Marinus Boezem
01 Sep - 13 Oct 2012
MARINUS BOEZEM
Della Scultura Rustica
1 September - 13 October 2012
Upstream Gallery proudly presents the soloshow Della Scultura Rustica with early and recent work by Marinus Boezem (1934).
In his exhibition Della Rustica Scultura 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. As Boezem himself explains “.. Back then (the 60s) I didn’t dare to perform the work, but now the time is right ..”. In the gallery two tree trunks are laid out on trestles. At the end of one trunk lie neatly cut segements, resembling a carefully sliced sausage. The other trunk is missing its central part which has been cut away and, as if it has simply fallen, lies on the ground beneath the trunk.
Boezem said earlier about working with wood, “..sawing through a tree, breaking a branch and peeling the bark off parts of a tree, it was for me a sort of intellectual problem that I set for myself, to make visible the span of time that lies between acts and the result shown... “.
The roaring sounds of chainsaws and the mysterious whizzing of falling trees sporadically fill the gallery - sounds that possesse a specific tempo and tension. Boezem compares this tension with human dramas like a fusillade, in which the victim falls down a couple of meters away from his shoes or when the victims of a plane crash are found meters away from the place where the plane hit the ground.
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.
Della Scultura Rustica
1 September - 13 October 2012
Upstream Gallery proudly presents the soloshow Della Scultura Rustica with early and recent work by Marinus Boezem (1934).
In his exhibition Della Rustica Scultura 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. As Boezem himself explains “.. Back then (the 60s) I didn’t dare to perform the work, but now the time is right ..”. In the gallery two tree trunks are laid out on trestles. At the end of one trunk lie neatly cut segements, resembling a carefully sliced sausage. The other trunk is missing its central part which has been cut away and, as if it has simply fallen, lies on the ground beneath the trunk.
Boezem said earlier about working with wood, “..sawing through a tree, breaking a branch and peeling the bark off parts of a tree, it was for me a sort of intellectual problem that I set for myself, to make visible the span of time that lies between acts and the result shown... “.
The roaring sounds of chainsaws and the mysterious whizzing of falling trees sporadically fill the gallery - sounds that possesse a specific tempo and tension. Boezem compares this tension with human dramas like a fusillade, in which the victim falls down a couple of meters away from his shoes or when the victims of a plane crash are found meters away from the place where the plane hit the ground.
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.