition had nothing of that spirit.
Gerard van Honthorst, The Liberation of St peter, 1616/18
Highlight was the collection of medieval gold and silver reliquaries which were very well presented, although i must admit i am not a great fan of gold and silver objects, but it is the medieval awe and wonder these objects evoke i am really interested in.
Cornelis van Cleve, Mary with Child, mid 16th centuryRembrandt van Rijn, The Baptism of the Man from Ethiopia, 1628
The museum also tries to profit a bit from the upcoming Rembrandt mania this year by showing some smaller works from its own collection by masters from the sixteenth and seventeenth centuries, amongst which a very early work by the master himself.
Henrick Douwerman, St. Christopher, around 1525Anonymous, Theodosia Altar, around 1545, GueldresAnonymous, Christ and his Disciples in the Garden of Getsemane, around 1440, probably WormsAnonymous, Christ and his Disciples in the Garden of Getsemane, around 1440, probably WormsAnonymous, St. John under the Cross, around 1200, Meuse regionAnonymous, St. Lambert Triptych, 1470/80, UtrechtAnonymous, St. Lambert Triptych, 1470/80, Utrecht
The presentation of its own collection of medieval objects is probably the best one can think of, with some great pieces, including the loan from the Parisian Musée du Moyen Âge, the 15th century Saint Lambert triptych.
King and former general Horemheb and the god Horus (14th century BC)The goddess Sekhmet of both disease and healing (14h century BC)Feet of a lost sculpture (around 600 BC)Small statue (around 600 BC)Detail of a mummy coffin (700-300 BC)
Ptahmose, vizier of Amenhotep III, 14th century BC (relief from the 13th century BC)
However, the educational aspect and the presentation of the objects and statues were so uninspiring that i preferred a stroll around the museum’s own Egyptian collection.
Wall of the chapel of the tomb of Hetepherachty (around 2400 BC)Wall of the chapel of the tomb of Hetepherachty (around 2400 BC)
Even so i have my doubts about the presentations of these antiquities.
Donkeys on a threshing floor (around 2400 VC)King Horemheb and his wife (1335-1320 BC)
What does the museum want? Does it want to show the aesthetics of the objects? Does it want to tell their stories? Does it want to be educational?
Canope (jar with intestines of the deceased; 14th century BC)Queen Hatshepsut’s royal steward Senemut and Princess Neferure (1479-1458 BC)
I am sure it wants all of that at the same time, but there is a kind of scientific objectiveness in the presentation that seems to deny the aesthetic specificity of these objects and their different contexts (both the archaeological, the historical and the present day).
Probably Queen Nefertiti (around 1340 BC)
Generally, how true is the story that Old Egypt was the great ancestor of our own present-day Western culture and that it should be appropriated as such? Why are antiquities other than Egyptian, Greek and Roman stored in another museum in Leiden? And how does this idea affect the quasi-objective presentation of the museum?
It still contains many buildings and decorations of Van Ravesteyn’s design in which modernism and neoclassicism were combined.
Sacred ibisSpotted hyenaReticulated girafPelicans in the rain
While the former Rotterdam zoo was only open to a small elite, the then new zoo opened to the general public, so the people had to be uplifted with both science, mildly modern neoclassical architecture and art.
Later on i visited Museum de Fundatie in Zwolle to see the exhibition Freedom , an exhibition compiled by critic and art historian Hans den Hartog Jager with fifty works by fifty Dutch artists of the last fifty years. There is more to be said about this interesting show, so i’ll reserve that for a more elaborate review in Villa La Repubblica (in Dutch) later next month. The building itself has been expanded with a strange and somewhat disturbing tumour on its roof.
Part of ‘The Unexpected Return of Blinky Palermo from the Tropics’ by the artists’ collective Seymour Likely
Apart from being remarkable from the outside, from the inside it has created a lot of unpractical and intrusive space. But then, of course, the swelling has to elevate Zwolle far above its provincial roots. And naturally one can make a striking exhibition even in a murky shed.
One can regard Piero Manzoni’s (1933-1963) tins with the artist’s shit as reliquaries just as the medieval reliquaries at Museum Catharijneconvent, but in Schiedam the museum doesn’t succeed in evoking the special euphoria of Manzoni’s time.
Cylinders containing lines of deifferent lengths by Piero Manzoni
The exhibition has the atmosphere of a musty antique shop, it is an auction of grandfather’s estate.
‘No. 7’ by Heinz Mack
The novelty of Manzoni’s works and his contemporaries doesn’t come to life and any link with present day Dutch art seems to have been avoided at all cost.
Detail of an Achrome by Piero Manzoni
Such while this period has had an enormous effect on Dutch art making and appreciation today.
‘Lichtballet’ (Light Ballet) by Otto Piene
Manzoni in Holland is nothing more than nostalgia, a missed opportunity.
‘Fabricator’ by Marisa Rappard‘Nameless Streets #1’ by Lennart Lahuis‘Undressed Days’ by Femmy Otten
More interesting were the presentations of new acquisitions and….
Funda Gül ÖzcanNeo MatlogaNeo MatlogaLonneke van der PalenLonneke van der PalenNeo Matloga
To end this holiday report in a more or less nepotistic way here are two paintings by my brother which i saw in Spijkenisse where he is taking part in a group show.
I visited the new Migratie Museum (Migration Museum) to write a review for Villa La Repubblica about its present exhibition (which was made in co-operation with Nest) The Bricks that Build a Home. Click here to read the review (in Dutch).
Amber Toorop
As i spent quite some words on it in the VLR review, i leave you here with some impressions of the show without comments.
The Russian-born French sculptor Ossip Zadkine (1888/90-1967) has a special relationship with the Netherlands, in particular with Rotterdam, where his monument The Destroyed City, placed in 1953, became the ultimate modernist war monument (click here to see some pictures of the monument in situ).
Zadkine is clearly the proverbial artist of the second quarter of the 20th century with a lot of expressionism and cubism and a touch of Modigliani in his portraits.
192919361923
As such he was an inventive craftsman and a prolific artist, and there is a lot to be admired in the show.
193019241939
However, his prolific output also makes his work a bit predictable which becomes clear in this exhibition of one hundred works (!), crammed into this otherwise very spacious museum.
193719371935
The presentation is more or less chronological in a kind of makeshift galleries and more loosely arranged in the left over open space, an approach that tries to bring some order in this forest of sculptures.
194319431948
As such the presentation lacks good sightlines which might have expressed the special qualities of certain works in dialogue with each other.
195119511951
What lyrical power the individual works may have, is destroyed by this massive, wholesale approach.
192919291956
However, for the aficionados who just want to see a lot of Zadkine this is probably their best chance.
The façade of Museum Beelden aan Zee (Sculptures by the Sea museum) is one of the most remarkable in The Hague for such a significant building, in that it hardly exists.
Built in a dune and under a 19th century neo-classicist pavilion it only has a modernist but unassuming entrance (in Harteveltstraat) and a concrete perimeter.
It was built in 1992-94 and designed by Wim Quist (1930) for the Scholten sculpture collection.
Its real architectural value is very much in the inside and it is one the best museum buildings for sculpture imaginable.
Also for its interesting exhibitions it deserves far more prestige than it presently has.
Nevertheless its outside is also interesting in that it doesn’t want to be obtrusive.
It has about the same colour as the sand and it also looks like a kind of protection of the small dune area with the old pavilion on top.
In the southwest corner of the museum area sits a sculpture by Igor Mitoraj (1944-2014)
