PORI ART MUSEUM
ARCADIA REDESIGNED will be exhibited in PORI ART MUSEUM PORI 17 NOVEMBER 2008 FINLAND
ARCADIA REDESIGNED will be exhibited in PORI ART MUSEUM PORI
BACKLIGHT 08 | 8TH INTERNATIONAL PHOTOGRAPHIC TRIENNIAL
[10.10.2008 - 01.02.2009]
MEDIApoint

Pori Art Museum is involved in the International Photographic Triennial Backlight 08 and will exhibit the work of six triennial artists at the Museumx92s MEDIApoint.
ARCADIA REDESIGNED
Herman van den Boom, Belgium, Holland / Mai Yamashita/Naoto Kobayashi, Germany

Installation view of the exhibition in Museum Centre Vapriiki Tampere
September 2008
BACKLIGHT FESTVAL VIDEOS TAMPERE 2008

INTERVIEW FOTOFEST HOUSTON about ARCADIA REDESIGNED 2006

AUCTION OF TWO IMPORTANT VINTAGE PRINTS of
HERMAN VAN DEN BOOM at GRISEBACH BERLIN.
27 NOVEMBER 2008

Villa Grisebach Auktionen GmbH
Fasanenstraxdfe 25
D-10719 Berlin

AUCTION 159

Lot 1521 BRUGES 1972 Vintage print 1977
Lot 1522 OSTEND 1973 Vintage print 1977

Works have been exhibited in Stedelijk Museum Schiedam, Museum het Kruithuis, Hedendaagse Kunst Utrecht, The Netherlands.

Villa Grisebach Auktionen GmbH
Fasanenstraxdfe 25
D-10719 Berlin

Telefon +49-30-885 915-0
Telefax +49-30-882 41 45
E-Mail auktionen@villa-grisebach.de
AUCTION CATALOGUE
xd6ffnungszeiten:
Montag bis Freitag 10 bis 18.30 Uhr
Samstag 11 bis 16 Uhr
und nach Vereinbarung

PETER SPAANS    PHOTOGRAPHS  of  HOLLAND                                                                                                     

OPENING: Oktober 28, 3 PM

Oktober 28-December 31 2006

and by appointment 

cream: contemporary art in culture, Phaidon Press, London, 1998, ISBN: 0714838012
text by Okwui Enwezor, New York, pages 372-376 

Peter Spaans’ photographs are postcards dispatched from the frayed edges of the modern world. A world of commerce, decaying industrial buildings and machinery.
In these works, the vanquished relics of modern aspiration declare themselves like haunting monuments to man’s desire to imagine a future unencumbered by the past. Where history is retained, it appears in the form of erased presences, such as abandoned, empty lots or gentrified ghettos.

These silent works turn the city into catacombs. But while there are recognizable, common elements in Spaans’ work, it still cannot be summarized.
Though it has a documentary quality, a casual artlessness belies the tough investigative stance that asks us to look again at the surroundings of the city we thought we knew.

From the thousands of photographs Spaans has taken, it becomes apparent that major cities such as New York, Berlin and his native Amsterdam serve as character studies for his work.
Like a flaneur he trawls abandoned landscapes in these exhausted industrial worlds, treating the built structures like examples of nature. Instead of cornfields, however, we find concrete pavements, the rusting hulks of bridges, fading advertising signs, barricaded storefronts, shiny, phallic skyscrapers that are almost a condensation of power and ruthless aspiration, aerial views of the city, impersonal hotel rooms, paint peeling from the facade of buildings.
Or one may view these photographs as extended essays, in which the artist seeks to define his own personal relationship with a world that defamiliarizes itself with every encounter. In this sense, rather than looking at each photograph as an individual, autonomous work, it is best to see them as one great work in progress. Each single image is part of a discontinuous narrative providing different interpretations of the various aspects of the cities he visits.

