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2007 Is art real |
| Is
Art real? A short lecture on reality by Gijs Frieling. One of the things that I think have to do with reality is that, for things to be real they have to be connected to all other things. So when I heard that Wouter was handing out leaflets, I decided that I wouldn’t show any slides and also wanted to hand something out. Then two weeks ago I was in the garden of W139 and there was a huge fig tree as high as this room, and I thought this was so beautiful, so I have brought some of the leaves to hand out here. They also smell wonderful (Gijs hands out numerous fig leaves). The second thing I want to connect to is casted wax like Maria Verstappen has shown us. Eight-een years ago, on my foundation year before art school, we went to Monchengladbach where I saw a large work of Joseph Beuys’ in the museum. more .... |
| About Wouter Klein Velderman The most important thing for an artist is to trust images and feelings. The images that come up in his mind and the positive feelings they arouse when he is planning on realising them. The sculptures and installations by Wouter Klein Velderman have the intuitive straightforwardness that for me reveals the true artist at work. He talks about his work in terms of what it is and how he is going to make it, never about what it should communicate. When he plans to make a couple of huge 3D versions from certain forms and figures on a Hieronymus Bosch painting from old tents, he does not bother to explain the relation between image and material. Tent cloth and pipes are the material he likes to work with at the moment and the Bosch imagery is what he would like to see. Meaning is for the poor of heart. Only when I asked him once to tell me what he would dream of making in ten years he answered that his ambition would be to make a large show that would arouse an immense feeling of disappointment for the public. more.... |
| This
is a pipe 2005 “…the mistake of most painters is that they paint: “I love this here”; in doing so, their love stays in their pointed finger. But all love should be used up in the act of painting so that only remains: “here is this” and the spectator should look very carefully if he loves it himself”. From: letters about Cézanne, Rainer Maria Rilke. THIS IS A PIPE. The acquired naivety of painting. In January 1994, on an acquaintance-trip with participants and staff of the Rijksacademy of visual art, I saw “the Harvest” by Pieter Breughel the elder for the first time. Seeing this painting in a room between works by Ruysdael and van Goyen, I was overwhelmed by its ambition to be the entire world. There was nothing in this Harvest that wanted to be anything less. more.... |
| “Das
Bild sol die Funktion der Kartoffel übernehmen” (Jörg Immendorf)2004 When I was a student at the Rietveld academy in the late eighties, I was taught that the modern artist is someone who has an Idea first and then searches a medium in which this Idea can be translated best. According to this concept, Ideas should be given material bodies in order to be communicated to a public. A modern artist was transmedial. Media where like clothes the contem-porary artist could choose to wear. Academic skills, technical abilities and craftsmanship where things we did not need to worry about. more.... |