31 January 2008

iS pain

About Spain
I didn't want to understand it.
The first I can remember was knowing that there were many Spanish shop owners, specifically: bakeries, furniture shops, general food shops. The owners had come to Mexico during the Civil War and in my little girl's understanding very long time ago. There were also the Spanish and the Asturian Clubs, the Spanish restaurants, the Colegio Madrid, the Luis Vives school, and every now and then you met some of them with their 'funny' accent. At school I met some girls whose parents had come to Mexico in those years.
My mother told me that when she was a little girl too, she tried to imitate the Spanish accent, that one of her -never forgotten- boy friends had been Spanish. But it all seemed at a far distance.
At the other hand at that time, as my grandparents owned a big building, the apartments started one by one getting inhabitated by political refugees from South America. Like our friends Ricardo and Hildegard, the last had been working directly for Allende. They told many sad and cruel stories to my parents, but as I was always around, I was carefull to follow them. After a while I had the larger picture of the situation in Chile. That was near and real to me.
A bit older at our literature lessons I learned that Garcia Lorca was killed during the Guerra Civil, and about the Guernica painting by Picasso. But I never quite understood the meaning of that war in Spain. All of a sudden all the information comes to its place and I understand (and want to understand) more the significant situation for the Spanish people to share the same streets with the "enemies", for generations, and how they are confronting now the past.
I am full of questions now, but I will try to read better between lines. The history gave an important shape to Mexico, and some how to me. But, how?

What are the Capa photographs are going to reveal? Probably not much, but questioning the past is already a big step.




Many of the photos are Capa's and other sources.

Hreinn Fridfinnsson


Iceland. Galerie Anhava.

Asassination is the extreme form of censorship.
Bernand Shaw

30 January 2008

Leo van der Kleij


The Netherlands. Own site.


An artist is forced by others to paint out of his own free will.
Willem De Kooning

Political cabinet.

I hardly ever seen a group of people observing with concentrated eyes and brains for so long to a piece of furniture as yesterday evening.

This was at the Patrons -patrons and patterns- dinner at the Rijksmuseum in Amsterdam. Reinier Baarse told us as much as he could about this intricate piece of furniture made in the 1650's for Amalia van Solms. He explained us the complexity of its designs that are actually a political statement as they were meant to impress the few persons who would see it at her palace and help her keep the power.
Later we talked even more about this historical cabinet and about working systems. He prefers to open all his books on his floor to reach aesthetic conclusions, I do it other wise by opening lots of windows on my computer screen. No difference in process just in tools.


Here a view of the richly decorated dinner table with a "pattern" theme.
On the other photo next to Jeroen Bok, water sports lover.

And the last one, I am standing next to Ronald de Leeuw director of the museum.
It is so luxurious to have nice conversations, delicious food and being surrounded by some of the greatest paintings of The Netherlands. I just love seeing my paintings!
Regards,
Marisa Polin

29 January 2008

Invitation to Poetry in the meadow.

We are many many artists exhibiting.
Click for a larger version.

Erik Jan Ligtvoet


The Netherlands. Galeries.nl

I don’t very much enjoy looking at paintings in general. I know too much about them. I take them apart.

Georgia O’Keeffe

New Little Sculpture.


Mexico Dulce, paper, plastic and sugar, 160x65x20 mm, 2008, Marisa Polin.
Strange enough this very little work took actually more than two years to be made. I didn't throw the plastic container into the garbage, knowing I would be using it for something like this. The sugar cube, that I got somewhere I don't remember was kept secretly in different places of my house until finally it got to my studio where it is now.
I am sure that this sweet object, by its size, still has ahead a long, uncertain and sinuous future...

Regards,
Marisa Polin

Picturesque.

Yesterday at the Mesdag's Ladies meeting at Marjolijn's I saw this 'painting' in front of me. The light, the position of Marianne, the still life elements, the second person in a darker backgroung and the colors made me think of Velazquez's painting of Woman Frying Eggs. Left is Anne-Marie and right is Marianne.


The third photograph is another painting of Velazques where the same arm position is painted.

Regards,
Marisa Polin

28 January 2008

Avner Ben-Gal


Israel. Artnet.

