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Johann Wolfgang von Goethe
(1749-1832)
Natur und Kunst
Natur und Kunst, sie scheinen sich zu fliehen,
Und haben sich, eh’ man es denkt, gefunden;
Der Widerwille ist auch mir verschwunden,
Und beide scheinen gleich mich anzuziehen.
Es gilt wohl nur ein redliches Bemühen!
Und wenn wir erst in abgemeßnen Stunden;
Mit Geist und Fleiß uns an die Kunst gebunden,
Mag frei Natur im Herzen wieder glühen.
So ist’s mit aller Bildung auch beschaffen:
Vergebens werden ungebundne Geister
Nach der Vollendung reiner Höhe streben.
Wer Großes will, muß sich zusammenraffen:
In der Beschränkung zeigt sich erst der Meister,
Und das Gesetz nur kann uns Freiheit geben.
Hans Hermans photos – Natuurdagboek 12-11
Gedicht Johann Wolfgang von Goethe
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Paul de Vree
Paul de Vree
Toon Tersas
Eindhoven, station. ‘Convention, a sort of memory, is the biggest obstacle for enjoying life and art’
Panamarenko
Panamarenko
Panamarenko
Panamarenko
Panamarenko
James Lee Byars, shadow from the extraterrestrial
Eindhoven, Van Abbemuseum
‘Spirits of Internationalism’ is an interesting co-operation between 6 European museums. The exhibition shows international art made under different political/cultural conditions between 1956 and 1986. The exhibition also provides another angle to look at art-collecting, away from the ‘Collection the Netherlands, Belgium, Luxembourg or Germany’. I missed out on the Dutch Cabinet by Sara van der Heide but the installation will be on view until the end of April. Here is a LINK to Van Abbe.
Photos Anton K.
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L.A. Raeven, Mindless Living, 2011, video still. Courtesy Ellen de Bruijne Projects Amsterdam
Casino Luxembourg – Forum d’art contemporain
L.A. Raeven – Ideal Individuals
28 January 2012 – 22 April 2012
L.A. Raeven, Love Knows Many Faces, 2005, video still. Collection Nord Pas-de-Calais, Private Collection Frans Oomen, Amsterdam, Collection G+W Netherlands
Twin sisters Liesbeth and Angelique Raeven (*1971, Heerlen, Netherlands; live and work in Amsterdam) began their artistic collaboration under the generic name of L.A. Raeven in 1999. Their work rests on investigations surrounding the notion of “the ideal individual”, which they analyse through videos, drawings, installations and performances. L.A. Raeven study the status of the body and body image within western societies and the inherent social pressures. Adopting a critical attitude towards fashion and media dictates, they defy traditional representations of feminine beauty by integrating the codes of this same society to better lay them bare. Through doing this, a debate vis-a-vis the questions related to ideal body image and its social construction, within various cultural and historical contexts, is set up.
The exhibition was formerly shown in the Museum voor Moderne Kunst Arnhem and in the Museum of Contemporary Art in Belgrade. Curator: Kevin Muhlen
L.A. Raeven, Wild Zone, 2011, digital photo. Witte de With invitation card
Casino Luxembourg – Forum d’art contemporain – 41, rue Notre-Dame | B.P. 345 | L-2013 Luxembourg
≡ Website CASINO LUXEMBOURG- FORUM D’ART CONTEMPORAIN, LUXEMBOURG
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Freda Kamphuis photos
Colours (1)
©fredakamphuis 2011
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Bookshop Shakespeare and Company in Paris
Death of George Whitman
On Wednesday 14th December, 2011, George Whitman died peacefully at home in the apartment above his bookshop, Shakespeare and Company, in Paris. George suffered a stroke two months ago, but showed incredible strength and determination up to the end, continuing to read every day in the company of his daughter, Sylvia, his friends and his cat and dog. He died two days after his 98th birthday.
