Welkom bij de opening
op zaterdag 1 juni
17 tot 19 uur
Pourbusstraat 14, Antwerpen
van de tentoonstellingen

Hendri van der Putten

Inleiding: Kornelia von Berswordt, Schwerin.
Presentatie van het boek EEN GAAT - EEN KOMT, 2003 - 2013.
In het prentenkabinet van LOCUS SOLUS

De tentoonstelling is te bezichtigen
van 1 juni - 29 juni 2013
van 14 - 18 uur
Nothing remains... the way it is

One goes – one comes” is a 44-part work by Hendri van der Putten that first went on public display in 2004 at Rotterdam’s “ramfoundation”. There, it was hung as a set of four rows of 11 works, each sized 60x30 cm. The entire work covered a wall surface of about 2.60 x 3.50 meters. As an offer to viewers by way of variation, there are four stacks of 11 respective works, in other words an entire second set with another 44 color panels, stood one behind the other on the floor.

The vertical format of the individual panel or parts is a structure already to be encountered in Medieval altar paintings, such as Bertram von Minden’s Grabow Altar of 1394 (Kunsthalle Hamburg) which uses 4 x 6 interlinked panels to represent the story of Creation in Christian legends and teachings. Such vertical formats are also customary in Asian art, given the flexible perspective they afford. The eye follows the action in the image through space, and as in the Middle Ages, even across different times. The story can thus be presented in terms of a development, without any point in time or angle defined. This form of vertical format has a powerful, active effect and is therefore very suitable for combinations of images, unlike landscape formats where each individual image exudes tranquility and harmony. Vertical formats are thus more appropriate for dynamic images – instability, uncertainty, drama and tension are associated with the very format.

With a few symbols added to them, the power of the 44 parts of “One goes – one comes” increases immensely as regards their depth and reach. The interlinkages of the 44 portrait formats combines to form a single landscape format. This is why the overall image is so dynamic and so infused with tension, something that changes from one version to the next, even if individual panels from the first version have been retained to this day. For the open potential for change is the fundamental concept underlying “One goes – one comes”.

Colors that were used in the parts for the first version are repeated in prints made using stencils – visually they function to bracket the individual parts.Moreover, new and separate panels were prepared, grounded with the same colors.
These additional, monochrome panels, each only boasting one color, stood on the floor alongside the presentation as swaps that could supplement the image made with the first 44 pieces on the wall.

The overall image of “One goes – one comes” was designed from the outset with its mutability in mind. The very title of the piece intimates that one part is as good as any other part. All parts can be exchanged and are equal. Exchangeability and transience play a key role in Hendri van der Putten’s oeuvre: the interplay of light and shadow, the fleeting views and movements, forgetting and oversight, these are all important constants in her work. She has drawn visual interactions between participants in TV panels and the motion of a dog wagging its tail. Forgetting and insertion of symbols, the wit or incomprehensibility of ad slogans, the absurdity of words and language, these are important, recurrent themes in her oeuvre. For we often only perceive visual shapes and patterns subconsciously, they only serve as orientation in everyday life and are thus an essential part of perception. Their open and exchangeable character is part of our everyday experience of change.

Each and every viewer participates in the concept of this piece. The image as a whole is never finished or complete, its visual or temporal reach never clear or subject to complete control. The concept remains open and incomplete, Hendri von der Putten devised the concept specifically with a view to its dynamism, mutability and open development. You can acquire single or several parts of the work and simply take it or them from the wall. The colored parts at hand are then inserted into the gaps. Hendri van der Putten revises the work in its entirety in each version ready for the next show. Each version is exhibited on its own, but all the versions are never on show at one and the same time. They are only to be seen over time, in the different versions one after the other. Photographs document the different versions and the changes to the work and are accessible to all participants. The low price of only EUR 500 per individual panel section ensures many people can take part in the changes and also facilitates its presentation on the Internet at

After a decade, “One goes – one comes” now exists in six presentations or versions. The overall image has varied depending on the venue: in Rotterdam, Goes, Delft, IJmuiden, Loitz, and Antwerp. Photographs document how “One goes – one comes” changed on each occasion. The work remains conceptually open in terms of both title and realization, as can be readily gleaned and grasped from the process of change.

In the very first version all the parts had a white ground. Hendri van der Putten painted them by hand, and used stencils to apply the stamped shapes. The act of painting and the traces of stencils cut across various parts and at the same time thus fuse them to form a single image. After the first show, 12 new panels with different colors were inserted, replacing 12 extant ones. The new items had a grounding in red, blue, green, ocher, gray, black, brown and bright yellow, functioning in the overall image as hard, constructive interruptions compared to the fluid painterly coherence of the panels from the first version. Hendri van der Putten continued to paint the later versions of “One goes – one comes” freely by hand and created a new visual balance by using new stencils (in bright circles and black angles) running from edge to edge, from one row to the next. She continued to work on the piece from one show to the next and in the course of time it changed radically.

