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Sandra Guarda
Cornelis van Eesteren
Meeting the Avant-garde 1914-1929
€ 15,00 Oorspronkelijke prijs was: € 15,00.€ 7,90Huidige prijs is: € 7,90.
The celebrated Dutch architect and urban planner Cornelis van Eesteren is most famous for his work on the Amsterdam General Extension Plan (AUP), dating from 1934 and implemented after the Second World War, and for his role as the chairman of the International Congress for Modern Architecture (CIAM) from 1930 to 1947. He was a pioneer, and a highly influential figure of modernist urbanism. During his less known ‘coming-of-age’ years in the 1920s, an exceptionally exciting period in the cultural history of the 20th century, the curious and talented young man was in the right place at the right time. He visited the Bauhaus in Weimar, where he met Walter Gropius, El Lissitzky and Theo van Doesburg, among many others; he spent a week in Vienna with Adolf Loos; he joined De Stijl and collaborated with Theo van Doesburg and Gerrit Rietveld in the now legendary De Stijl exhibition in Paris in the fall of 1923. This chronological account of the events of his youth follows Van Eesteren closely, supported by diary entries and personal letters, and through his encounters, friendships and fallouts the artistic Zeitgeist of the 1920s becomes enjoyably tangible.
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Jacques Prins
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For Dutch see below - English - 2020 is the 75th anniversary of the end of the Second World War. In Architecture and Memory, architect Jacques Prins focuses on commemorative sites. He brings together 40 of these sites, from across Europe and from the post-war period, and documents them in texts, drawings and photographs. His aim is to convey the feeling of oppression and detachment to the visitor, without creating a reconstruction, to really allow them to identify with the past. For easy comparison, Architecture and Memory includes several drawings of each site: of the situation they were in during the Second World War and of the situation they are in today. Together these create an image of the design strategies that different designers have employed over the course of time. Professor dr. Rob van der Laarse is Professor Heritage of the War at CLUE (Cultural Landscape and Urban Environment), the interdisciplinary research institute for heritage and history at the VU. Jacques Prins is architect and partner at Inbo and responsible for the new building of Nationaal Monument Kamp Amersfoort. Max Meijer is heritage advisor at TiMe Amsterdam. - Dutch - In het jaar waarin we 75 jaar bevrijding herdenken staat architect Jacques Prins ook stil bij plaatsen van herinnering. In dit boek brengt hij 40 van deze plekken, verspreid over Europa en uit de naoorlogse periode samen, gedocumenteerd in tekst, tekeningen en foto's. Bij al deze plekken is het doel steeds zonder te reconstrueren toch het gevoel van beklemming en onthechting op de bezoeker over te brengen, zodat deze zich goed met het verleden kan identificeren. Architectuur en herinnering toont van elke plek tekeningen van de situatie tijdens de tweede wereldoorlog en nu, zodat die goed met elkaar vergeleken kunnen worden. Op die manier ontstaat een beeld van de ontwerpstrategie die de verschillende ontwerpers in de loop van de tijd hebben ingezet. Professor dr. Rob van der Laarse is hoogleraar Erfgoed van de oorlog bij CLUE, (Cultural Landscape and Urban Environment), het interdisciplinaire onderzoeksinstituut voor erfgoed en geschiedenis van de VU. Jacques Prins is architect en partner bij Inbo en verantwoordleijk voor de nieuwbouw van herinneringscentrum voor het Nationaal Monument Kamp Amersfoort. Max Meijer is erfgoedadiseur bij TiMe Amsterdam. Nai010geb - 240 blz
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Power & Other Things
The project takes its name from the demand for the transfer of power and other things to the newly independent Indonesia in 1945. It travels through time, from European colonial occupation through the development of the republican state to the trans-national contemporary cultures of today. It looks at the various international exchanges that happened in the territories of contemporary Indonesia, through the images and ideas of artists. These exchanges were of different kinds: trade, culture, religion, ideology and war. They produced a variety of results: violence, oppression, racism, creativity, spiritual awakening, and other things. The ideologies and challenges of modernity are common ways in which Indonesia has been depicted by others and has defined itself over the period. As this modern period recedes into history, the project will seek ways to remember how it has influenced contemporary understanding and ask the current generation of artists to look back in order to rewrite the past and potentially create the conditions for a different future. The catalogue and the exhibition will follow a broad chronological narrative, allowing readers and visitors to learn more about how this huge archipelago has changed over the past two centuries and to observe how it has responded and adapted to influences originating from both inside and outside the islands. The influence of the imperial Dutch and Japanese occupations naturally form a significant element in the narrative of the exhibition as does the constant struggle for different forms of independence or equal treatment by the Javanese and other Indonesian cultures. The importance of Chinese and Arab influence on Indonesia's cultural history will also feature as the exhibition tries to look for alternative ways, alongside the post-colonial, for understanding the present. The presentations will include work made during the residencies as well as new commissions. Snoeckpap - 127 blz
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Ton & Mies Becker
Twentieth Century Modernisms in Balinese Wood Carvings
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Ad Petersen
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Willem Sandberg was a gifted designer and a pragmatic museum director, a doer who achieved an incredible amount in the art world after 1945 and opened many people's eyes to contemporary art. He was an idealist who cherished the utopian belief that contemporary art could play a self-evident and meaningful role in society outside of its usual marginal and elitist position. At the same time, he was enough of a realist not to harbour excessively high expectations of the result of his efforts. His belief in the power of art, however, was unwavering. In his work as a director and designer, it was Sandberg's mission to be powerful, positive, and future-oriented. His typography, to which the lion's share of this book is devoted, is tangible evidence of this vocation. This is how author Ad Petersen began his foreword to the French edition of this book. He knew Sandberg well. In the final years of Sandberg's directorate, Petersen became one of his closest collaborators. Thereafter, from 1963 until Sandberg's death in 1984, they kept in touch on a more personal basis. His familiarity with the subject culminated in the book Sandberg, een documentaire / a documentary, which he published in 1975 together with Pieter Brattinga and in collaboration with Sandberg. The original book owes its existence to the initiative of the then 50-year-old Institut Néerlandais in collaboration with publisher Xavier Barral. And, of course, to Ad Petersen and his expert storytelling, based on countless conversations, on joint travels, on their collaboration at the Stedelijk, on mutual sympathy, and on his observations of the exceptional personality that Sandberg was. This book was published by Samsara Books in collaboration with the Ambassade Group in Amsterdam. Many thanks are due to designer Adri Colpaart, who also played an indispensable role in the creation of the book. Samsarapap - 224 blz


