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Amsterdam

Upstream Gallery

Exhibition Detail
Della Scultura Rustica
Van Ostadestraat 294
1073 TW Amsterdam
Netherlands


September 1st, 2012 - October 13th, 2012
Opening: 
September 1st, 2012 5:00 PM - 7:30 PM
 
Revolving panel , Marinus BoezemMarinus Boezem, Revolving panel ,
1966, metal, wooden stretcher, 240 x 180 x 140 cm
© photocredit:Gert Jan van Rooij
> QUICK FACTS
WEBSITE:  
http://www.upstreamgallery.nl
NEIGHBORHOOD:  
De Pijp
EMAIL:  
info@upstreamgallery.nl
PHONE:  
+31(0)20 428 4284
OPEN HOURS:  
Wed-Sat 1-6; by appointment
TAGS:  
conceptual
> DESCRIPTION

Upstream Gallery proudly presents the soloshow Della Scultura Rustica with early and recent work by Marinus Boezem (1934).

In his exhibition Della Scultura Rustica Marinus Boezem is responding to the current need for security in society and the prevailing fear of the unknown. The show as a whole is to be seen as a statement, and not just a collection of works.The key pieces in the exhibition are two new ’sound’ works which engage in a dialogue with two tangible works, based on ideas and working drawings originating from the 60s. This exhibition marks the first time that these works have  been performed.

Boezems execution of this solo exhibition at Upstream Gallery is extremely refined. With some simple details a rich and nuanced structure is constructed. An exhibition with overwhelming works full of contrasts, dreams, reflections, the past and the present…

Together with Ger van Elk and Jan Dibbets, Boezem is seen as one of the main representatives of conceptual art and arte povera in the Netherlands in the late 1960s.

In 1969 Boezem took part in two important exhibitions which have laid the ground for innovative art movements such as Conceptual Art, Minimalism, Arte Povera and Land Art: Op Losse Schroeven at the Stedelijk Museum, Amsterdam and When Attitudes Become Form at the Kunsthalle, Bern, together with e.a. Joseph Beuys, Bruce Nauman, Walter de Maria and Gilberto Zorio. The intangible and often philosophically oriented works at these exhibitions caused a revolution in the international art world.

Boezem undermines the uniqueness and durability of artworks. He dematerializes art and thus frees himself from the prevailing values and traditions.

In the course of fifty years Boezems oeuvre develops from groundbreaking ideas and video works also to sculptures, spatial installations and commissioned site-specific works. Examples are The Green Cathedral in Almere and the Podio del Mondo per l’Arte on the Damplein in Middelburg. Air, light, sound and movement are still the main motives by which he creates space and time.

Together with Ger van Elk and Jan Dibbets, Boezem is seen as one of the main representatives of conceptual art and arte povera in the Netherlands in the late 1960s.

In 1969 Boezem took part in two important exhibitions which have laid the ground for innovative art movements such as Conceptual Art, Minimalism, Arte Povera and Land Art: Op Losse Schroeven at the Stedelijk Museum, Amsterdam and When Attitudes Become Form at the Kunsthalle, Bern, together with e.a. Joseph Beuys, Bruce Nauman, Walter de Maria and Gilberto Zorio. The intangible and often philosophically oriented works at these exhibitions caused a revolution in the international art world.

Boezem undermines the uniqueness and durability of artworks. He dematerializes art and thus frees himself from the prevailing values and traditions.

In the course of fifty years Boezems oeuvre develops from groundbreaking ideas and video works also to sculptures, spatial installations and commissioned site-specific works. Examples are The Green Cathedral in Almere and the Podio del Mondo per l’Arte on the Damplein in Middelburg. Air, light, sound and movement are still the main motives by which he creates space and time.


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