Titel Thomas Locher / door Thomas Locher ; onder red. van Edna van Duyn
Auteur Thomas Locher ; Edna van Duyn
Uitgever,jaar Amsterdam : De Appel, 1992
Pagina ... ; 25 cm
Annotatie Publicatie n.a.v. de tentoonstelling. - Tekst in Engels, Duits en Nederlands
ISBN *9073501148 : Abonnement publicaties De Appel
Trefwoord taal / Locher, Thomas / Duitse beeldende kunst / kunstinstallaties
Vindplaats WIJNHAVEN : Kunstkelder KUNST.ALFABET LOCHER

Titel Ian Lisser
Uitgever,jaar Rotterdam : Centrum Beeldende Kunst, 1993
Pagina ... ; 30 cm
Annotatie Publikatie n.a.v. de tentoonstelling
ISBN 9051960751
Trefwoord Lisser, Ian / taal / Australische beeldende kunst
Vindplaats WIJNHAVEN : Kunstkelder KUNST. ALFABET LISSER

Titel Zwischen Kunst und Literatur Monumente, Denkmal
Uitgever,jaar Mainz : Dieter Bechtloff, 1980
Pagina 256 p. ; 22 cm
Trefwoord monumenten / taal / beeldende kunst / letters
Vindplaats WIJNHAVEN : Kunstkelder TIJDSCHRIFTEN

Titel De poëzie van hedenmorgen / door Lily van Ginneken
Auteur Lily van Ginneken
Uitgever,jaar Eindhoven : Lecturis, 1987
Pagina 34 p. ; 29 cm
ISBN 9070108321
Trefwoord beeldende kunst / taal / letters
Vindplaats WIJNHAVEN : Kunstkelder 708.51 GINN

Titel Blootleggen : Gordon Matta-Clark en de taal van de architectuur
Uitgever,jaar , 1993
Artikelgegevens nr. 4, Archis, 54-65
Trefwoord Matta-Clark, Gordon ( 1943-1978 ) / architectuur / kunst
Vindplaats WIJNHAVEN : Kunstkelder TIJDSCHRIFTEN

Titel Taal als paradox
Auteur Marly Acampo
Uitgever,jaar , 1993
Artikelgegevens nr. 1, Ruimte, 14-21
Annotatie Tekst in Engels en Nederlands
Trefwoord taal / beeldende kunst / letters
Vindplaats WIJNHAVEN : Kunstkelder TIJDSCHRIFTEN

MERCATOR

ATLAS

MAPPING

FRIEZE

CHRISTOPH FINK

JOB KOELEWIJN

ROOSJE KLAP

RULE-BASED ART

AUTHOR-BASED ART

DADAISM

NEOPLASTIC ART/
DE STIJL

SOL LE WIT

APPROPRIATION

Theo van Doesburg, pseudonym of Christian Emil Marie Küpper (born August 30, 1883, Utrecht, Netherlands—died March 7, 1931, Davos, Switzerland), Dutch painter, decorator, poet, and art theorist who was a leader of the De Stijl movement.

Originally van Doesburg intended to pursue a career in the theatre, but he turned to painting about 1900. He worked in Post-Impressionist and Fauvist styles until 1915, when he discovered Piet Mondrian’s work, which convinced van Doesburg to paint geometric abstractions of subjects from nature. His paintings, with their strict use of vertical and horizontal shapes and primary colours, closely resembled Mondrian’s until about 1920. In 1917 van Doesburg was instrumental in forming the De Stijl group of artists, and he also founded the avant-garde art review De Stijl (a publication that was continued until 1931). Among the artists involved with De Stijl was the Dutch architect J.J.P. Oud, for whom van Doesburg first designed stained-glass windows in 1916. His collaborations with architects continued throughout his career, as he went on to design more stained glass, as well as floor tiles and overall colour schemes.

Van Doesburg turned his attention away from painting around 1920, focusing instead on the promotion of De Stijl in Germany and France. He lectured at the Weimar Bauhaus from 1921 to 1923, and his De Stijl theories subsequently influenced the Modernist architects Le Corbusier, Walter Gropius, and Ludwig Mies van der Rohe. While in Germany, van Doesburg developed an interest in Dada art after meeting the artist Kurt Schwitters; using the alias I.K. Bonset, van Doesburg exhibited as a Dadaist in Holland in 1923 and published the Dada art review Mechano.

Van Doesburg returned to painting around 1924, at which time he decided to introduce the diagonal into his compositions to increase their dynamic effect. He named his new approach “elementarism,” and in 1926 he published a manifesto explaining it in De Stijl. Mondrian so disapproved of the concept that he rejected the De Stijl movement. In 1931 van Doesburg was involved in the formation of the Abstraction-Création association, a group of artists who advocated pure abstraction.

