PPP and F.I.U. Boxing Gloves
2003, 15 March: HET PAROOL, Red.: CULTURAL CAPITAL AMSTERDAM GETS STUCK IN MALAISE, FECKLESSNESS AND STAGNATION. The Amsterdam Art Council: …"If Amsterdam persists in the present lack of direction, it faces an ending as it once began, a village without a soul in the polders, devoid of metropolitan character… Amsterdam is living on its old glory"…
2003, April: F.I.U. PAMPHLET - Open letter of protest to Mayor Job Cohen and the Aldermen of Amsterdam, by Eva Kloppenburg Arnscheidt, Düsseldorf, in the name of family and heirs and IN THE NAME OF ART.
"ICH PROTESTIERE GEGEN DIE ÄUSSERST RESPEKTLOSE BEHANDLUNG VON KUNST UND FORDERE DIE AUFHEBUNG DER 'GEISELHAFT' VON KUNST, DIE BEHEBUNG VON ENTSTANDEN SCHÄDEN UND DIE ÜBERNAME VON VERANTWORTUNG SEITENS DER STADT AMSTERDAM IN DER AFFAIRE "ARTCHIVE FOR THE FUTURE" VON JACOBUS KLOPPENBURG."
NOTE: The same protest of Eva Arnscheidt appears at the exhibition in the Water Tower, Vlissingen, 2003, but this time on a photograph of the critically listening Joseph Beuys and Waldo Bien, taken by Digne Meller Marcovicz, during the Beuys class mammoth discussion, Frankfurter Kunstverein, 1976 (F.I.U.archive).
2003, 1 - 29 Nov: Exhibition BISON CARAVAN, La Friche la Belle de Mai, Marseille, France. NOTE: Hilarius Hofstede, F.I.U. Amsterdam/Denmark, is the author and initiator of the Bison project.
A central theme of this project is migration. The Bison herd has set out in Denmark from the Århus museum, in May 2003, then moved on to Marseille, and there, in a dramatic hangar like industrial space kept in darkness like a cave, thousands of visitors came to see the 300 Bison artworks with the help of affixed minelamps. All artworks are donations form artists, from all over the world, for the Bison Herd. (In Marseille curated by Hofstede and Alfons Alt). Hofstede, as author, proposes that in five years the growing herd reaches a destination in America and that the prehistory of Europe and the American wilderness will both be riantly illuminated in the Bison. On special request of Hofstede and of other artists, Jacobus Kloppenburg produced a special "Bison Block", 15 works in all, ranging from a Johan Sebastian BACH BISON, via ROUTE 66, …to the BONBON TWINBISONS, bison drawings on chocolate wrappings. The Kloppenburg works were given a prominent place in the exhibition: In complete darkness one had to pass through a closed theatre curtain, and enter the "Grande Cave", the Paleo Palace, and the first thing one would see at the very sacred end were the Kloppenburg Bisons. That was how fellow artists and the F.I.U. Marseille honoured the 74-year-old artist, not in his hometown Amsterdam, but in Marseille, in France.
2004: Jacobus Kloppenburg, Lothar Baumgarten and Felix Droese are invited by the chairman of the 'Gesellschaft Niederrheinische Landschaftsskulpturenachse Hoch Elten-Kleve e.V.', Prof. Christian Holland, to make a border-crossing design for sculptures along the banks of the Rhine. The advisory council: Franz Joseph v.d. Grinten, former Director Museum Schloss Moyland, Prof. Dr. Klaus Bussmann, Director Westfälisches Landes Museum Münster, BRD, Dr. Uwe Rueth, Director Skulpturen Museum, Marl, BRD and Waldo Bien, F.I.U. Amsterdam, NL.
NOTE: under construction
ART MUST GO ON ART MUST GO ON ART MUST GO ON ART MUST GO ON ART MUST
2004, 11 April - 31 May: Exhibition BISON CARAVAN, Water Tower, Vlissingen, NL. On invitation of Dir. Leon Riekwel. Curators: Hofstede and Riekwel, and for the Kloppenburg works: Waldo Bien.
The BISON HERD has meanwhile grown in size by 60 new donations, and now consists of some 370 artworks exhibited in the Water Tower. In connection with this exhibition the BISON CARAVAN and the F.I.U. Amsterdam draw attention to the dramatic affair around the lifework of the Amsterdam artist Jacobus Kloppenburg, who celebrates his 74th birthday this year.
NOTE: Quoting from press release: JACOBUS KLOPPENBURG'S ARTCHIVE FOR THE FUTURE, Lifework under threat of Municipality of Amsterdam. In the herd of artworks now visiting the 3rd harbour city Vlissingen, there is a series of works from the Amsterdam artist Jacobus Kloppenburg, whose lifework, the Archive for the Future, originally meant to become part of the collection of Museum Schloss Moyland, BRD, was destroyed by the City of Amsterdam at the very last moment. Instead of congratulations, the Municipality sent a demolition company to carry out the promised 'eviction with utmost care', with disastrous consequences. Since October, Kloppenburg's lifework, the Artchive for the Future, has been held hostage by the City of Amsterdam, under the threat of destruction and exposed to further ruin by inadequate storage.
