Réunion mysterieux
Ceramic sculpture
25x 20x 20 cm
2015woensdag 1 april 2015
maandag 16 maart 2015
maandag 10 maart 2014
woensdag 11 december 2013
Dossier 3.0
Young people and artists come together in Dossier 3.0
To create something beautiful, away from all the problems ...
This is the motivation of the art project dossier 3.0 which Foundation `` De cultuurkantine ``has recently launched.
Various art forms are practiced where the children can tell their story. Through this collaboration with artists, they can work without having to worry about something, that's the idea behind this project.
50 Dutch artists working with young people from care institutions.
Painters, sculptors, designers and photographers, create a work of art with these young people.
Each is working on different artistic ideas with a youngster. in their professional field
It is an honest plan to make these young people familiar with art from which something beautiful can arise.
Each is working on different artistic ideas with a youngster. in their professional field
It is an honest plan to make these young people familiar with art from which something beautiful can arise.
 |
Opening exhibition Queen Maxima Noord-Brabants Museum
in Den Bosch with Maarten Donders
|
zondag 28 augustus 2011
A glimpse of reality
External impulses to a large extent determine our lives. Our life takes place in a setting where actions and images are becomming virtual. Man creates (consciously or unconsciously) its own artificial reality.
wood- steel- messing - glass- stone
300x 150x 200 cm
2011
zaterdag 20 augustus 2011
'Complex Violence' in Podium DAK
Exhibition of sculptures by Maarten Donders and paintings by Eugénie Dammer.
"Complex Violence 'runs from Saturday, August 20 t / m Sunday, September 4 and is open on Saturdays and Sundays from 13:00 to 17:00. Podium DAK is located at 2a Molenstraat in Geldrop. The entrance can be found in the parking lot of Podium DAK. (Through the steel gate bars)
Information, Ben Kollenburg 0641716164 - benvank@telfort.nl - http://www.podiumdak.dse.nl/
dinsdag 31 mei 2011
Meshes of the Afternoon - Maya Deren 1943
Director Deren (born in Kiev) was a leading experimental filmmaker in New York in the forties and fifties. With Meshes of the Afternoon in 1947 she won the International Grand Prix at the Cannes Film Festival.
"Meshes of the Afternoon 1943" is probably one of the most discussed American avant-garde film ever.
Maya Deren clearly reaches back to the surrealism from the '20s (Un Chien Andalou, Luis Bunuel and Dali) but also points in a new direction.
Deren was one of the first women who started working in film, and in this movie for the first time in history elements as psychoanalysis, dream logic and inner reality were used.
The film is a dizzying, nightmarish quest for identity and consciousness, surrealism and dream logic played an important role.
Meshes of the Afternoon was one of the first American films where poetic expressiveness and symbolism were used above a linear plot, and had immense influence on just about everything that came after.
The film assembly from Deren was never seen before, cinematic time and space were deposed of their static character.
In films of Maya Deren, these filmic time and space elements are not bound by traditional rules, but they were used in a very creative way.
Maya Deren explores in her first influential experimental film an unconscious woman who daydreams.
This experimental black and white short film shows the director himself in a threatening dream world in which she always enters the same house.
The similarity between Meshes of the Afternoon and Un Chien Andalou, is the dream experience, generated by cinema.
"Meshes of the Afternoon 1943" is probably one of the most discussed American avant-garde film ever.
Maya Deren clearly reaches back to the surrealism from the '20s (Un Chien Andalou, Luis Bunuel and Dali) but also points in a new direction.
Deren was one of the first women who started working in film, and in this movie for the first time in history elements as psychoanalysis, dream logic and inner reality were used.
The film is a dizzying, nightmarish quest for identity and consciousness, surrealism and dream logic played an important role.
Meshes of the Afternoon was one of the first American films where poetic expressiveness and symbolism were used above a linear plot, and had immense influence on just about everything that came after.
The film assembly from Deren was never seen before, cinematic time and space were deposed of their static character.
In films of Maya Deren, these filmic time and space elements are not bound by traditional rules, but they were used in a very creative way.
Maya Deren explores in her first influential experimental film an unconscious woman who daydreams.
This experimental black and white short film shows the director himself in a threatening dream world in which she always enters the same house.
The similarity between Meshes of the Afternoon and Un Chien Andalou, is the dream experience, generated by cinema.
zaterdag 14 mei 2011
"True beauty is on the inside"
"True beauty is on the inside"
Everyone is equal, although…
There will always be a difference in gender, religious belief,
sexual orientation, social class, mental and physical health, cultural or racial background etc.
