Crossing the waterfall

zie ook:
a behind-the-scenes look at the making of Bill Viola’s The Crossing (Water) 1996
total running time: 2 min.

Interview met de Amerikaanse videokunstenaar Bill Viola door Sandra Smallenburg.
NRC Handelsblad 19-09-2009:

Bill Viola volgt al jaren alle ontwikkelingen in de commerciële technologie.
“Als Sony een nieuw beeldscherm heeft, is dat op mijn werk van invloed.”

“Met de Dalai Lama heb ik een goed gesprek gevoerd over technologie.
(…) Ik gebruik deze media voor mijn kunst, maar tegelijkertijd sta ik er heel ambivalent tegenover. Want het zijn dezelfde media die, wanneer ze voor politieke of commerciële doeleinden worden gebruikt, mensen kunnen schaden.
Toen zei de Dalai Lama:
“Je kunt de technologie niets kwalijk nemen, zij is neutraal. Neem deze vork. Als ik liefde in mijn hart heb, kan ik je ermee voeden. Maar als ik haat voel, kan ik je ermee doden.”
Wij moeten de technologie dus juist gebruiken om het geweld en het lijden in de wereld te stoppen.”

zie: Bill Viola: Intimate Work. t/m 10 januari 2010 in Museum De Pont, Tilburg. www.depont.nl

zie: Chinese waterval (2)
zie: contemplation
zie: Parallel Falls

serie(s)

Rosa Pimpinellifolia (thorny)  2009 (detail) 14-delig, grafietstift op papier 92x61cm elk,
waarvan (detail) onder (in atelier): Rosa Pimpinellifolia (thorny)  9 t/m 14 2009 grafietstift op papier 92x61cm elk

m14

zie: Rosa Pimpinellifolia (thorny)
zie: Foxgloves and Snapdragons
zie: Purple Foxglove
zie: more Foxgloves
zie: The story of life
zie: volte/leegte

laatste

Rosa Pimpinellifolia (thorny) (14) 2009 grafietstift op papier 92x61cm.
collection: Boris Veldhuijzen van Zanten, Amsterdam.


Matisseboompje gesnoeid

Het gesnoeide Matisseboompje
kunst over kunst
t/m 5 oktober 2009
Museum Jan Cunen, Oss.

VERNUFTIG + BEVRIJDEND, een hoogstaande tentoonstelling!

“Wat gebeurt er als kunstwerken naar elkaar verwijzen,
zijn ontleend aan elkaar, worden toegeeigend, geparafraseerd?
Daarover gaat de tentoonstelling “Het gesnoeide Matisseboompje”.
Ons stond geen verhandeling over authenticiteit of auteurschap
voor ogen en ook geen staalkaart van verschillende houdingen
ten aanzien van het toe-eigenen.
De bedoeling is “kunst over kunst” – kunstwerken
die zowel vertrouwd als vreemd ogen
en de bekoring die daarvan uitgaat.
En die daardoor als het ware een tweede leven krijgen
omdat ze een ander, maar niet persé “waar” licht werpen
op het beeld, het oeuvre, de stijl of de houding
waaraan wordt gerefereerd.
Alsof we Piet Mondriaans voorliefde voor jazzy cocktailparty’s
menen te herkennen in de Mondriaanjurk
van Yves Saint Laurent”

René Pingen in de catalogus bij
Het gesnoeide Matisseboompje, kunst over kunst.

Foto’s boven:

* GIJS FRIELING -detail van de installatie: “‘t is alles een groote eenheid Bert”
(naar Mondriaan), muurschildering en borduurwerk. * CAREL BLOTKAMP – “there is no such thing as good painting about nothing” ( naar Mark Rothko), 1980 polymer op hout op doek. * CAREL BLOTKAMP – Blauwe studie naar Matisse (naar Van Golden) 2006 pailletten op folie. * MUSEUM Jan Cunen, Oss * THOMAS RAAT – BW 2008 plakplastic op papier 170x515cm. * PAUL KLEMANN –  Het gesnoeide Matisseboompje 2008 potlood, kleurpotlood op papier 45x32cm. coll: Van Heesch. *DOORKIJK in tentoonstelling, werk van Thomas Raat en Paul Klemann
* CAREL BLOTKAMP –  detail van Blauwe studie naat Matisse (naar Van Golden) pailletten op folie. * THOMAS RAAT – detail van Ghost: Hunting scene/Last Supper 2007 plakplastic op papier. Particuliere collectie Brussel. * DAAN VAN GOLDEN – Rode studie 1982 olieverf op doek 280x127cm. coll: Stedelijk Museum Schiedam. *DAAN VAN GOLDEN – Studie Dürer 1987-2007 foto.
* GIJS FRIELING – detail installatie: “‘t is alles een groote eenheid Bert” (naar Mondriaan), muurschildering en borduurwerk. * Wervend pamflet.