George Whitman was born on December 12, 1913 to mother Grace Bates and father Walter George Whitman in East Orange, New Jersey. When George was still a baby the family moved to Salem, Massachusetts. Early in his life George’s parents instilled in him a passionate and profound respect for literature. Walter was a well-respected professor of physics and the author of several books on science in the home and community. In 1925, when George was twelve years old, Walter took the whole family (except the youngest son Carl) on a year-long sabbatical to Nanking University in China. Immersed in Chinese culture and society, George and his younger sister Mary learned the language quite quickly. It was his first trip abroad, and his experiences in China made a lasting impression on him.
George Whitman
With the brief exception of the Nanking exchange, George lived in Salem until he graduated from high school. While he was a student he published and edited his own satirical paper called “The Reflector” and also worked as a newsboy. In 1931 George decided to enroll as an undergraduate at Boston University with a major in journalism. After his graduation in 1935 he decided to travel again. With $40 in his pocket he caught a ride to Mexico city and began a voyage that was to trace almost 5000 kilometers through Mexico and Central America, including the Honduras, Guatemala, Costa Rica, and Hawaii. During this time he became fluent in Spanish.
Ernest Hemingway (right)
Sylvia Beach and James Joyce
George Whitman and daughter Sylvia
Sylvia Whitman
This trip was a formative experience in George’s life. Much of his traveling was done alone and on foot. He had many adventures and close calls. In an isolated part of the Yucatan he fell sick with dysentery and was forced to walk alone for three days through the swampy jungle with no food or water. Eventually he was found and nursed back to health by a tribe of Mayans. George was deeply impressed by the fact that despite hardship and extreme poverty, the people he met were invariably friendly and generous. This philosophy of “give what you can, take what you need” would become one of his founding principles.
When he arrived in Panama George ran out of money. He found a job working with the Panama Canal Company, where he stayed for several months before sailing to Hawaii and then to San Francisco in 1938, where he worked as a cable car conductor, attended classes at the University of California and enlisted in the US Army. He didn’t stay out west for long but decided to hobo his way back east, riding the rails until he arrived back in Massachussets. In 1939 he enrolled at Harvard University, where he stayed until 1941 when he was called into military service. He was trained as a Medical Warrant Officer and worked at different hospitals around Europe, helping with the wounded. Several months of his army career were spent at an isolated post in Greenland. He lived with the natives, learned to sail, and according to George, had a beautiful Eskimo girlfriend.
Returning to the United States, George managed to open and run a small bookstore in Taunton, Massachusetts while still working night shifts for the army until the war ended and he was discharged. After more travels through western Europe and France, George moved permanently to Paris in 1948 under the GI Bill. He lived in a small room in the Hotel Suez on Boulevard St. Michel in the heart of the Left Bank and enrolled at the Sorbonne, studying French civilization, philosophy, culture, and literature. Encouraged by his great friend Lawrence Lawrence Ferlinghetti, George founded his bookshop, Le Mistral, at 37 rue de la Bûcherie in 1951. The name, he says, “was in honour of the first girl I ever fell in love with.” Inspired by his encounters with the legendary bookseller Sylvia Beach, he later changed the name of his shop to Shakespeare and Company. In 1981 George’s only daughter was born at the Hôtel Dieu, directly across the Seine from the bookshop. She was respectfully named after Sylvia Beach.
For 60 years George worked tirelessly to ensure that Shakespeare and Company remains not only a venerable independent bookshop, but also a renowned Left Bank cultural institution and a home-away-from-home for many thousands of writers and visitors from around the world. In 2006 he was awarded the Officier des Arts et Lettres by the French Minister of Culture for his lifelong contribution to the arts.
On Wednesday 14th December, 2011, George Whitman died at home in the apartment above his bookshop, Shakespeare and Company, in Paris. George suffered a stroke two months before, but showed incredible strength and determination up to the end, continuing to read every day in the company of his daughter, Sylvia, his friends and his cat and dog. He died two days after his 98th birthday.