``True beauty is on the inside`` is about similarities and differences between human beings, about suffering and undergoing, about winning and losing , but also about what we have become in life.
Installation / wall objects 13 pcs
14x19x8cm 2011
wood - ceramic - tooth - bone - brass - polyester -
goldleave - rubber - lead - fabric
zondag 10 april 2011
Narrow streets and alleys
Can’t remember the last time
I felt so lonely
Should I
leave it all behind
Let the grass
grow over
Drive away
to find
places
I’ve never been before
In narrow streets and alleys
along the shore
Filled with people
from all around
Right there..
I want to get lost
never to be found
donderdag 7 april 2011
The Thrill Is Gone
As much
as I look forward
to the moment
of reunion
a doubtful feeling
comes over me
not the years
or the months
but the wasted hours
of meaningless words
and expensive wine
The Thrill Is Gone
it is useless to wait
Before you know it
the desire starts to whine again
to the moment
of reunion
a doubtful feeling
comes over me
not the years
or the months
but the wasted hours
of meaningless words
and expensive wine
The Thrill Is Gone
it is useless to wait
Before you know it
the desire starts to whine again
donderdag 31 maart 2011
Your eyes
I can hear it..
if I listen to you
if I listen to you
your words sound so different than mine
are my gestures
so different than yoursare my gestures
your eyes
have already said everything..
woensdag 30 maart 2011
Art as a reflection on the past
The focus of mass culture "pop art" shifted to more philosophical and therapeutic forms.
Land Art was a form of art that respond to that reflection. Nature has always been a kind of safe place for people who have turned their backs against industrialization and mass culture. To the social discontent that prevailed in the seventies, was expressed by land art artists. Artists were against capitalism. American artists compared the Vietnam War with capitalism and capitalism in the art. They wanted to escape the world of urban bustle, technologies, profit and pollution to start a dialogue with nature.
Nature as exhibition space was a way to break away from becoming involved with commercial galleries or space in a museum. Not just on principle, but also because Land art artists felt that a painting or other artwork that was added to an existing space was seen as unnecessary, the room was in fact already finished.
It is clear that there was a romantic and mystical aspect of this art form , engaged in nature was a kind of meditation for the artists.
Like a composer who reads the notes he hears, the game character is important in the work of artists like Opperheim, Walter de Maria and Richard Long, which is only happening on the surface of the landscape. These artists are more interested in conventional characters used as the true dimensions of allowing time and space . These are also the artists who haven't done any physically large interventions in the landscape , which I am interested in.
It is striking how both British and American land art around 1970 show similar signs of a new romantic relationship with the landscape.
Simultaneously embody both traditions, however, a radically different approach.
Long used the landscape as an alternative for the city and visualizes it as a 'pure ' state of virgin nature.
In addition, he uses a camera, pencil and paper.
He takes an honest attitude towards the wilderness as he has just discovered and temporarily takes possession. The myth of the landscape remains maintained.
By Maarten Donders `` Traces in Time &; Space``
Land Art was a form of art that respond to that reflection. Nature has always been a kind of safe place for people who have turned their backs against industrialization and mass culture. To the social discontent that prevailed in the seventies, was expressed by land art artists. Artists were against capitalism. American artists compared the Vietnam War with capitalism and capitalism in the art. They wanted to escape the world of urban bustle, technologies, profit and pollution to start a dialogue with nature.
 |
| Walter de Maria ``The Lightning Field`` (1977) |
Nature as exhibition space was a way to break away from becoming involved with commercial galleries or space in a museum. Not just on principle, but also because Land art artists felt that a painting or other artwork that was added to an existing space was seen as unnecessary, the room was in fact already finished.
It is clear that there was a romantic and mystical aspect of this art form , engaged in nature was a kind of meditation for the artists.
Like a composer who reads the notes he hears, the game character is important in the work of artists like Opperheim, Walter de Maria and Richard Long, which is only happening on the surface of the landscape. These artists are more interested in conventional characters used as the true dimensions of allowing time and space . These are also the artists who haven't done any physically large interventions in the landscape , which I am interested in.
 |
| Richard Long Midday Muezzin Line 2006 |
Simultaneously embody both traditions, however, a radically different approach.
Long used the landscape as an alternative for the city and visualizes it as a 'pure ' state of virgin nature.
In addition, he uses a camera, pencil and paper.
He takes an honest attitude towards the wilderness as he has just discovered and temporarily takes possession. The myth of the landscape remains maintained.
By Maarten Donders `` Traces in Time &; Space``
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