Spaans’ work is a rumination on the question of individual memory and identity within the complex processes of the modern city’s transformation from a place of utopian desire to an alienating and anonymous entity. It raises such questions as: what can possibly be the identity of a city in the global moment of fast disappearing boundaries? Who are cities for? What is the meaning of place in defining a sense of community and identity? With the increasing loss of faith in the utopian ideals of modernity and the virtualization of space through digital dystopia, time and place are becoming not only irrelevant, but increasingly displaced and fragmented.

In this context, Spaans’ silent photographs might seem quaint in their obsessive exactitude, which pinpoints the banality of our urban, built environments. But by fixing on those structures that monumentalize modernity and its triumph of reason and industry, Spaans’ work stands as a measure of the way in which we encounter the spatial and temporal dynamics that define the global metropolis.

Okwui Enwezor.
See PETER SPAANS website here

NEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWS

NEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWS

On ARCADIA REDESIGNED by Herman van den Boom
in EUROPEAN PHOTOGRAPHY.
Publisher: Andreas Muhler-Pohle, Berlin.

November 2006

Picturing the Landscape:
Of The Earth, Violence, and Approaches to Landscape Photography
FotoFest 2006   FotoFest 2006

"If the adaptation of modern materials to traditional designs is part of human experience, so is the adaptation of nature to human design in its broadest, even most ridiculous, creation. Images by Herman van den Boom from Belgium and the American Keith Johnson look at the extent to which Man has sought to control xb3Naturexb2 while retaining aspects its very naturalness. In his xb3Landscapes of the Imaginationxb2 Van den Boom takes a look at the everyday surrealism of suburban Belgium.

Here, new housing developments are situated in a false xb3Arcadiaxb2 of topiary constructions that point up Manxb9s manipulation of xb3Naturexb2 as the xb3Otherxb2 by reducing it to play toy proportions controlled and contorted by architects and designers who fancy themselves xb3Masters of the Universe.xb2

This landscape of bitter fruit, sculpted hedges, and manicured lawns, becomes mere design elements in a completely artificial environment, denaturalized through the manipulation of Nature.

Bill Kouwenhoven
New York/Berlin

NEWS ON WOLFGANG ZURBORN

Ausser Haus

September 24th – October 22th 2006 September 24th, 3 p.m

Wed, Sat 2 p.m.- 6 p.m. Son 11 a.m. – 6 p.m

Schloss Burgau

Von-Aue-Str. 1, 5

2355 Dxfcren

More NEWS on WOLFGANG ZURBORN

NEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWSNEWS

images against war

Peace Museum, Chicago

September/October 2006

An exhibition organized by Gallery Lichtblick with statements of more than 600 artists from all over the world.

Curated by Tina Schelhorn

IMAGES AGAINST WAR

PARISPHOTO 2006

PARIS PHOTO 2006: 10th edition of
the leading international photography fair

Paris Photo celebrates its tenth anniversary with a sparkling selection of Nordic talent
Guests of honour: Denmark, Finland, Iceland, Norway & Sweden

From November 16-19, 2006, Paris Photo celebrates its first decade with an outstanding panorama of 19th century, modern and contemporary photography at the Carrousel du Louvre.

Curator of Spotlight on Nordic countries:
Andrea Holzherr, art critic and freelance curator

Spotlight on Nordic countries
Denmark, Finland, Iceland, Norway and Sweden are the guests of honour for 2006. During the 1990s, Copenhagen, Helsinki, Reykjavik, Oslo and Stockholm contributed to a rebirth of contemporary photography with an explosion of creativity that has been described as the x93Nordic miracle.x94 Three events to highlight the best of Nordic photography:

The Statement section will host eight selected galleries from the honoured countries, presenting solo exhibitions by emerging contemporary artists: Trine Sxf8ndergaard & Nivolai Howalt (Martin Asbaek Projects Copenhagen), Per Bak Jensen (Bo Bjerggaard Copenhagen), Heli Rekula (Anhava Helsinki), Axel Antas (Heino Helsinki), Hrafnkell Sigurdsson (i8 Reykjavik), Eline Mugaas (Riis xad Oslo), Annee Olofsson (Mia Sundberg Stockholm) and Maria Hedlund (FlachGeiger Stockholm).

