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Iron and Video
Like many artists, Joost Conijn makes stuff. But then he turns the key in the ignition of a piece and drives it across the continent, or flies it through the African desert. In 2002, he toured Eastern Europe and the Ukraine in a DIY car, Hout Auto, built from wood and fueled with logs that he gathered along the way. He passed through Albania and Romania and even penetrated, under alternative power, the area around Chernobyl. In 2000, his airplane, also homemade, took to the air above the Moroccan desert following a long struggle with the elements. He also works in film, and his recent Siddieqa, Firdaus, Abdallah, Soelayman, Moestafa, Hawwa en Dzoel-kif (2004), about seven children from a Dutch family with Islamic religious convictions, recently prompted a great deal of discussion. Iron and Video is many books in one: an instruction manual, a travelogue, a coffee-table trophy, a tale of adventure, a manifesto and altogether a fascinating read.
Conservation of Contemporary Art
This open access book investigates whether and how theoretical findings and insights in contemporary art conservation can be translated into the daily work practices of conservators or, vice versa, whether and how the problems and dilemmas encountered in conservation practice can inform broader research questions and projects. For several decades now, the conservation of contemporary art has been a dynamic field of research and reflection. Because of contemporary art’s variable constitution, its care and management calls for a fundamental rethinking of the overall research landscape of museums, heritage institutions, private-sector organizations and universities. At first, this research was primarily pursued by conservation professionals working in or with museums and other heritage organizations, but increasingly academic researchers and universities became involved, for instance through collaborative projects. This book is the result of such collaboration. It sets out to bridge the “gap” between theory and practice by investigating conservation practices as a form of reflection and reflection as a form of practice.
Piloot van goed en kwaad
In zijn zelfgebouwde vliegtuig koos Joost Conijn een route die niemand anders ooit nam. Hij vloog vanuit Europa over Afrika en bezocht de meest onherbergzame gebieden in het oerwoud. Hij landde op rafelige stukjes asfalt en kreeg eten en een slaapplaats van de verwonderde mensen voor wie hij zomaar uit de lucht kwam vallen. Overgeleverd aan het materieel van zijn vliegtuig, aan het humeur van de plaatselijke autoriteiten en aan de elementen, maakte Joost Conijn een verbijsterende tocht.
The Low Countries
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Frieze
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Prix de Rome.nl
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Keep It Moving?
Kinetic art not only includes movement but often depends on it to produce an intended effect and therefore fully realize its nature as art. It can take a multiplicity of forms and include a wide range of motion, from motorized and electrically driven movement to motion as the result of wind, light, or other sources of energy. Kinetic art emerged throughout the twentieth century and had its major developments in the 1950s and 1960s. Professionals responsible for conserving contemporary art are in the midst of rethinking the concept of authenticity and solving the dichotomy often felt between original materials and functionality of the work of art. The contrast is especially acute with kinetic art when a compromise between the two often seems impossible. Also to be considered are issues of technological obsolescence and the fact that an artist’s chosen technology often carries with it strong sociological and historical information and meanings. www.getty.edu/publications/keepitmoving
En passant
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Night Train
Brevity is the soul of beauty in these tiny masterworks of short short fiction Gorgeously translated by Lydia Davis, the miniature stories of A. L. Snijders might concern a lost shoe, a visit with a bat, fears of travel, a dream of a man who has lost a glass eye: uniting them is their concision and their vivacity. Lydia Davis in her introduction delves into her fascination with the pleasures and challenges of translating from a language relatively new to her. She also extols Snijders’s “straightforward approach to storytelling, his modesty and his thoughtfulness.” Selected from many hundreds in the original Dutch, the stories gathered here—humorous, or bizarre, or comfortingly homely...
