Yayoi Kusama is certainly one of the most important post-war and contemporary artists of the moment, with exhibitions all over the world. Her work is not only of historical importance, but it also appeals to a huge, broad and international audience, and escapes almost all art concepts such as ZERO, Minimal Art, Pop Art and Happening. Her work from the sixties, the time she worked in New York, was regularly shown in exhibitions around the world. Little known until now, however, was that her work originated to a large extent in the Netherlands, Germany, and Belgium, and was exhibited there, more often than in New York. A new publication by the 0-INSTITUTE will provide for the first time ever an overview of Kusama's early performative activities, not only recorded by Dutch and Belgian photographers; but staged exclusively for their cameras. Naked and painted with dots, dressed in her own designed "fashion," in the streets and the sex shop, or just in the Dutch meadows. The publication will give a different light to the artistic activities of Kusama, which was already so colorful and cannot be put under a single heading. Titel: Love Forever or Kusama's story told by Harrie Verstappen Editor: Mattijs Visser Publisher: 0-INSTITUTE / MER. Borgerhoff & Lamberigts Format: 21 x 14 cm Pages: 128 Never published images: 70 Price: 19,50€ To order: www.merbooks.be Isbn: 9789463930772 (ENG)
0 Comments
Gutai was an important movement of the Japanese avant-garde, founded in Ashiya (near Osaka) by Jiro Yoshihara in 1954. Introduced to Lucio Fontana, and a circle of “art informel” artists from France and Italy, by French publicist and critic Michel Tapié. Yves Klein and his Dutch and German “zero” friends were introduced to Gutai by French art critic Pierre Restany. In America, artist Alfred Leslie introduced the group to “fluxus” artist John Cage and “happening” artist Allan Kaprow. But its influence on (subsequent) artists remains underappreciated.
PDF Download below. ![]()
The 0-INSTITUTE is proud to present a unique limited edition, made by Harrie Verstappen with Yayoi Kusama, and now available in an edition of 60 unique copies. >>> for more information
Artists had the opportunity in the 1960s to publicly show the naked body and use the body as a brush or canvas in both conceptual and painterly ways. It was a significant breakthrough shortly after World War II, a sober age of painting and informal art, crossing both artistic and geographic boundaries.
Artists like Christo and Yayoi Kusama explored the boundaries of the permissible, in a cat and mouse game with the authorities. Their “nude happenings” quickly made it to the international press. Yves Klein and Kazuo Shiraga promptly became the “masters” among conceptual painters, whereby the body became a brush and painting was elevated to a public “event.” Piero Manzoni with his extreme actions, further opened the way for art that had fallen into disrepair to reengage with the public, the press, the collectors. These painters, without canvas and brush defined new roads for art. This historical exhibition is composed by Mattijs Visser, founding director of the ZERO foundation, with works from the collection of the HEART Museum Herning and in collaboration with the artist estates. The criteria for the selection is that the artist have been exhibiting in the same exhibitions in the sixties. The exhibition is part of the 8th Socle du Monde Biennale in Herning (Denmark), conceived by Visser, from 25 April to 27 August 2021. |
kusama__mpl0320_96dpi.pdf | |
File Size: | 2135 kb |
File Type: |
Together with the 0-institute, the Armando foundation will set up an international scientific advisory-board to stimulate research into Armando and the network of both artists and poets. Besides both foundations decided to publish the first overview of all the works created by Armando in the so-called "zero" period. The catalog raisonné is planned for 2022, in a printed and digital form.
The 0-Institute would like to be in contact with art-historians, interested in Armando his early artworks and poetry.
The 0-Institute would like to be in contact with art-historians, interested in Armando his early artworks and poetry.
Not far from Milan, in the historic village of Soncino, Palazzo Meroni was owned by the parents of Piero Manzoni. It was in this Palazzo, that Manzoni had his first studio, and where he worked in the summer. Just outside the village is where his grave is now. But not only Manzoni lived and worked in Soncino, Enea Ferrari lived and taught in Soncino and Piero Dorazio was a frequent visitor. The Herning Art Museum (HEART), together with the 0-INSTITUTE and a German private investor, bought the Palazzo to organize in the near future exhibitions, to open studios for visiting artists, and to bring the "Biennale Socle du Monde" from Herning to Soncino. Piero Manzoni, who had one of his first sales exhibitions in the Netherlands; and who was good friends with Henk Peeters, Herman de Vries, and Jan Schoonhoven is also for the Netherlands and the international ZERO network an important historical figure. And as several Dutch museums have important Manzoni works in their collection, and as the 0-INSTITUTE holds correspondence, films, and publications from and about Manzoni, the 0-INSTITUTE will collaborate with the Palazzo Meroni on research and exhibitions.
For the arts in Germany, the future began in 1958. The documentary "HOUR NULL - The Art Movement ZERO" recalls the most important avant-garde movement after World War II, founded by Heinz Mack and Otto Piene, which propagated not only a new approach to art and its materials, but the relation of art to the world entirely to one raised a new level. Go to the documentary >>>
The archive includes not only a complete overview of his artworks, it includes also several essays and interviews with Peeters about his close friends Yayoi Kusama, the Japanese Gutai group, and Piero Manzoni. Click here to enter >>>