The concept behind “One goes – one comes” is also clear from the system of spreading the title across the individual panels: on the cover of the catalog keywords from a list are placed one below the other. For the first version of “One goes – one comes” the individual words relevant to the choice of title are printed in color and each is denoted by squiggle. These together form the title for the first and for subsequent versions. In the first row these were from top to bottom, for example, for the key word “en” – and :

en ....dan....
and .......... then
en ....of........
and......... or / definitely
en.... zo voort.........
and......... so forth
en.... die zei.............
and......... s/he said

Each keyword can linguistically be supplemented:
and, you can, there is, it can, as, alone, you will, you want, it is, you wanted, it does, that is, it can, how, you will,

The fun sets created by combining words from the table can be read as titles, the meaning of which is clear, but open. The puns are not clear definitions or titles such as are customary in art history (à la “Man with dog”, “Still Life with Apple”) and instead, with the squiggled supplement offer a meaning that involves possibility as it could be quite different if combined with a different word from the list.

The bit of the title allocated to each section can be readily seen with a click on the individual section if you are online or constructively with the help of the list from the catalog. It is important for Hendri van der Putten that there is playful linguistic scope as regards the titles of the sections, i.e., the “names” of the images – this corresponds to the piece’s overall concept. The exchangeability and openness of the language games mirrors the concept of the role of the parts of the picture for the whole painting. Thus, the open principle of painting is transposed into the realm of language and used there, pointing up the titles of the parts, their equal status and exchangeability. For every part of the title can likewise be replaced by another word and for the next version with new parts, other names can be chosen from the same list. The linguistic fun presents the potentiality of all variations innate in this piece. The viewer can easily find his or her way visually and linguistically into the system and in the process of the concept, and chose the image visually or by title. This open variability and playful freedom forges links to van der Putten’s former works.

Hendri van der Putten used words, concepts, quotes or names in earlier pieces. For example, when traveling she collected words or phrases in her notebook. Foreign words or strange phrases that lodge in your mind, irrespective of whether their meaning is readily comprehensible. Back in her studio, she stamped a selection of the words of phrases onto canvas using thick coat of paint, whereby the stamps were then impressed onto another canvas, which had a thin grounding of color. The idea was not for the printed words to necessarily be legible or discernible, and the difference in the impression of the stamped words on the two adjacent canvases corresponded roughly to the fleetingness of our perception. Just as traces of memories get dispelled from our minds over time, so too a glance back can like repetition reconstruct fleeting impressions. What we see in van der Putten’s dual images is how mobile and transient visual perception are for the human mind. We perceive unknown words, symbols or terms because they guide us in strange environments. It is irrelevant whether we know their content or precisely understand their meaning. Once visually perceivable and sensorily emphatic, symbols and images strengthen our memory of a setting, become bonded emotionally with that place.

Hendri van der Putten recorded the transience and indeterminacy of impressions and images in drawings of visual interaction between two participants respectively in TV panels. In the drawings, the focus is not on the people, their statements or the meaning of such exchanges of looks, but on the dynamism of the movement, its fleeting character. Because only in exceptional cases do the participants themselves recall such visual interaction. The concept behind the drawings makes the interaction discernible as a structure, the entirely transient becomes a shape, lines in space, and thus a representation of time in space that we can discern in three dimensions. The abstraction innate in the networks of lines reveals a system of mnemonic traces of actual visual interaction with the associated emotional states – there is no linguistic form or visual representation of this otherwise.

Supplementation and imagination is a principle underpinning the “silhouettes”, drawings of shadows. In the “vorm en schaduw” series the outlines of shapes that are set against the light, i.e., shadows, become shapes in their own right. She has molded the shadow of an orange or a door corner in clay or dyed artificial resin. The intangible shadows become tangible in several dimensions. With such extensions, things lose their evidently fixed shape and fleeting, wandering shadows turn into something new. Their immaterial nature is given potentiality in real space, and the changes and extensions to such non-things expands our experience of reality and undermines the certainties it purports to have.

In her art, Hendri van der Putten addresses not only the visual and formal properties of things and shapes, their transience, exchangeability and the function of coincidence. She eschews central perspective, a central point or axis in her work whence all else in the composition could be measured or defined or simply organized. She wants instead to highlight the search and potential for different perspectives in the representation.

The pieces focus on direct visual certainty, and yet one that is itself fleeting, albeit not on transience itself. Even if movements are fleeting, the moment in which one sees movement is clear and defined, thus and not otherwise.