MATISSEBOOMPJE

Carel Blotkamp – Lucassen – Gijs Frieling – Thomas Raat
Paul Klemann
Daan van Golden – Marijn van Kreij

Museum Jan Cunen – Molenstraat 65
5341 GC Oss
www.museumjancunen.nl
open: dinsdag t/m zondag 12.30-16.30uur

Bindweed/Winde

winde

Langs de Lek  (foto’s Marjolijn)

Bindweed:
The flower usually lasts for a single morning
and dies in the afternoon.
On a cloudy day, the flower may last until night.
New flowers bloom each day.
The flowers usually start to fade a couple of hours
before the petals start showing visible curling.
They prefer full sun throughout the day and mesic soils.

Een klimmende winde slingert zich
met koordachtige stengels langs verticale elementen
of bedekt de bodem daarmee.
Aan de stengels zitten grote, hartvormige bladen,
die een dicht tapijt maken.
Daarmee schermt de plant de bodem af
tegen al te grote verdamping.
Bloemen openen zich aan het begin van de ochtend
en sluiten bij het invallen van de schemering.

zie: Ipomoea
zie: Smilax(Struikwinde)

Langs de Lek:

zie: Oogst (2)
zie: Oogst (3)
zie: August burning low
zie: snijden

bindweed

récolte de septembre*

deBol Langs de Lek (bij de Bol) september 2009
acryl op papier 23x30cm
Marjolijn van den Assem
Particuliere collectie

September werd ook wel d’ander oogstmaand genoemd,
als tweede oogstmaand, na augustus.

* récolte=oogst= painting (above): september-oogst =”harvest”…

Harvesting:
– To gather (a crop)
– To take or kill (fish or deer, for example) for food, sport, or population control.
– To extract from a culture or a living or recently deceased body.
* To receive (the benefits or consequences of an action).
(from: answers.com)

zie (video): Honey-harvest/ récolte de miel (par un apiculteur)

zie: oogst (3)
zie: Oogst (2)
zie: August burning low
zie: Rosa Pimpinellifolia
zie: gaandeweg

Nietzsche’s suitcase…

SdelleBattistine

Salita delle Battistine 8 (interno 6),
where Nietzsche lived in Genoa.

detail

centro storico (detail, surroundings of
8 Salita delle Battistine, Genova)
149-delig 2007
o.i.inkt/nietjes op museumkarton 275x500x15cm.

“When I was in Italy last winter and in the high mountains
of Genoa, I studied Gallwitz’s book on Nietzsche;
in the course of my meditations I was seized by the desire
to discover where the solitary thinker had lived
during his stay in that same city in 1882.
So I wrote about this matter to his sister,
Frau Dr. Elisabeth Förster-Nietzsche, and after some time
received a cordial, satisfactory answer.
However, I was no longer in Italy when the letter arrived,
so that it was impossible for me to personally visit the lady
in whose house Nietzsche had once resided to give her
in person the present which Frau Dr. Förster had intended for her.
Yet although I was far away from the edge of the Ligurian Sea,
through the kind offices in Genoa of Mr. Theodor Blum,
a nephew of the great Robert Blum, I succeeded after
a long search in locating our philosopher’s former landlady
and establishing the (necessary) connection with her.
And now the following thing happened:
Carlotta Bianchi – that is the landlady’s name – still had
a suitcase of her former renter’s from the time
when Nietzsche had lived there.
She had kept it faithfully and not forgotten to save
its contents, namely two not insignificant manuscripts
and a professorial diploma of the philosopher’s.