The present artists of the Bison Caravan and the Free International University Art Collection, FIUWAC, have collectively expressed the wish to decorate the upper room of the Water Tower in this Bison Caravan as a homage to Jacobus Kloppenburg, 74, and his sculpture ARTCHIVE FOR THE FUTURE, and to protest with force, horror and indignation against the disgraceful and disrespectful handling of cultural objects and as such to throw away the national reputation of Holland as a cultural domain built up by many generations of artists.
The Kloppenburg presentation contains an overview of all documents of importance in this case and a number of the hundreds of Kloppenburg artworks from the FIUWAC, press articles, video-installations and …at the next opening … the artist Jacobus Kloppenburg in person. On this occasion, F.I.U. poses the following
10 QUESTIONS TO LORD MAYOR AND ALDERMEN OF THE CITY AMSTERDAM
- 1. Does the Lord Mayor of Amsterdam support the view of his council that the life work of Jacobus Kloppenburg, known as 'the Artchive for the Future', is to be destroyed?
- 2. Does the Lord Mayor of Amsterdam support the view that the Gesamtkunstwerk 'Artchive for the Future' of Jacobus Kloppenburg is the responsibility of the Building Department?
- 3. Has the threat of destruction (vernietiging) been lifted and can the Lord Mayor of Amsterdam give assurances that this threat will not be carried out?
- 4. Is the Lord Mayor of Amsterdam, however, aware that the recent storage conditions of the 'Artchive for the Future' of Jacobus Kloppenburg is destroying the collection?
- 5. Is the Lord Mayor of Amsterdam aware that this Gesamtkunstwerk 'Artchive for the Future' from Jacobus Kloppenburg, now rotting away in containers, was removed in the first instance by a professional demolition company and that extreme damage was done during and as a consequence of this removal and later storage until today, 6,5 years later?
- 6. Is the Lord Mayor of Amsterdam and his Council aware that in the course of those 6 years the threat of complete destruction for the 'Artchive for the Future' from Jacobus Kloppenburg has not been removed and that correspondence of concerned individuals and institutions, world-wide, has been left unanswered?
- 7. Is it the policy of the City of Amsterdam to destroy artworks?
- 8. If it is the case that the Lord Mayor and his Council do not wish to see the complete destruction of the 'Artchive for the Future' from Jacobus Kloppenburg, what steps are they prepared to take, even at this late hour?
- 9. Is the Lord Mayor of Amsterdam and his Council prepared to, in the public domain, reach a fair and equitable solution for the 'Artchive for the Future' of Jacobus Kloppenburg?
- 10. Can the request of the following people, to which list countless names could be added, continue to fall on deaf ears?
COMMITTEE OF RECOMMENDATION to save the "ARTCHIVE FOR THE FUTURE"
-WaIter Hopps / Senior Curator 20th Century Art Guggenheim Museum New York USA - Founding director of the Menil Collection, Houston, Texas, USA. -Hans + Franz Joseph v.d. Grinten / Founders of the Sammlung van der Grinten, Museum Schloss Moyland, Bedburg-Hau, Germany. -Chris Dercon / Director Museum Boymans van Beuningen, Rotterdam, The Netherlands.
-Ron Manheim / Adjunct director Museum Schloss Moyland Germany. -Ferdinand Ulrich / Director Kunsthalle Recklinghausen, Germany. -Rudi Fuchs / Former director Stedelijk Museum, Amsterdam, The Netherlands. -Patrick Healy / Author, art critic, professor Free International University Amsterdam/Dublin and faculty of architecture, TU Delft, boardmember Free International University World Art Collection, founder Paleo Psycho Pop Magazine. -Saskia Bos / Director Foundation De Appel, Amsterdam. -Tijmen van Grootheest / Chairman of the board of directors Gerrit Rietveld Academie, Amsterdam. -Frank Lubbers / Adjunct director, head curator Van Abbe Museum, Eindhoven. -Lothar Baumgarten / Artist and professor Hochschule der Künste, Berlin, Germany. -Luk Darras / Ambassador of Belgium, Australia. -Katharina Sieverding / Artist and Professor Hochschule der Künste, Berlin, Germany. -Hilarius Hofstede l Artist, founder Paleo Psycho Pop Magazine and boardmember Free International World Art Collection. -Felix Droese / Artist. -Laurent Jacob / Director Espace 251 Nord, Liège, Belgium. -Eric Amouroux / Art critic, Paris, France, Sao Paulo, Brazil. -Adrian Dannatt / Art critic, New York, USA. -Michael Rutkowsky / Artist, CoIgne, Germany. -Virgil Grotfeldt / Artist, professor Free International University, Baptist University, Houston, Texas. -Johannes Stüttgen / Artist, author, professor Free International University, Düsseldorf, Germany. -Alfons Alt / Artist, professor Free International University, Marseille, France, boardmember Free International University World Art Collection. -Jan Hoet / Director