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Manuela Klerkx
Art taken from life (II/II)
Farce Majeure, 1968 (https://www.youtube.com/watch?v=cdpLB70bT5Y)
Almost everyone who grew up in the 60s in the Netherlands knows the song Dat is uit het leven gegrepen (Taken from life, 1968) by Farce Majeure, a “comic, satirical and musical television programme from the NCRV with Alexander Pola, Fred Benavente, Ted de Braak, Jan Fillekers and Henk van der Horst”, to quote Wikipedia. The first broadcast took place on 15 September 1966 and the programme ran uninterrupted through 1972. During my childhood, I received current affairs – or rather, criticism of them – not only through Koot & Bie, but certainly also through the gentlemen of Farce Majeure. I didn't always understand what the songs and skits were about, but it was fun. At times it was a little over the edge, a bit naughty. Well, for the 60s and early 70s, that is. Besides, the programme was made for the NCRV. I have always thought it smart to present difficult subjects from everyday life as a good joke, a Farce Majeure. In the second part of Art Taken from Life, I discuss the work of Jan Hoek & Bruin Parry, Wendy Krochmal, Tommy Smits, Koos Busters and Jesse Cremers, whose work 'reads' like a slice of life.
Almost everyone who grew up in the 60s in the Netherlands knows the song Dat is uit het leven gegrepen (Taken from life, 1968) by Farce Majeure, a “comic, satirical and musical television programme from the NCRV with Alexander Pola, Fred Benavente, Ted de Braak, Jan Fillekers and Henk van der Horst”, to quote Wikipedia. The first broadcast took place on 15 September 1966 and the programme ran uninterrupted through 1972. During my childhood, I received current affairs – or rather, criticism of them – not only through Koot & Bie, but certainly also through the gentlemen of Farce Majeure. I didn't always understand what the songs and skits were about, but it was fun. At times it was a little over the edge, a bit naughty. Well, for the 60s and early 70s, that is. Besides, the programme was made for the NCRV. I have always thought it smart to present difficult subjects from everyday life as a good joke, a Farce Majeure. In the second part of Art Taken from Life, I discuss the work of Jan Hoek & Bruin Parry, Wendy Krochmal, Tommy Smits, Koos Busters and Jesse Cremers, whose work 'reads' like a slice of life.
Tommy Smits
0 Éléments multimédias ᛫ 6 Oeuvres disponibles
1 Spectacles ᛫ 0 Points forts ᛫ 0 Recommandations
The title alone, Little Monet in Pond Frame, illustrates how Smits views the greats of art history. By placing the diminutive 'je' after his name, the great Monet immediately falls from his pedestal. By using the pond, one of the themes that brought the artist fame, as a frame and literally banishing it to the edge, Smits seems to suggest that the importance of this artist is relative. To Smits, Monet really isn't that special because we can all create a 'Monet' with a pond or water lily, or any other subject. This tongue-in-cheek approach is very refreshing and I couldn't suppress a smile looking at this small work that casually puts art history into perspective.
Represented by Ballroom Gallery
Represented by Ballroom Gallery
0 Éléments multimédias ᛫ 37 Oeuvres disponibles
5 Spectacles ᛫ 0 Points forts ᛫ 0 Recommandations
Koos Buster excels in celebrating everyday objects and utensils by elevating them to icons of stupidity. The more mundane and boring the utensil, the greater his need to promote it to a symbol of our consumer society, consisting of living rooms crammed with IKEA stuff, through the commercialisation of cleaning products that seem to encourage cleaning as the ultimate reason for our existence, and with ATMs on every street corner, ostensibly to make citizens' lives easier but in practice intended to put us at the service of the international banking world. Koos Buster’s humorous art ranges from 'simple cheerful to sharply satirical', just like that fantastic television programme Farce Majeure.
Represented by Galerie Vriend van Bavink
Represented by Galerie Vriend van Bavink
0 Éléments multimédias ᛫ 4 Oeuvres disponibles
2 Spectacles ᛫ 0 Points forts ᛫ 0 Recommandations
Jesse Cremers’ works of art are also taken from life, but in a completely different way. For example, he recreates the door of a Citroën as an art object. Beautifully made of wood, the craftsmanship is evident. Yet you can't use the door because after all, it’s art. And then there’s the walking chair. An existing object that, thanks to a minor intervention, can no longer be regarded as an immovable, functional object, but a chair that has crawled out of the confines of its own identity and is going for a walk. The contrast between what a chair is (a stationary object) and what it suggests (a moving object) could not be greater. Cremers' playful interventions are by no means satirical or critical, but refer to life and his personal views on it. As if when he sees pencils, stairs, chairs, whatever, he wonders “What if I do this or that with it?” Cremers seems to want to marvel at the endless possibilities that even the smallest intervention offers to bend the world around him to his will.
Represented by Eva.Steynen.Deviation(s)
Represented by Eva.Steynen.Deviation(s)