After a life entirely dedicated to books, authors and readers, George will be sorely missed by all his loved ones and by bibliophiles around the world who have read, written and stayed in his bookshop for over 60 years. Nicknamed the Don Quixote of the Latin Quarter, George will be remembered for his free spirit, his eccentricity and his generosity – all three summarised in the verses written on the walls of his open, much-visited library : “Be not inhospitable to strangers / Lest they be angels in disguise.”
George was buried at the Père Lachaise cemetery in Paris, in the good company of other men and women of letters such as Guillaume Apollinaire, Colette, Oscar Wilde and Balzac. His bookstore continues, run by his daughter Sylvia.
Shakespeare and Company, 37 Rue Bûcherie, 75005 Paris, France
photos 1-3 jef van kempen + photos archive shakespeare & company
≡ Website Shakespeare & Company Paris
Books. The final chapter?
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joep eijkens (links) en bert bevers
Kreunende tijd
nieuwe gedichtencyclus Bert Bevers
met foto’s van Joep Eijkens
IV
Toen je hier ter aarde werd besteld met die
gedoofde blik naar de ontelbare sterren van het
noorden gericht sneeuwde het. Toen wel. Om te
sterven volstond het om met ademen te stoppen.
Dat wel. Maar dat allengs muller zwijgen van alle
geliefden valt heel wat zwaarder. O hemel toch,
een heel leven lang vergat je dit te schrijven.
VIII
Verloochen verleden nooit. Het is er voor altijd. Het gaat
gewoon niet weg. Het zingt lang na. Zinder maar. Doe maar.
Keer maar rustig eeuwig weer, aarzelende treurengel en
maak alles maar mooier dan het is. Ik zie mensen rondlopen
met een donker gemoed, met de koele zekerheid van een profeet.
Of ze aan galgen zijn gehangen slaan achter hen schaduwen
neder. In de verte blaft een hond een brandweerwagen na.
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Freda Kamphuis
Flatscape (2011)
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Re-entering the OK, visitors are greeted by Eduardo Coimbra with a sky panorama of neon tubes. Before the passage into the former cloister building, the smoke machine by Pipilotti Rist generates beautiful, short-lived air bubbles. “Mira, el mejor lugar , una prima mía me ha hecho padrino de su hijo; acaba de nacerle un pequeñuelo de piel blanca con manchas pardas, y quiere que yo lo lleve a la pila bautismal E perché‚ non litigassero fra di loro, li condusse davanti al castello, soffiando fece volare in aria tre piume e disse: -Dovete seguire il loro volo-. Il Grullo ringraziò e se ne tornò a casa. These include departure from the conventions of the museum, its formats and acquired lexicon, as well as disregard for the boundaries between its divisions: exhibition, collection, iterpretation, production, storage, ducation, etc. “Right, a cow’s eye, that’s exactly what I was thinking about. Maybe it’s possible to create a clear view to be seen from one side, and from another side—another view, as if seen through the binoculars. Or like when the observer and the observed switch positions constantly.
J.A. Woolf: Making Memories (06)
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Ivo van Leeuwen, 2011
Portret van Esther Porcelijn, actrice en stadsdichter van Tilburg
©ivovanleeuwen
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Heinrich Heine
(1797-1856)
Seekrankheit
Die grauen Nachmittagswolken
Senken sich tiefer hinab auf das Meer,
Das ihnen dunkel entgegensteigt,
Und zwischendurch jagt das Schiff.
Seekrank sitz ich noch immer am Mastbaum,
Und mache Betrachtungen über mich selber,
Uralte, aschgraue Betrachtungen,
Die schon der Vater Loth gemacht,
Als er des Guten zuviel genossen
Und sich nachher so übel befand.