inkijk
carlotta
Now, very understandably she expressed the wish to be allowed to keep the suitcase as a memento of her ‘piccolo santo’, as she called Nietzsche;
and Frau Dr. Förster, who for years has been managing all her brother’s affairs, later gladly granted her this request – just as she also in a most friendly manner offered me the right to keep
the original of the diploma
until my death.
But for the good Italian lady, the other items could hardly
have had any value and so they came
into my possession for the moment.
Because they did not rightfully belong to me either,
I soon informed Frau Dr. Förster of the remarkable discovery.
She was very pleased, asked me to send her the manuscripts
and also invited me to visit her and the Nietzsche Archives.
So I came to Weimar.
Frau Dr. Förster herself met me at the station
and rode with me through the streets of the venerable city
– toward the villa where she has now been living with her brother
for two years, caring for him splendidly and unselfishly
and observing from a high tower with a sharp eye
the waves which Nietzsche’s thoughts have long been
causing in the sea of human life.”

Walter Jesinghaus, Summer 1899
(from: Conversations with Nietzsche.
A Life in the Words of His Contemporaries.
Sander L. Gilman. Oxford University Press, New York/Oxford)

cascatad'acqua

centro storico (detail),
with the Villetta di Negro’s Waterfall,
opposite the Salita delle Battistine, where Nietzsche stayed in 1882.
zie: Dooiwind
149-delig 2007 o.i.inkt/nietjes op museumkarton
275 x 500 x 15cm.

zie: Salita delle Battistine 8 Genova
zie: jenseits/diesseits
zie: Genua citaten
zie: Genova on my mind…
zie: cascata d’acqua
zie: Young Nietzsche

Hieke Luik

There’s kinship in our work…

HiekeLuik
Blossoming 2009 brons 13 x 18 x 11 cm
Hieke Luik

Dramatisch, poëtisch, sterk en teder,
schaduwtekeningen kiezen het luchtruim.
Tastbaar aards:

blossoming

Blossoming 2009 brons 13 x 18 x 11 cm
Hieke Luik

Op 18 september 2009 om 17.00uur vindt de onthulling plaats van het beeld:
De Trittai” van Hieke Luik

“De Trittai” staat op een sokkel bij de vijver, hoek Moeflonstraat / Kennedylaan in Apeldoorn, waar voorheen het beeld ‘De Drie Gratiën’ van Zadkine stond.
zie blog Hieke Luik: http://www.hiekeluik.blogspot.com/

zie ook: The estate of Eva Hesse

Verwant:

handschrift

Foxgloves, ripeness and deterioration (detail) 2009
Marjolijn van den Assem
potlood op papier 93x61cm elk

zie: Noëlle Cuppens
zie: Splash!
zie: Nieuwe beelden klaar!

Rosa pimpinellifolia (thorny)

pimpinellifloria

The rose hip and rose haw, is the pomaceous fruit of the rose plant, that typically is red-to-orange, but might be dark purple-to-black in some species. Contrary to the fairly common myth, rosehips are not poisonous.

stekels

De duinroos (Rosa pimpinellifolia) voelt zich thuis op zonnige plaatsen op droge, matig voedselrijke, zwak zure grond.

De bloemtakken zijn over de gehele lengte bezet met grotere en kleinere stekels en met naaldvormige stekels.

Rozenbottel: rijpe gezwollen bloembodem bij het geslacht Roos.
Rozenbottels zijn donkerbruinachtig paarse of meer zwarte vlezige bloembodems met daarin de nootjes-achtige vruchten.

pimpinellifolia

Rosa Pimpinellifolia with rosehips  2009 grafietstift op papier 92x61cm

zie: Purple Foxglove
zie: More Foxgloves
zie: Foxgloves and Snapdragons/ ripeness and deterioration
zie: The story of life
zie: Smilax(Struikwinde)
zie: potlood op papier

@Omasaurus

Omeisaurus, in Dutch: Omasaurus (zie: @Omasaurus)

Most skeletons of Omeisaurus were found in the 1970s and 1980s,
during the great “Chinese Dinosaur rush”.
There have been seven species of Omeisaurus named so far:
O. junghsiensis, O. changshouensis, O. fuxiensis,
O. tianfuensis, O. luoquanensisO. maoianus and O. ma(rjolijn).
All of these but the last were named after
the locations where they were found.