The viewer is meant to be able to turn and change an image as if seeing it in a kaleidoscope. “One goes – one comes” changes along with the viewer, it refuses to remain similar at either level. The pictorial space is flat, bereft of all optical illusion or perspective, the image is an image, nothing more, irrespective of the variations. Yet qua section each section can visually influence the one next to it on either side, the one above or below it. Thanks to the openness, the impression the whole picture gives also changes; in each new version of “One goes – one comes” this is visually manifest and documented. For all the parts from the first overall presentation of the entire image have changed, other than the panels that were extracted from the presentations and handed over to buyers. The overall image today is looser and lighter in tone than in the initial version of 2003-4. The panels had different colors and were densely coated, on an even white grounding. The new panels have a color grounding, and bear far fewer painterly lines or traces of stencils. The sections from the first version were coated with an increasing number of layers of colors and shapes, while the add-in panels bear less painting. The shapes of the stencils function as a visual bracket for the new and the old panels, keeping everything in balance. As regards the sense of depth, there is now more air and space overall, even if this has first evolved gradually with sections being replaced in the course of work and exhibition venue. For only then are additional parts replaced such as to make such a change possible. The variability underlying “One goes – one comes” remains open and accessible for both artist and viewer alike.

(Johanna Schenkel)
hendri van der Putten, Groenland, 1976
hendri van der Putten, Groenland, 1976
Hendri van der Putten, Z.T. , 1986
Hendri van der Putten, Z.T. , 1986
H.van der Putten,ULICA ZACHODNIA,,1992.jpg
H.van der Putten,ULICA ZACHODNIA,,1992.jpg
Hendri van der Putten, Kleuren, 1995
Hendri van der Putten, Kleuren, 1995
H.van der Putten, Z.T. 1986,Locus Solus 2013 .jpg
H.van der Putten, Z.T. 1986,Locus Solus 2013 .jpg

Floor van Keulen

1 - 29 juni 2013

De Nederlandse kunstenaar Floor van Keulen is een gedreven tekenaar. Uit de beweging van zijn hand ontstaat een hallucinante wereld, bevolkt door fabelwezens, die een eigen leven leiden . Tijd en ruimte krijgen andere dimensies.
Niet alleen op papier, de gebruikelijke drager van de tekening, werkt Floor van Keulen. Hij laat het liefst sporen na op wanden, vloer en plafond, om hem heen. Als een Pollock laat hij zich niet begrenzen in zijn bewegingen. Vandaar dat hij in 1979 met zijn tekenacktiviteit welkom was in het toen toonaangevende Centrum van de Performance Kunst, DE APPEL in Amsterdam. Zijn tekenen werd daar in aanwezigheid van het publiek gepresenteerd als een ter plekke uitgevoerde handeling. Sindsdien zijn er talloze van dergelijke tekenperformances gevolgd, vaak in Musea: Fodor in Amsterdam, het Centraal Museum in Utecht en het Van Abbe Museum, of andere kunstplekken zoals Arti in Amsterdam. Kenmerkend is dat deze in situ uitgevoerde tekeningen even vluchtig zijn als de graffiti in de straten en na een kortstondig bestaan weer verdwijnen. Anders dan de stereotype graffiti zijn het persoonlijke uitingen met een eigen karakter, die alleen als fotodocumentatie bewaard blijven. Dat geldt ook voor de experimenten met computerprojecties op huizen in de stad, waar Van Keulen zich de laatste tijd mee bezig houdt
Recentelijk is een grote publikatie over al die niet meer bestaande werken verschenen: FLOOR VAN KEULEN, LOST PAINTINGS, 1965 - 2011, met teksten van Rudi Fuchs, Tom Rooduyn, en Annemarie Smolders.
Ook in LOCUS SOLUS zal Floor van Keulen ter plekken een tekening in de ruimte van het souterrain maken, in samenhang met een overzicht van kleinere werken op papier , product van een virtuoze hand die nooit rust kent.

Zie ook : Franck Gribling, FLOOR VAN KEULEN. TEKENEN ALS PERFORMANCE, in DE NIEUWE,Jaargang17, nr 28, p.22
Floor van Keulen. Teken performance, De Appel,Amsterdam,1979
Floor van Keulen. Teken performance, De Appel,Amsterdam,1979
Floor van Keulen aan het werk, Wandschildering, Locus solus, 2013
Floor van Keulen aan het werk, Wandschildering, Locus solus, 2013
Floor van Keulen, Wandschildering, Locus solus, 2013
Floor van Keulen, Wandschildering, Locus solus, 2013
Floor van Keulen, Wandschildering, Locus solus ( detail), 2013
Floor van Keulen, Wandschildering, Locus solus ( detail), 2013