Mitunter denk ich auch alter Geschichtchen:
Wie kreuzbezeichnete Pilger der Vorzeit,
Auf stürmischer Meerfahrt, das trostreiche Bildnis
Der heiligen Jungfrau gläubig küßten;
Wie kranke Ritter, in solcher Seenot,
Den lieben Handschuh ihrer Dame
An die Lippen preßten, gleich getröstet -
Ich aber sitze und kaue verdrießlich
Einen alten Hering, den salzigen Tröster
In Katzenjammer und Hundetrübsal!
Vergebens späht mein Auge und sucht
Die deutsche Küste. Doch ach! nur Wasser,
Und abermals Wasser, bewegtes Wasser!
Wie der Winterwandrer des Abends sich sehnt
Nach einer warmen, innigen Tasse Tee,
So sehnt sich jetzt mein Herz nach dir,
Mein deutsches Vaterland!
Mag immerhin dein süßer Boden bedeckt sein
Mit Wahnsinn, Husaren, schlechten Versen
Und laulich dünnen Traktätchen;
Mögen immerhin deine Zebras
Mit Rosen sich mästen statt Disteln;
Mögen immerhin deine noblen Affen
In müßigem Putz sich vornehm spreizen
Und sich besser dünken als all das andre
Banausisch dahinwandelnde Hornvieh;
Mag immerhin deine Schneckenversammlung
Sich für unsterblich halten,
Weil sie so langsam dahinkriecht,
Und mag sie täglich Stimmen sammeln,
Ob den Maden des Käses der Käse gehört?
Und noch lange Zeit in Beratung ziehen,
Wie man die ägyptischen Schafe veredle,
Damit ihre Wolle sich beßre
Und der Hirt sie scheren könne wie andre,
Ohn Unterschied -
Immerhin, mag Torheit und Unrecht
Dich ganz bedecken, o Deutschland!
Ich sehne mich dennoch nach dir:
Denn wenigstens bist du noch festes Land.
Hans Hermans photos – Natuurdagboek 11-11
Gedicht Heinrich Heine
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Lawrence Weiner
Statements
I do not mind objects, but I do not care to make them.
The object – by virtue of being a unique commodity – becomes something that might make it impossible for people to see the art for the forest.
People, buying my stuff, can take it wherever they go and can rebuild it if they choose. If they keep it in their heads, that’s fine too. They don’t have to buy it to have it – they can have it just by knowing it. Anyone making a reproduction of my art is making art just as valid as art as if I had made it.
Industrial and socioeconomic machinery pollutes the environment and the day the artist feels obligated to muck it up further art should cease being made. If you can’t make art without making a permanent imprint on the physical aspects of the world, then maybe art is not worth making. In this sense, any permanent damage to ecological factors in nature not necessary for the furtherance of human existence, but only necessary for the illustration of an art concept, is a crime against humanity. For art being made by artists for other human beings should never be utilized against human beings, unless the artist is willing to renounce his position as an artist and take on the position of a god. Being an artist means doing a minimum of harm to other human beings.
Big egocentric expensive works become very imposing. You can’t put twenty-four tons of steel in the closet.
If art has a general aspect to it and if someone receives a work in 1968 and chooses to have it built, then either tires of looking at it or needs the space for a new television set, he can erase it. If – in 1975 – he chooses to have it built again – he has a piece of 1975 art. As materials change, the person who may think about the art, as well as the person who has it built, approach the material itself in a contemporary sense and help to negate the preciousness of 1968materials . . . I personally am more interested in the idea of the material than in the material itself.
Art that imposes conditions – human or otherwise – on the receiver for its appreciation in my eyes constitutes aesthetic fascism.
My own art never gives directions, only states the work as an accomplished fact:
The artist may construct the piece;
the piece may be fabricated;
the piece need not be built.
Each being equal and consistent
with the intent of the artist
the decision as to condition
rests with the receiver upon the
occasion of receivership
(October 12, 1969)
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Maandag 23 januari 2012 – Nederland 3, 20:55 uur
24 uur met . . . L.A. Raeven
Over de opmerkelijke kunstenaarstweeling
Liesbeth en Angelique Raeven
Presentatie: Wilfried de Jong
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