Abstraction Creation

De Stijl (/də ˈstaɪl/; Dutch pronunciation: [də ˈstɛil]), Dutch for "The Style", also known as neoplasticism, was a Dutch artistic movement founded in 1917. In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands.[1][2]

De Stijl is also the name of a journal that was published by the Dutch painter, designer, writer, and critic Theo van Doesburg (1883–1931) that served to propagate the group's theories. Next to van Doesburg, the group's principal members were the painters Piet Mondrian (1872–1944), Vilmos Huszár (1884–1960), and Bart van der Leck (1876–1958), and the architects Gerrit Rietveld (1888–1964), Robert van 't Hoff (1887–1979), and J. J. P. Oud (1890–1963). The artistic philosophy that formed a basis for the group's work is known as neoplasticism—the new plastic art (or Nieuwe Beelding in Dutch).

Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to the vertical and horizontal directions, and used only primary colors along with black and white. Indeed, according to the Tate Gallery's online article on neoplasticism, Mondrian himself sets forth these delimitations in his essay "Neo-Plasticism in Pictorial Art". He writes, "this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour". The Tate article further summarizes that this art allows "only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical line."[3] The Guggenheim Museum's online article on De Stijl summarizes these traits in similar terms: "It [De Stijl] was posited on the fundamental principle of the geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colors with black and white; and the relationship between positive and negative elements in an arrangement of non-objective forms and lines".

Dadaism was an art movement of the European avant-garde in the early 20th century. Many claim Dada began in Zurich, Switzerland in 1916, spreading to Berlin shortly thereafter but the height of New York Dada was the year before in 1915.[1] To quote Dona Budd's The Language of Art Knowledge,

Dada was born out of negative reaction to the horrors of World War I. This international movement was begun by a group of artist and poets associated with the Cabaret Voltaire in Zurich. Dada rejected reason and logic, prizing nonsense, irrationality and intuition. The origin of the name Dada is unclear; some believe that it is a nonsensical word. Others maintain that it originates from the Romanian artists Tristan Tzara's and Marcel Janco's frequent use of the words "da, da," meaning "yes, yes" in the Romanian language. Another theory says that the name "Dada" came during a meeting of the group when a paper knife stuck into a French-German dictionary happened to point to 'dada', a French word for 'hobbyhorse'.[2]

The movement primarily involved visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. In addition to being anti-war, Dada was also anti-bourgeois and had political affinities with the radical left.

Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media. Key figures in the movement included Hugo Ball, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah Höch, Johannes Baader, Tristan Tzara, Francis Picabia, Richard Huelsenbeck, George Grosz, John Heartfield, Marcel Duchamp, Beatrice Wood, Kurt Schwitters, and Hans Richter, among others. The movement influenced later styles like the avant-garde and downtown music movements, and groups including surrealism, Nouveau réalisme, pop art and Fluxus.

Marc Lowenthal, in I Am a Beautiful Monster: Poetry, Prose, And Provocation, tells us:

Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism.

Abstraction-Création was a loose association of artists formed in Paris in 1931 to counteract the influence of the Surrealist group led by André Breton.

Founders Theo van Doesburg, Auguste Herbin, Jean Hélion and Georges Vantongerloo started the group to foster abstract art after the trend turned to representation in the 1920s.[1]

A non-prescriptive group of artists were involved, whose ideals and practices varied widely: Albert Gleizes, František Kupka, Piet Mondrian, Jean Arp, Marlow Moss, Naum Gabo, Barbara Hepworth, Ben Nicholson, Kurt Schwitters, Wassily Kandinsky, Théo Kerg, Taro Okamoto, Paule Vézelay, Hans Erni, Bart van der Leck, Leon Tutundjian and John Wardell Power.[2]

Five Cahiers (yearbooks) were published between 1932-36 entitled Abstraction-création: Art non-figuratif; a reprint edition of the Cahiers was published by the Arno Press, New York in 1968. Art exhibitions were also held throughout Europe.

Abstraction Creation

Nicolaas Hendrik Werkman

Hendrik Nicolaas Werkman (commonly called H.N. Werkman; 29 April 1882 – 10 April 1945) was a Dutch artist, typographer and printer.

Werkman was born in Leens, in the Dutch province of Groningen. In 1908, he established a printing and publishing house in Groningen that at its peak employed twenty workers. Financial setbacks forced its closure in 1923, after which Werkman started anew with a small workshop in the attic of a warehouse.