MASTERS:

GEMMA VISSER
YOLANDA BERTSCH
ANNEKE PAIJMANS
MARK TIMMER
UWE HERGENRODER

Kwaggawerk – Cistusrxf6schen
mit WOLFGANG ZURBORN 2008

ARNO RONCADA
at HEXGALLERIES
OPENING 14 SEPTEMBER 2008

Arno Roncada

Fault Trace Pictures

Erik Eelbode

‘A photograph has edges;
the world does not.’
(Stephen Shore)

Arno Roncada doesn’t take photographs. He invents them. Pictures or fragments of perspective. Sceneries and landscapes. Initially, there were locations. For example, just around the corner or extremely far away. The kind of places you usually pass, thoughtlessly and innocently, until you are aware of them as photographs.

- When do we start watching usual things in an unusual way?
Brecht’s and Guy Debord’s estrangement. Freud’s uncanny. Close to home and yet frighteningly unreachable.
The “everyday” escapes our attention and asks us to look the other way, so wrote Georges Bataille. When something seems ordinary, when it is imperceptible or unperceived – part of the furniture -, that is precisely the moment when it is worthwhile to return and look closer.
This surely is one of the interpretations or possibilities offered by the “location” pictures of Arno Roncada.

This is possible because Arno Roncada is not an indifferent photographer. He does not adhere to the “anything goes” principle, which has been ruling the photographic world to a large extent for years now. More and more photographers have come to believe in a spatial nihilism, writes Dirk Lauwaert in his recent book Lichtpapier (Light paper). People do not ‘leave’ anymore, but are always ‘on their way’. They do not give any form to space, but pass through as a distance between two points. That is how their pictures contend with the negation of the spot. They photograph space as an escape path, as an evacuation corridor, as a transit zone. -

Arno Roncada too has photographed such transitional locations, but not en passant (passing by). In fact, he already had the picture in mind before the spot presented itself. Furthermore the titles he systematically gives to each work reveal this.
And when such a location coincides with his thinking of a particular moment, he stops there. He literally takes the time to give form to a space; to show us in full what there is to see and – if possible – what he himself thought to see.

In Prop, for instance, we see thrice illuminated, a raster of black squares in different intensities, some type of rack, part of stage property in residual light.
Or: daylight is shining into an empty space through lace curtains from the right side. A schematic pattern in yellow lines is outlined on the messy grey floor. Inter as a memory or an omen of a drastic change?
Deep blue wall-to-wall carpeting is part of a modern standard hotel interior. Half of the bed has been folded out from a Murphy Bed, revealing a growing blood-red stain on a white mattress. Is Inn referring to a crime scene in a prototypical hotel room? Or is it about the remarkable dxe9gradxe9 (shading) of yellow?
Model on the other hand offers an inconceivable assemblage of insulating material and ceiling tiles hanging loose. Could this be a schematic presentation of a yet unknown planetary system? Those who have ever seen the science fiction film Close Encounters until the very end, possibly perceived in the backlit mountain something more than a fluorescent green diorama kind of model.

The pictures of Arno Roncada are – in changing gradations – already pre-constructed, invented – and pre-visualized – from a mix of instinctive ideas, critical considerations and rational models, existing or not. There is only a moment, a location, yet it is just a sampling or an archaeology of an empty space; an idea that seeks to be bitten.
In such a way, locations are found or sometimes even literally personally constructed. In Double, for instance, a new space is created through a double exposure forming a dominant central perspective. And the work Fault_Trace is a pure construction and represents his pictorial vocabulary. There is the tension between possibility and impossibility, between fake and real, the moment in time and duration, the crystal-clear illuminated spot and space nearly merging into the fog. Coincidence is curtailed. Finally, the literal interpretation of the title Fault_Trace suggests something else than the geological concept: tectonic plates beneath the earth’s surface pushing across each other so that fault traces come into existence.