Like other sauropods, Omeisaurus was herbivorous and large.
It measured 10 to 15.2 metres (30 to 50 ft) long,
4 metres (12 ft) high and weighed 4 tons.
It had the typical bulky body and long neck
of other dinosaurs in its suborder.
Unlike many sauropods, however,
its nostrils were located close to the end of its nose.
The back of the Omeisaurus was higher at its hips
than at its shoulders.

on the left:  Fingerprint* of an Omasaurus?
on the right:  The last Omasaurus (?) spotted in the bushes…

There’s a rumour going on that
only one Omasaurus survived and she’s on Twitter!
zie: Omasaurus (Twitterae)

*étude des sources (7) 2006 30x23cm. potl./streling
op museumkarton collection: Musagète Amsterdam
zie: Seelenbriefe

Meta von Salis in Sils

Zie: Lago di Cavloggio
zie: Lägh da Cavloc

kaartsils
Youtube video:
The Nietzsche Haus At Sils-Maria, Switzerland

“The summer was extraordinary hot.
Even up there so close to the boundary of the eternal snows,
one preferably stayed in the house at noon.
The wild flora were more luxuriant than ever:
the large, white chrysanthemums lined the meadow path
on the peninsula; between Isola and Sils the underbrush shone
with alpine roses; further up on the swampy mountain meadows
the aromatic brown nigritellas gleamed between
the silver-haired and wool-grasses and dryads
and saxifrages mocked the life-hostile stones.
The two hotels were full of guests and almost every family
in the village had rented rooms.
We were housed in a stately house in the Engadine
this side of the bridge over the Fex Brook
and right next to the Fex Valley road.
The front stairs and windows were full of flowerpots,
cared for by the landladies with undaunted diligence
through the harsh winter.
Here too the splendid sun brought super-abundant rewards,
every pot was filled with blossoms.
A rosebush especially bore two roses of a perfection in form,
color and aroma, such as is not found among its
more favored brothers in the valley.
Nietzsche sometimes stopped to look at these super-roses,
these children of the heights,
of the pure air and proximity to the sun.
Nietzsche lived in the same house as before,
across the bridge and came over to see us
almost every morning and sometimes also in the afternoons,
when the weather was beautiful and the heat moderate,
to take us for a walk; otherwise,
for an intimate conversation in our room.”
zie: “Here my muses live”
zie: The ice is near

SilsMaria
Am Weg nach Sils…
(from: Nietzsche. Ivo Frenzel – Rowohlt Monographien)

Nietzsche loved to “recreate” himself with me as a reprieve from his loneliness, from his work and sometimes from demanding visitors. We sat for hours in my flower-decorated room, I with some work in hand, he speaking about what he was thinking, reading, experiencing.
He liked a good listener.

Nietzsche knew how to “share joy” as few people do, and how to show it tactfully. Right after my arrival he had congratulated me on receiving my degree and expressed interest in reading the published dissertation, which, when it came out, seemed to please him, although the paper and type did not seem to meet his expectations in quality and clarity.

Nietzsche had read it (The Insulted and the Injured by Dostojevski), as he told me on an evening walk along Lake Silvaplana, with tears in his eyes. He – that is the salient poin – had condemned a whole series of intense feelings not because he did NOT have them, but on the contrary because he HAD them and KNEW their danger.

In the summer of 1887 Nietzsche was at times very cheerful and disposed to harmless jokes. He enjoyed accompanying me and my girlfriend onto the lake, allowing himself to be initiated into the skills of rowing and enjoying the slight shimmer of danger which the journey took on.

The mostly comical memories finally ended in a melancholy mood, which was expressed on the little footway down from Laret, as he recited softly to himself from the familiar song “Auf den Bergen die Burgen – Im Thale die Saale” the words “Verdorben, gestorben – Ach alle zerstreut” (Ruined, dead – alas, all dispersed). His greatest art of living was the compulsion to be joyful; it kept him, “the man of deep sadness,” alive, and it matured him for his task.