Werkman was a member of the artists' group De Ploeg ("The Plough"), for which he printed posters, invitations and catalogues. From 1923 to 1926, he produced his own English-named avant-garde magazine The Next Call, which, like other works of the period, included collage-like experimentation with typefaces, printing blocks and other printers' materials. He also used stenciling and stamping to achieve unique effects. He would distribute the magazine by exchanging it for works by other avant-garde artists and designers throughout Europe.

In May 1940, soon after the German invasion of the Netherlands, Werkman, together with his friend August Henkels and others, began publishing a series of Hassidic stories from the legend of the Baal Shem Tov through their clandestine publishing house De Blauwe Schuit ("The Blue Barge"). Running to forty publications, all designed and illustrated by Werkman, the series was a subtly rebellious commentary on the Nazi occupation and a call for spiritual resistance.

On 13 March 1945, the Gestapo arrested Werkman, executing him by firing squad along with nine other prisoners near the village of Bakkeveen on 10 April, three days before Groningen was liberated. Many of his paintings and prints, which the Gestapo had confiscated, were lost in the fire that broke out during the battle between German and Canadian forces over the city.

One of the main municipal secondary schools in the city of Groningen, the H.N. Werkman College was named after him and keeps Werkman's heritage alive in its art classes and recurring special projects.

De Ploeg ("The Plough")

De Ploeg (Dutch pronunciation: [də plux]; English: The Plough) is an artist collective from the city of Groningen in the Netherlands. The collective was established in 1918 to educate the general public about developments in art, architecture, and literature

Marcel Broodthaers 1924-1976

Belgian poet, photographer, film-maker and artist. Born in Brussels. Began as a poet and aged 16-17 had some contacts with the Belgian Surrealists, especially Magritte, who gave him a copy of Mallarmé's Un Coup de Dés. (Magritte's paintings with words, in which there is a contradiction between the painted word and the painted object, were later a crucial influence on him). Started in 1958 to publish articles illustrated with his own photographs. At the end of 1963 decided to become an artist and began to make objects. First one-man exhibition at the Galerie St Laurent, Brussels, 1964. Exhibited everyday objects, words, lettering, child-like drawings etc., often with verbal-visual puns; made books, catalogues, prints on everything from canvases attached to the wall to reliefs in plastic. Made his first film in 1957 and from 1967 a number of short films. In 1968 established a 'Museum of Modern Art' of postcards of paintings and packing cases in his house in Brussels, followed by various other installation-structures. From late 1969 lived mainly in Düsseldorf, Berlin and finally London. Died in Cologne.

Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to "resolve the previously contradictory conditions of dream and reality." Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself.[1]

Surrealist works feature the element of surprise, unexpected juxtapositions and non sequitur; however, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Leader André Breton was explicit in his assertion that Surrealism was above all a revolutionary movement.

Surrealism developed out of the Dada activities during World War I and the most important center of the movement was Paris. From the 1920s onward, the movement spread around the globe, eventually affecting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory.

René François Ghislain Magritte (21 November 1898 – 15 August 1967) was a Belgian surrealist artist. He became well known for a number of witty and thought-provoking images that fall under the umbrella of surrealism. His work challenges observers' preconditioned perceptions of reality.

Avant-garde (from French, "advance guard" or "vanguard", literally "fore-guard") refers to people or works that are experimental or innovative, particularly with respect to art, culture, and politics.

The term avant-garde refers to a pushing of the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The notion of the avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Many artists have aligned themselves with the avant-garde movement and still continue to do so, tracing a history from Dada through the Situationists to postmodern artists such as the Language poets around 1981.

The term also refers to the promotion of radical social reforms. It was this meaning that was evoked by the Saint Simonian Olinde Rodrigues in his essay "L'artiste, le savant et l'industriel" (“The artist, the scientist and the industrialist”, 1825), which contains the first recorded use of "avant-garde" in its now customary sense: there, Rodrigues calls on artists to "serve as [the people's] avant-garde", insisting that "the power of the arts is indeed the most immediate and fastest way" to social, political and economic reform.

The Situationist International (SI) was an international organization of social revolutionaries, the exclusive membership of which was made up of avant-garde artists, intellectuals, and political theorists, active from its formation in 1957 to its dissolution in 1972

The Situationists International

Postmodernism is a term that describes the postmodernist movement in the arts, its set of cultural tendencies and associated cultural movements. It is in general the era that follows Modernism.[1] It frequently serves as an ambiguous overarching term for skeptical interpretations of culture, literature, art, philosophy, economics, architecture, fiction, and literary criticism. It is often associated with deconstruction and post-structuralism because its usage as a term gained significant popularity at the same time as twentieth-century post-structural thought.