A number of full-blown mountain scapes are added to the locations and constructions as counterpoint and offer breathing space at the same time. These Gran_Turismo pictures also depart, in principle, from the existing possible reality (the volcano Etna, the Alps…), but soon make clear that that is not the point. Merely the very diversity of formal variations – from graded rock foregrounds in pastel colors and postcard aerial pictures through quasi-informal abstractions – indicate that these pictures want to lead their own lives passing by the concrete spot. This recalls the end of the eighteenth century in which for artists ‘the landscape’ did not really exist. The idealized mountains of William Turner or Caspar David Friedrich have nothing to do with the Pyrenees or the Alps. These artists were working by the motto ‘le paysage est un xe9tat d’xe2me’ (the landscape is a state of heart and soul). With his modern version of ‘le sentiment de la montagne’ (the sentiment of the mountains), Arno Roncada once more adds – accurately, dimensionally stable and not without any irony – a prolific extension to his arsenal of invented pictures. His ‘fault trace pictures’.

With few exceptions there are no people in the works of Arno Roncada: the magisterial illuminating arm of Lara for instance or the tiny little figures running along the edge of the volcano in Gran_Turismo I. But are there really people in the paintings of Caspar David Friedrich? Or are these figures only there to look – backwards – into (or out of) the picture together with us? Just like a mirror waiting for its reflection.
(August 2007)

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

ROB MOOREES

Curated a new exhibition in Amsterdam:

Spaarnestad Photo
The front and reverse side of photos
Curated by Rob Moorees and published by NRC Handelsblad, this show is an example of the vast possibilities of the Spaarnestad Photo archives. Every photo in its original archive has text and stamps on the backside. The text tells a story about the origin and the whereabouts of the photograph and functions as an provenance of the original print. By scanning both sides it becomes possible to read the photo in more ways then intended by the original maker of the image. All photographs are for sale during the show.
Quest show Spaarnestad Photo Archives
The front and reverse side of photos. Curator Rob Moorees
22 August – 7 September<a href="http://hexgalleries.web-log.nl/photos/uncategorized/2008/08/28

http://www.luxphotogallery.com

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

CHAUSSEE d’AMOUR 2008
HERMAN VAN DEN BOOM

PREVIEW ARCADIA REDESIGNED for TICKLE ATTACK, BACKLIGHT Fotofestival TAMPERE Finland
Opening 19 september 2008
TAMPERE BACKLIGHT FESTIVAL

VALENCIENNES 2007

MADRID 2007

CAR TUNING SALON 2007

CAR TUNING SALON 2007

CRISNEE 2007

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
ILYA RABINOVICH EXHIBITION IN HEXGALLERIES prolonged till 12 september

ILYA RABINOVICH EXHIBITION IN HEXGALLERIES prolonged till 12 september

input, textarea, select
{font-weight: normal;
font-size: 11px;
color: #525E54;
font-family: verdana, arial, geneval, helvetica, helv, sans-serif, monospace;}
.txt {font-family: verdana, arial, geneval, helvetica, helv, sans-serif, monospace; font-size: 11px; margin: 0px;}
.knap
{BORDER-RIGHT: #525E54 1px solid;
BORDER-BOTTOM: #525E54 1px solid;
BORDER-LEFT: #525E54 1px solid;
BORDER-TOP: #525E54 1px solid;
HEIGHT: 20px;
cursor:hand;
background-color:F4FAED;
}