I will never forget our parting in September. The last days before my departure was a Sunday. We were walking along on the shore of Lake Silvaplana, at the foot of Corvatsch. The air had silvery autumnal tone which Nietzsche liked to call “otherworldly”. The lake was slightly agitated and the little waves, in which the rosy evening clouds were painted, ran murmuring onto the sandy shore and back again. “As if they too wanted to shake your hand in farewell,” said our companion in his melodious voice. Then, as we were walking home across a desolate stretch of field between the lake and the slope of Sils facing it, he remarked with a small sigh: “Now I am widowed and orphaned again.”

Meta von Salis-Marschlins, May 1887

(From: Conversations with Nietzsche.
A Life in the Words of His Contemporaries. by Sander L. Gilman)

“1887. Sixth summer in Sils-Maria.
Long visit by Meta von Salis, who was the first
female Swiss citizen to receive a docorate
(in history from the University in Zürich).
Von Salis and FN engage often in deep intellectual discussions.”
Nietzsche Chronicle

Meta

Dr. Meta von Salis-Marschlins in 1890
She was a feminist and a history-, Sanskrit-,
philosophy- and lawstudent
in Zürich, Berlin and München

As a tribute to Nietzsche Meta von Salis-Marschlins bought
the “Villa Silberblick” in Weimar in May 1897.
“Nietzsche’s sister Elisabeth moved with her brother
to Villa Silberblick in Weimar,
where he continued to live till August 25, 1900,
in the house of the  Nietzsche Archive, surrounded by witnesses
and documents of his budding fame,
without himself having an inkling of it”
Paul Deussen

zie: Memories of Sils Maria
zie: Nietzsche-Dokumentationszentrum
zie: Young Nietzsche
zie: Marie Baumgartner (1)
zie: jenseits/diesseits
zie: Running around in circles
zie: Reindeer/Rendiermos(s)

Memories of Sils Maria

My video’s of Sils-Maria are on Vimeo

memories

SilsMaria(1)

SilsMaria(2)

SilsMaria(3)

SilsMaria(4)

SilsMaria(5)

SilsMaria(6)

AFGEBEELDE WERKEN GESCHONKEN
AAN NIETZSCHE DOKUMENTATIONSZENTRUM
NAUMBURG(SAALE) DEUTSCHLAND
zie: Schenking/Schenkung

After my third visit (1984) to Sils Maria, Switzerland,
Nietzsche’s favorite summer-residence,
I made “reminders” to be able to remember the way I felt,
walking aroud there … and that’s exactly the way
it worked out …
zie: Nietzsche’s Meer van Silvaplana
zie: Lägh da Cavloc
zie: Reindeer/Rendiermos(s)
zie: Ins Freie

Boven:
Sils Maria-reminders/geheugensteuntjes
die nog steeds werken:

* Wandeling naar “Nietzsche’s Halbinsel”.
o.i.inkt/oliepastel/2 vastgeniette veertjes op papier.
18x17x4cm (1984/1985)
* 6 potlood-wandelingen. 10x15cm elk,
daarop een “bergachtige”, opgedroogde verfklont
26x15x2cm (1984/1985)
* 4 gestapelde o.i.inkt-tekeningen,
aan beiden zijden een “berg” (met plastic bergbeklimmers)
een draad tussen beide bergen gespannen
waaraan een getekende koorddanser hangt.
40x30x7cm (1984/1985)
* plattegrond. oliepastel/ inkt/ punaise/
ter plekke gevonden steen op karton.
14x19x4cm (1984/1985)
* twee wandelingen naar “Nietzsche’s Halbinsel”.
o.i.inkt/oliepastel/”berg” met vlag/ter plekke gevonden
steen op karton en papier.
27x10x1cm (1984/1985)
* 4 getekende wandelingen.
10x15cm elk,  foto/o.i.inkt/potlood/oliepastel/
ter plekke gevonden steen met mos op papier.
32x21x2cm (1984/1985)
* ingeniette, ter plekke gevonden steen,
o.i.inkt/oliepastel/nietjes op papier, 18x18x3cm.

kaart

zie: jenseits/diesseits
zie: Dagboekachtig
zie: inleving
zie: Meta von Salis in Sils
zie: The ice is near
zie: Running around in circles