To many, total abstinence is easier than perfect moderation.
St. Augustine of Hippo

The interview and the opening of Sexagesima


On Saturday as I arrived at De Balie where De Hoeksten Live! takes place, I was told that Els van der Plas -who normally makes the art interviews- was sick and I was asked if I could interview Marsel Loermans and Anton Spruit my self. From one moment to another instead of coaching and standing next to "my artists" I became the one who would ask the questions. We solved it making it some kind of friendly conversation. We forgot the 'studio' and for the half an hour that the program lasted we were as if at home, talking to each other with a microphone in our hands. I had no idea of the time, no one was there to hurry me, and I didn't dare to look at my watch while I had the camera on me, that is why it lasts nearly 30 minutes.
We were very happy of the result, homely but very focused. Here is the link to the interview and start on minute 11'. If you have any trouble you can ask it "on demand": Salto; the "stream on demand"; and then searching date 26 January, at 23 hours 11 minutes and you start directly on the show.

Yesterday, just before the opening started, Mariette interviewed me on the choice of artists and photographs.

I said a few words...

and then I gave the microphone to Jody Cath who told a bit about the life of some of the photographed people. Nearly 100 persons saw the exhibition yesterday. Marsel, Anton and I were very satisfied.

At the end some friends stayed for a big bowl of pasta made by Hans. On the last photo is my friend Elena de Santis (LNA).

26 January 2008

Already the third exhibition at ArtCube

I am very happy that the third show at ArtCube is about to start. It is of course a lot of work and more than what you imagined but it is energy spend with a lot of pleasure. The show is ready the photographs are hanging and I am very proud of it. We'll see what happens at the opening.
As a starter I invite you to see the interview and I wrote a little text about the works. Hope to see you there.

sexagesima invitation
Marsel Loermans | Anton Spruit.
A fine line between independant work and working on commission.
Photography exhibition.
24 January - 17 February 2008
ArtCube invites you to the reception: Sunday 27 January from 3 pm.

sexagesima interview
"De Hoeksteen Live!" *:
Ik interview Marsel Loermans and Anton Spruit on their photo exhibition at ArtCube gallery saturday 26th of January 2008 at 23 hours. (exactly starting at 23:11 hours)
You can follow it on internet 'on demand':
-Surf to the website of "De Hoeksteen live!":
http://hoeksteen.wordpress.com/ or www.hoeksteen.dds.nl
-Or surf to Salto: http://www.salto.nl/ and follow these steps; A2 or A1; stream on demand; zaterdag 26 januari 2008; 23.00 uur.
*Amsterdam television and internet program now also on Second Life.

sexagesima text
The moment I saw the first photo of the series, I was completely fascinated by its strength and sincerity. I loved the picture that was telling a complete story of that person. The sitter let the photographer see his life and then the photographer translated that life and that moment to me. I wanted to see more of these open but at the same time intriguing characters, who where playing their own life.

This happened nearly two years ago and what I saw then was the first black and white amplification proof for the whole project. The project was still taking form. At that time I had my studio above Marsel Loermans’ and I had no idea I would be having the exhibition space of ArtCube. We talked plenty about portraits, photography and this specific project.

A year later I was moving and I knew I wanted him to exhibit the portrait series at ArtCube. I had no doubt. Marsel knew of my interest on the portraits and last autumn he presented me the little “Momentopnamen van nu” (“Time shoots from now”) book. This small object is full of more than 1600 hundred lives in the form of black and white photo portraits. As I have it in my hands it makes me think of the Bible or of some kind of dictionary of faces: all different. The contradictory quality of the book is that at the same time it gives the impression that all people photographed are the same, same size, same color, same illumination, all are alike.

After two months Marsel called and we set dates, by the way, it was not ‘his’ project but ‘theirs’, only then I met Anton Spruit, the second half of the makers of the portraits. Anton has a very different personality than Marsel and as I learned they can work very well together.

It was only this week that I saw for the first time the beautiful large as life color portraits that now hang. Thanks to the invitation card we sent I had some idea of the choice of photographs that were going to be brought but I did not imagine the straightforward power of these photographs. My first thought was the link the images had with the traditional Dutch photography. A word came to my mouth: ‘Rembrandt’, the dark background, the ‘decorating’ clothes that seem to be there only to test the artist’s control on drapery, all these factors are there only to emphasize the faces with a falling light from the left, and that brings me to another word: 'Vermeer'.

Some of the people who have seen the photographs with me have told me they thought seeing from the outside that they were looking at paintings. Others noticed the relaxed posing of the sitters in contrast to the appearance of having being taken at a studio. But what I hear the most is the word ‘purity’. These real people in their most pure way are photographed with perfectionism and sensitiveness. Both artists Marsel Loermans and Anton Spruit talk about each photo by their subject names with a clear empathy, and they told me stories about each one of those that are hanging. They have respect for their achieved result and all their subjects. You have to remember they were 1614 portraits of people and who knows how many photographs were taken.