Fine art appraisal, art prices – Search free signatures & monograms

<a
John Baldessari, Maastricht 2008

CURATOR’S BIRMINGHAM

FOTOKINA COLOGNE

MOSCOW BIENNALE, GRAND MANEGE KREMLIN

JOEL MEYEROWITZ MUSEUM for PHOTOGRAPHIE CHARLEROI 2008

ITALIAN OPERASINGER MAASTRICHT 2007

RHONDA WILSON BERLIN

CRITIC’S APPARTMENT BERLIN

GERRY BADGER PARIS 2007

JOHN GOSSAGE PARIS 2007

SUSAN LIPPER and PETER FRASER PARIS 2007

LOVENJOEL BELGIUM with STUDENTS 2007

DANISH PAINTER TALR MAASTRICHT

FRED BALDWIN ODENSE

ALISON NORDSTROM ODENSE

ALBERTO GARCIA-ALIX MADRID 2007

SEE ARTICLE ON “BECOMING DUTCH” In The VAN ABBEMUSEUM in NRC HANDELSBLAD
ILYA RABINOVICH
Ilya Rabinovich OPENING APRIL 20 at 15.00hrs
Contemporary photography has taken postmodernist alienation and disenchantment as its subjects x96 whether through the built environment or through the human subject. But no critique of todayx92s postindustralist capitalism or the disenchantment with our former utopias quite prepares one for the utterly desolate world presented by the photographs in this book.
There are three, loosely grouped chapters: non-places, places of memory, and chairs. The photographs have been taken over a span of thirteen years, from 1993 to 2006. The chapters together constitute a journey that takes us to Moldavia, Israel, Germany, the Netherlands, Russia and Mexico. The book is the receptacle of the artistx92s life, of a lifetime spent in emigration, yet all its places look alike, and all are devoid of people.
There is no one word in any European language to describe the state of being that is exile. Exile not merely understood as a fact of biography, but exile as a permanent inner condition. It is not just a state of longing or of homesickness, but rather of being forever unhomed, of never quite belonging wherever you may have settled down. It is a state that cannot be cured or altered, for it springs from a deep uprootedness of the soul. Losing your home means not just the loss of a place and the subsequent relocation in a foreign country. It means losing onex92s cultural and social identity, onex92s status within a community, the value and context of memory. Even if you are physically able to return, home is the one place you can never go back to; home is the permanent presence of absence.
Ilya Rabinovichx92s photographs comprise a double figure of both exile and estrangement. The first, the outer figure, shows us the collective utopia of a better life turned into the impersonal hell of the globally uniform. Those apartment blocks, corridors, interiors, parking lots, cinemas, hotels, schools, and waiting rooms, testify of a culturally estranged world that is by now terribly familiar to us all. These places could be everywhere x96 and, in fact, they are. Sometimes we know from a palm tree that we are not in some Northern country, from a patch of snow that this is not the South. But even whatever there is of nature in these images seems oddly displaced. The occasional personalized touch to a building or an interior — a tree wedged in a corner, a vase of flowers — seems like an uneasy prop, all the better to reveal the hopelessness of ever calling places like these x91homex92. Many photographs leave one with a suffocating feeling of confinement. Those buildings and spaces testify to the lifestyle of a global middle class, or those striving to emulate it, and its standards of luxury, higher education, the exclusive neighbourhood, the better car. What emerges, page after page, is anonymity and cultural impoverishment. Places bereft of memory, corrupted by the pretentious fake and, above all, obsessed with a certain propriety, a normative behaviour excluding all else.
Most terrifying of all, however, is that there are no people in any of those places. Nothing alive is stirring there, not even a bird. When looking at these images, you are abandoned to loneliness, as if everyone has gone away, turned their back on you. It makes you yearn for human warmth, for the crowd to occupy the seats of the cinema once again, for a boy with a football to come skipping around the curb of a road, even for the visual swoosh of a passing car. But there is something in each and every one of these images that bars access to the life one knows must be going on in these places, access even to the places themselves. This exclusion, this desolation, is the second, inner figure of exile in these images, the one that sets them apart from any other type of postmodern photography: the exile that speaks of the life of the emigrxe9.
A very carefully chosen technique brings about these effects of barring, of estrangement, of never quite owning the world you see. Sometimes there is an ever so slight shift in centrality, making you feel that something is wrong, dislocated; often the viewpoint is very low, like a childx92s perspective of a classroom or a home. Sometimes the horizon is halfway up the image, creating a sense of floating, of the entire space being upside-down. Or of access barred by a stretch of empty space so wide it defies crossing. Sometimes there is a technical disruption of the perfection of the image, a form of wilful optical destruction enhancing the senselessness of the place.
Most postmodern photography can allow itself to be dispassionate, objective and critical because the intrinsic point of departure of its critique is a feeling of ownership, of belonging, of being part of the culture it portrays.
In Rabinovichx92s case, the photographs do not represent or target postmodern alienation and displacement as a kind of moral photographic subject, even though todayx92s alienated human condition unmistakably emerges from those desolate photographed environments. It is as if the photographs themselves are desperately looking for a place to inhabit, a world to belong to, but find none.