StedeIijk Museum voor Aktuele Kunst, Gent, Belgium. -Waldo Bien / Artist, professor Free International University, Amsterdam, founding director Free International University World Art Collection -René Block / Director Museum Fridercianum, Kassel, Germany. -Edy de Wilde / Former director Stedelijk Museum, Amsterdam, The Netherlands, Amsterdam. -Sjarel Ex / Director Centraal Museum, Utrecht, The Netherlands (currently at Boymans van Beuningen). -Babeth Mondini van Loo / Film producer, program director Buddhist Broadcasting Service, Amsterdam, The Netherlands. -Oeke Hoogendjjk / Filmmaker, Amsterdam, The Netherlands. -Leon Riekwel / Director Buro Beeldende Kunst, Vlissingen, The Netherlands. -Ton van Gestel / Director Stichting Kunst in Openbare Ruimte, Amsterdam, The Netherlands. -Evert van Straaten / Director Museum Kröller-Müller, Otterlo, The Netherlands. -Catherine David / Director Witte de With, centre for contemporary art, Rotterdam, The Netherlands. -Klaus Staeck, lawyer, artist and F.I.U. founding father, Heidelberg BRD. -Steven Cadwalader, Director Jason McCoy Gallery, NY. -Jan Willem Schrofer / Director Rijksakademie van Beeldende Kunst, Amsterdam, The Netherlands. -Prof. Dr. Christian Holland, Chairman Ges. N.R.-Sculpturenachse Hoch Elten - Kleve, BRD. -Prof. Dr. Klaus Bussmann, Director Westfälisches Lande Museum, Munster, BRD. -Dr. Uwe Rueth, Director Skulpturen Museum, Marl, BRD. -Hendrik Driessen / Director Foundation De Pont, Tilburg, The Netherlands. etc.
NOTE: The idea for this homage comes from Hilarius Hofstede and Patrick Healy. Bien selects a block of works and prepares it for presentation in accordance with Kloppenburg's TRASHTHETICAL LITTERARTURE concept: The exhibition is conceived of as an F.I.U. LECTURE. The needed material for show-cases, frames, pedestals etc., has to come from the street therefore, not 'discarded' but 'new', in a brand-new state. Kloppenburg leaves for Düsseldorf. On the daily walks from his home to his atelier, Bien assembles the ingredients along the side of the road. The material is discussed over the telephone, and at a later stage examined together, put with the artworks, and suggestions are made. Kloppenburg sometimes brings in new material. This can be a process of minutes or months. Then Bien executes it in accordance wit Kloppenburg's Our-concept: blending of opposite categories. But…, in no instance may this become a house-style. An hypothesis has to be accompanied by its falsification (JEIN, a mixture of the German words JA and NEIN). Artwork and frame should become one, and form a symbiosis. This also fits in perfectly with Bien's own "F.I.U. Open Framework Research" of years. Both artists investigate corresponding problems: Kloppenburg = assimilation, Bien = open frame. Bien works "at himself for Kloppenburg." Works are sometimes signed by both of them. All the while, telephone calls are being made, the situation is discussed, things are planned, changed, added to, or removed, etc. They have the necessary experience: Since 1999, many hundreds of the 1000 FIUWAC and F.I.U.tures works have been created in this way. Things are thoroughly thought over. Finished works are displayed on a nail that happens to be available in the wall of the atelier. The subsequent works are grouped around it, and thus a 'block' or 'group' takes form automatically. Bien speaks of 'BLOCK' and Kloppenburg of 'GROUP'. The connotations differ: 'group' is more loose, mobile, and 'block' is solid and fixed. Next to this, Bien uses the term SEILSCHAFTEN to denote his own work, a special interrelation of works, like mountaineers on a rope, of which Kloppenburg can be part. The photographs of these 'Seilschaften' or work-groups are independent artworks in their own right, an F.I.U. Assimilation Lecture, guidelines of 'social harmony' for future-oriented politics and culture, an aid towards European unity and beyond.
The exhibition is laid out by Bien with the help of his son Sebastiaan. Bien is familiar with the round space, as he has exhibited there. Also works from the FIUWAC are used, pastels, drawings, sculptures, objects, photos and a slide show by Kloppenburg. To provide the audience with an insight into the ongoing Kloppenburg affair, a number of documents are enlarged and put on the wall: Letters from Walter Hopps, v.d. Grinten, Ron Manheim, municipal threat of DESTRUCTION, newspapers, articles and a new generation of F.I.U. Public Protest Artworks (F.I.U. study collection) by Hofstede, Alt, Healy, Bien… Subsequently, the video registration of the visit with the ICN to the containers, with the text:
PLEASE FASTEN YOUR SEATBELTS
Jacobus Kloppenburg, his wife Eva and children come to Vlissingen for the opening. Bien is complimented with the presentation. Kloppenburg feels completely "at home, as if I did it all myself", and both laugh heartily.
Bien and Beuys