As you can observe at the photographs, it seems as the people are looking at you, expecting you to discover their lives and feel what they feel. They are alive and present. Sadly enough one of the most impressive sitters of one of the best photographs has already passed away. And that brings me back to the title of the little book, the photographs had made of them permanently ‘moments from now’.

I wanted to share with you my aesthetic experience with these photographs and consciously without going into the details of the commission they were made for or the institution that commissioned it. The history and stories are an added value to the photos but for me they are strong enough on their own.

sexagesima press release (in Dutch)
een dunne scheidslijn tussen autonoom en werk in opdracht
Marsel Loermans | Anton Spruit

De samenwerking tussen Marsel Loermans, fotograaf en Anton Spruit, vormgever bestaat sinds 1988. Aanvankelijk maken zij fotografische illustraties en band-dia programma’s in opdracht. De laatste jaren krijgt hun werk een meer autonoom karakter.
De dunne scheidslijn tussen werk in opdracht en autonoom bleek volledig te verdwijnen bij een opdracht van de instelling voor mensen met een verstandelijke beperking, ’s Heeren Loo, (voorheen Boldershof-Waalborg). Bij gelegenheid van het honderdjarig bestaan portretteerden zij 1614 medewerkers en cliënten. Zo ontstond een serie portretten die -indirect- de maatschappelijke positie van mensen met een beperking ter discussie stelt.

New friends

At In Hee and Raoul Oberman's.

With Carinne de Meyere, I have met her a few times before but never spoken to her. We had a good time talking and we have many friends in common. She told me about her project of the "Museum of the Children" and it is like her own child.

Here I am next to Mrs. Opstelten.

Carine between her husband (l.) and Raoul.

In Hee Oberman and Consuelo Oosterveld. A little bit of Deja vu from one year ago in Barcelona.

Painting again



This my Sea Princess, (acrylic/linen, 100x70 cm). It is the first painting of 2008 coming from my studio. It is also the first 'non portrait' painting in long time. The Sea Princess will be hanging at the next exhibition Poetry in the Meadow at World Art Delft starting next Saturday with a big big celebration:

Poetry in the Meadow part of Poetry International
2-Februari-2008 21-01 hours World Art Delft
free entrance

Jules Deelder, Joost Konings
Poets, music, performance and visual arts.


Here after the info (click on it for a clear reading).


The international art exhibition:
Artist were inspired on Jan Wolkers poem that he wrote as an ode to the Birth of Venus by Boticelli.

Artists:
Wolfgang Brenner, Joyce Bloem, Pierluigi Cattaneo, Marion Bloem, Marisa Polin, Simone Ten Bosch, Pavel Petrás, Mohamed Abou El Naga, Quraish, Dorothea Fleiss, Claudia Ignoto, Tamaar Tóth Varjú, Clasien de l’Ecluse, Elisabeth Hangoor, Marisa Cortese, Randolph John Schwidder, Dodog Soeseno, Els Otten, Kika Wijnhoud, Masahide Kudo, Rien Olijslagers, Marius Quee, Niels de Hoog, Saranthis Gagas, Viyé Diba, Bianca Tangande, Mei Li, Karola Teschler, Sayaka Abe, Nao Ishizaka, Niek Satijn, Noriko Yida, Marjolein Oude Vrielink, Yoko Yoshizawa Tonaki, Sakuta Tomiyuki, Hideki Kondo, Giuseppe Strano Spitu, Paula Kouwenhoven, Takata-yoshiki, Taisuke Yuki, Dirk Oeghoede, Miroslava Ledo, Zhanhong Liao, Minoru Suganuma.

Clicking on the image you can clearly read the poem of Jan Wolkers in English or in Dutch.

World Art Delft
Rotterdamseweg 205 / NL - 2629 HD Delft /www.worldartdelft.nl / www.waddromen.nl

10 January 2008

About comparisons and strange "coincidences"

Two dutch city mayors. Two nearly identical installation speeches. The first Tom de Graaf more than a year ago the second, Ada Boerma and the one guilty of ridiculous badly copying. Eeven when I was at secondary school you wouldn't dare being so blunt. And if you were caught either your parents would be called in or you would be sent home.
What is it going to happen to Misses Boerma?

Even if you can't read Dutch you can see the obvious coincidences. Click on the text for a larger version.

07 January 2008

Are we all in the same mood?


Here another "card" I received with the 'landscape look' and text right under, the second stays also in the same family. 1 Norma Ascencio 2 Luchi en Bob

Regards and a good start.