Marianne Brouwer, October 2006

Installation view of Ilya’s work in the gallery

Ilya Rabinovich

At the opening april 2008

REACTIONS ON ILYA’S EXHIBITION

RE: hexgalleries
From:ron sluik
Date:April 21, 2008
To: Herman Van Den Boom
Status:Pending
Dag Herman,

Goede keus om een expo met werk van Ilya te maken.

bezoek mijn site ook eens www.sluik.info

Ik woon werk tegenwoordig in Bergen Noorwegen.

Ron Sluik.

BLAADJE 4

FESTES ST. ANDRE 1980
FOTO: HERMAN VAN DEN BOOM
Publication in BLAADJE 4

Blaadje 4 ziet het licht op 6 maart 2008!
persberichten
Submitted by Marije
Wednesday, 05 March 2008
Blaadje, het eigenzinnige blad voor bladenmakers, ooit bedacht door Rupert van Woerkom onder auspicixebn van Totempaal Media, ligt vanaf medio maart in de winkels. Petra Boers en Suzanne Hertogs, de makers van DUF, voerden de hoofd- en eindredactie, Joachim Baan tekende voor de art-direction en Anouk Tates voor chef redactie. Het thema is dit jaar Vonkstof – inspiratieaandrijvingspakket.

Niet je vak maar je passie
Blaadje 4 begon met een oproep aan bladenmakers en creatieven uit o.a. film-, foto-, reclame- en theaterwereld om vrij werk in te zenden. Vrij werk, dat nog nooit eerder is gepubliceerd. Werk dat niet in opdracht is gemaakt, maar gewoon omdat mooie dingen maken niet je vak is, maar je passie. Een kleine 1500 inzendingen, ook uit het buitenland, kwamen er binnen, een ongekend aantal.

Vermogen te inspireren
Alle inzendingen werden anoniem gemaakt en de bestuursleden van Stichting The Black Tiger en de redactie van Blaadje 4 hebben de selectie gemaakt op basis van het criterium: het vermogen te inspireren. Maar stapels met van inspiratie uit elkaar spattend materiaal maken nog geen Blaadje. Daarmee ging de Blaadje 4 redactie bestaande uit Hoofdredactie: Petra Boers en Suzanne Hertogs (makers van Duf), Art director: Joachim Baan en als chef redactie: Anouk Tates. Zij werkten het inspiratieconcept van Rupert van Woerkom verder uit en kwamen met het idee om Blaadje 4 in te delen naar verschillende theoriexebn en onderzoeksconclusies van vooraanstaande denkers over het onderwerp inspiratie en creativiteit zoals Mihalyi Csikszentmihalyi, Edward de Bono en Nico Frijda. De redactie bestaat verder uit journalisten Paul van Liempt, Vittorio Busato, Victor Engbers, de hoofdredacteuren Fabian Takx (Credits), Willem Baars (JFK), Anneloes van Gaalen (Le Cool), filosoof Bas Haring, Mike Koedinger en Andrew Losowsky (oprichters Colophon 2007), Professor Samir Husni (Mr Magazine), Davi Renard (auteur The Last Magazine), Frank Wijlens (freelance journalist en docent tijdschriftenminor op het AMFI), Fidessa Docters van Leeuwen (auteur en journalist) en Georgette Koning (auteur van mode-boeken).

