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| Polish Art Gallery POOL120 3014 CG Rotterdam Henegouwerlaan 120 tel.0104258200 mob.0630765143 | |
| new expo |
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| Polish Art Gallery POOL120 3014 CG Rotterdam Henegouwerlaan 120 tel.0104258200 mob.0630765143 | |
| U bent van harte welkom voor AFSHIN EXPO AVOND |
| AFSHIN GHADERY.......ROTTERDAMSE PICASSO !!! .. ???? | expo 02.09.06 at 19.00 |
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 de werken van PICASSO vervaardigd door AFSHIN. een discussie met als thema : het cubisme van picasso onder het bevel van het machanisme kunst. in de discussie aan de hand van 10 voorbeelden, gaan we elkaar ophameren, waarom 2 meter doek 100 miljoen dollar ward is. tussen de bedrijven door audio/visual van RAFO. gastoptreden van D.J.CHICO. u bent van harte welkom. www.mechanisme.info |
| Polish Art Gallery POOL120 3014 CG Rotterdam Henegouwerlaan 120 tel.0104258200 mob.0630765143 | |
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| Polish Art Gallery POOL120 3014 CG Rotterdam Henegouwerlaan 120 tel.0104258200 mob.0630765143 | |
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special news
Art Now or how to pimp a museum There is a new gallery in town; it is called the Boymans gallery or Street gallery. The first exhibition is a farce: Last Sunday I went for a walk in town and passed this gallery. I thought, ok, let's go in with an open mind, let's go and see. First I couldn't find the entrance. Then I saw a cheap red ribbon and a dirty red carpet that actually led to the door aside. With a very unfriendly big step over the threshold it was possible to get in. A museum guard was standing in the doorway, he didn't invite me in or welcomed me. This was clearly not his task. If this man could speak .... Normally in a gallery there is a host who treats you as a guest, but not in this place: this is the worst gallery entrance in town. As I already saw from the outside there was a big cardboard construction, a sort of massive closed form, filling the space totally, making it inaccessible. When I went round this cardboard construction, I noticed there were people inside, I heard sounds of voices and sounds of tools, jigsaws and such. In the form there were openings cut out of the cardboard where I saw people doing unclear things. Technically you could say they were shaping negative space in that big form. Because they were working I felt an intruder disturbing their work in progress. They didn't look at me or speak to me; they made me feel uncomfortable. Maybe, I thought, they weren't ready, maybe I wasn't supposed to be here. I couldn't determine if things were finished and what I saw didn't make me curious. Actually, there was not much to see. Such a big space with endless possibilities filled with such visual poverty, what a failure! It's a trend you see more and more, I do not understand. Where is the beauty art should offer? I know this gallery is run by three art curators. They are new and starting afresh, they want to build up this new museum gallery with a sort of street credibility. I hope they will make beautiful exhibitions in the future but this is not one of them. Their first exhibition is a statement of ignorance. They must have been afraid of this big space and so they chose to do away with this frightening emptiness by means of this huge cardboard filler. They wanted their artists to conquer and regain this space for them but they chose unable artists lacking visual capacity; you can clearly see that ideas are not enough. While walking around this undefined cardboard thing, I saw someone standing in the corner with a kind of scrapboard behind him. He spoke to me! He told me he was one of the participating artists, and asked me to listen to him. I agreed with some hesitation and suspicion. As he made his speech he talked like the stereotypical sales agent, a hawker. He didn't show any interest in me, but only in himself and his small-minded art piece and of course his position in the art world. In flawless English he explained the goal of this gallery and his project. These were, strangely enough, the same! He must be a humble artist doing this, becoming a marketeer, sinking himself like that. He explained that the gallery wants to attract more visitors by taking away the obstacles that come with a museum. Their goal is to bring the people and the museum closer together. His art thing was to invite people to sign the cardboard. The visitors signature together with an official stamp of museum Boymans would be cut out and delivered to the visitor after the closing of the exhibition. He stated that a signature is the most personal thing someone has; so this was supposed to be an official, personalized Boymans art tag. He proposed this as his solution to make people feel connected to the museum. In a way they would also become 'Boymans artists' now. The crying meaninglessness of this art is repulsive. It's a fraud. The fake bow he makes here towards the public is unforgivable, an insult towards all the beautiful, serious art Boymans has to offer. The value of the art Boymans symbolizes is not reciprocal. Does this artist really believe that people take him and his idea seriously? I don't think so. If people participate it is just for the fun of it, nothing else. This kind of artist is horrible, their art is complete rubbish, their ideas are childish and in a wrong way amateurish and finally even as an experiment not worthy of Boymans. 'By the way', I asked him, 'if you want to invite people in, why are you standing here, I'm already in. You have to stand outside if you take your ideas seriously'. He didn't answer but gave me a certain look: it was cold outside. I felt this artist personified the whole exhibition. If the museum wants to interact with the public, led by these three new curators, there is a long way to go yet. Instead of interaction, I felt there was a huge insuperable, inertia going on in the Boymans museum. It was a hideous art form, I saw in this gallery. These young artists -of course they would be young, imagine the first street gallery exhibition with really old artists; totally unthinkable- promise a freshness of mind. But, I remind you that in these times, there are no people more conditioned and thus un-fresh, than young people. Almost a century ago the Polish writer Gombrowicz warned us; fascism of youth is coming. His future is our present. These young artists are operating as managers. As in contemporary society they are everywhere, mingling and doing their undefined damage. I suspect they are entering the art now. Art is connecting with social policy; for example like Jeanne van Heeswijk, bringing Hip-Hop into the museum- but also artists doing their art in public space know how to interfere. You will recognize them as truly go-betweens, intermediaries. They go both ways, they operate in the area of the ignorant people and use art as pay-off. Do we want this to be the future of the art world? They do not consider it their task to give something new to the public but they only point out. Their interest is not art itself but their own sake. True artists create new perspectives on reality. These fraudulent manager artists will always be found somewhere in the middle, where they serve other interests. They do not do anything by themselves, they do not offer anything of beauty, it is their goal to support their network, keep it in order and try to enlarge it strategically: the importance of being important. They follow the social and political trends, follow the money; they are the great art adaptors. A manager or a pimp, what's the difference? Harmen Verbrugge, March 2006 |
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| salon iKeaconcuRRentie |
| sjark iwanix biger is beter
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biger house biger car biger yacht biger fart biger penis biger art |
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| 08.04.06 - 29.04.06 |
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| Polish Art Gallery POOL120 3014 CG Rotterdam Henegouwerlaan 120 tel.0104258200 mob.0630765143 | |
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Harmen Verbrugge ----->>>> PLEIDOOI VOOR EEN INKOMEN VAN KUNSTENAARS |
expo "sylvia" 
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