Gereedschapskist voor x93out of the boxx94 denken
Met Blaadje 4 heeft de redactie een gereedschapskistje voor je ontwikkeld om het grillige ding dat Inspiratie heet de baas te worden. Een soort ghostbusterskit voor flowkillers en verschillende manieren om het eens van een andere kant te zien. Er werden op de redactie van Blaadje 4 inspiratie vindsnelheden gemeten die de schaal van Beaufort te boven gingen. En menig weeralarm ging er af voor een heftige hersenstorm of inspiratie-tsunami. Met als resultaat een Blaadje vonkend van inspiratie.

VISITING ARTISTS

REGURLY WE HAVE THE HONOUR and PLEASURE of ARTIST’S VISITING and WORKING in HEXGALLERIES

DUTCH SCULPTOR HANS LEMMEN with Family and Friends

The PLAYWRIGHT and ACTOR SIERT VAN DEN BERG working on a new DOLL’S PLAY for THEATRE

FESTES ST. ANDRE 1980
FOTO: HERMAN VAN DEN BOOM
Publication in BLAADJE 4

Blaadje 4 ziet het licht op 6 maart 2008!
persberichten
Submitted by Marije
Wednesday, 05 March 2008
Blaadje, het eigenzinnige blad voor bladenmakers, ooit bedacht door Rupert van Woerkom onder auspicixebn van Totempaal Media, ligt vanaf medio maart in de winkels. Petra Boers en Suzanne Hertogs, de makers van DUF, voerden de hoofd- en eindredactie, Joachim Baan tekende voor de art-direction en Anouk Tates voor chef redactie. Het thema is dit jaar Vonkstof – inspiratieaandrijvingspakket.

Niet je vak maar je passie
Blaadje 4 begon met een oproep aan bladenmakers en creatieven uit o.a. film-, foto-, reclame- en theaterwereld om vrij werk in te zenden. Vrij werk, dat nog nooit eerder is gepubliceerd. Werk dat niet in opdracht is gemaakt, maar gewoon omdat mooie dingen maken niet je vak is, maar je passie. Een kleine 1500 inzendingen, ook uit het buitenland, kwamen er binnen, een ongekend aantal.

Vermogen te inspireren
Alle inzendingen werden anoniem gemaakt en de bestuursleden van Stichting The Black Tiger en de redactie van Blaadje 4 hebben de selectie gemaakt op basis van het criterium: het vermogen te inspireren. Maar stapels met van inspiratie uit elkaar spattend materiaal maken nog geen Blaadje. Daarmee ging de Blaadje 4 redactie bestaande uit Hoofdredactie: Petra Boers en Suzanne Hertogs (makers van Duf), Art director: Joachim Baan en als chef redactie: Anouk Tates. Zij werkten het inspiratieconcept van Rupert van Woerkom verder uit en kwamen met het idee om Blaadje 4 in te delen naar verschillende theoriexebn en onderzoeksconclusies van vooraanstaande denkers over het onderwerp inspiratie en creativiteit zoals Mihalyi Csikszentmihalyi, Edward de Bono en Nico Frijda. De redactie bestaat verder uit journalisten Paul van Liempt, Vittorio Busato, Victor Engbers, de hoofdredacteuren Fabian Takx (Credits), Willem Baars (JFK), Anneloes van Gaalen (Le Cool), filosoof Bas Haring, Mike Koedinger en Andrew Losowsky (oprichters Colophon 2007), Professor Samir Husni (Mr Magazine), Davi Renard (auteur The Last Magazine), Frank Wijlens (freelance journalist en docent tijdschriftenminor op het AMFI), Fidessa Docters van Leeuwen (auteur en journalist) en Georgette Koning (auteur van mode-boeken).

Gereedschapskist voor x93out of the boxx94 denken
Met Blaadje 4 heeft de redactie een gereedschapskistje voor je ontwikkeld om het grillige ding dat Inspiratie heet de baas te worden. Een soort ghostbusterskit voor flowkillers en verschillende manieren om het eens van een andere kant te zien. Er werden op de redactie van Blaadje 4 inspiratie vindsnelheden gemeten die de schaal van Beaufort te boven gingen. En menig weeralarm ging er af voor een heftige hersenstorm of inspiratie-tsunami. Met als resultaat een Blaadje vonkend van inspiratie.