With the former he carried Hiller away by extemporising on Handel's choruses in 'Judas,' as he had done Schelble, in the same room, three years before, on subjects from Bach's motets. This time his playing was quite in the vein of his subject, 'the figures thoroughly Handelian, the force and clearness of the passages in thirds and sixths and octaves really grand, and yet all belonging to the subject-matter, thoroughly true, genuine, living music, with no trace of display. I asked him why he chose that striking way of rendering the passage, and he explained it all to me in the kindest manner.
How many times since, says Dorn, has that duet been sung, but how seldom has it been so  accompanied! He rarely played from book, either at this or any other time of his life. One of the grounds of Spontini's enmity to him is said to have been a performance of the 9th Symphony by Felix, without book, before Spontini himself had even heard it, and it is known on the best authority that he played the Symphony through by heart only a few months before his death.
Here we may say that he had a passion for Beethoven's latest works, his acquaintance with which dated from their publication, Beethoven's last years —27 exactly corresponding with his own growth to maturity. It was almost the only subject on which he disagreed with his  father. On the other hand, the devotion of such very conservative artists as David, Rietz, and Bennett, to those works, is most probably due to Mendelssohn's influence. Marx  challenges his reading of Beethoven; but this is to fly in the face of the judgment of all other critics.
The elder Mendelssohn made at this time a journey to Paris, for the purpose of fetching his sister Henriette back to Germany, and took Felix with him. They arrived on March One of the first things he mentions is the astonishment of his relatives at finding him no longer a  child. He plunged at once into musical society. The French musicians, however, made but a bad impression on him. With Cherubini their intercourse was very satisfactory. The old Florentine was more than civil to Felix, and his expressions of satisfaction so very rare in his mouth must have given the father the encouragement which he was so  slow to take in the great future of his boy.
Felix describes him in a few words as 'an extinct volcano, now and then blazing up, but all covered with ashes and stones. Through all this the letters home are as many as ever, full of music, descriptions, and jokes—often very bad ones. Here, for instance, is a good professional query, 'Ask Ritz if he knows what Fes moll is. On May 19, , the father and son left Paris with Henriette 'Tante Jette' , who had retired from her post at General Sebastiani's with an ample pension, and thenceforward resided at Berlin.
Felix played the B minor Quartet, and delighted the poet by dedicating it to  him. Anything more stiff and ungraceful than the verses which he wrote for him, and which are given in 'Goethe and Mendelssohn,' it would be difficult to find, unless it be another stanza, also addressed to Felix, and printed in vol. They were at home before the end of May.
The fiery Capriccio for P.
The Mendelssohn-Bartholdy family was beginning to outgrow the accommodation afforded by the grandmother's roof, and at the end of this summer they removed from No. If we were writing the life of an ancient prophet or poet, we should take the name of the 'Leipzig Road' as a prediction of his ultimate establishment in that town; but no token of such an event was visible at the time. The new residence lay in a part of Berlin which was then very remote, close to the Potsdam Gate, on the edge of the old Thiergarten, or deer-park, of Frederick the Great, so far from all the accustomed haunts of their friends, that at first the laments were loud.
The house was of a dignified, old-fashioned kind, with spacious and lofty rooms; behind it a large court with offices, and behind that again a beautiful stretch of ground, half park, half garden, with noble trees, lilacs, and other flowering shrubs, turf, alleys, walks, banks, summer-houses, and seats—the whole running far back, covering about ten acres, and being virtually in the country. Its advantages for music were great. The house itself contained a room precisely fitted for large music parties or private theatricals; and at the back of the court, and dividing it from the garden, there was a separate building called the 'Gartenhaus,' the middle of which formed a hall capable of containing several hundred persons, with glass doors opening right on to the lawns and alleys—in short a perfect place for the Sunday music.
Though not without its drawbacks in winter reminding one in Mr. Hensel's almost pathetic  description of the normal condition of too many an English house it was an ideal summer home, and '3, Leipziger Strasse' is in Mendelssohn's mouth a personality, to which he always turned with longing, and which he loved as much as he hated the rest of Berlin. It was identified with the Mendelssohn-Bartholdys till his death, after which it was sold to the state; and the Herrenhaus, or House of Lords of the German government, now stands on the site of the former court and Gartenhaus.
Devrient  takes the completion of Camacho and the leaving the grandmother's house as the last acts of Felix's musical minority; and he is hardly wrong, for the next composition was a wonderful leap into maturity. It was no other than the Octet for strings afterwards published as op. It is the first of his works which can be said to have fully maintained its ground on its own  merits, and is a truly astonishing composition for a boy half-way through his 17th year.
There is a radiance, a freedom, and an individuality in the style which are far ahead of the 13th Symphony, or any other of the previous instrumental works, and it is steeped throughout in that inexpressible captivating charm which is so remarkable in all Mendelssohn's best compositions. The Scherzo especially G minor, is a movement of extraordinary lightness and grace, and the Finale, besides being a masterly piece of counterpoint it is a fugue , contains in the introduction of the subject of the scherzo a very early instance of the 'transformation of themes,' of which we have lately heard so much.
Felix had confided to  Fanny that his motto for the scherzo was the following stanza in the Intermezzo of Faust:—. The whole of the last part, so light and airy—and the end, in particular, where the fiddles run softly up to the high G, accompanied only with staccato chords—is a perfect illustration of 'alles ist zerstoben. This overture was a special favourite of Abraham Mendelssohn's, who said that he should like to hear it while he died.
It was for long in MS. The Sonata in E op. So is an interesting looking Andante and Allegro June 27 , written for the windband of a Beer-garden which he used to pass on the way to bathe; the MS. Paul Mendelssohn-Bartholdy. But all these were surpassed by the Overture to 'A Midsummer Night's Dream,' which was composed during the peculiarly fine summer of , under the charming conditions of life in the new  garden, and the score of which is signed 'Berlin, Aug. Marx claims to have been much  consulted during its progress, and even to have suggested essential modifications.
Fanny also no doubt was in this, as in other instances, her brother's confidante, but the result must have astonished even the fondest wishes of those who knew him best. It is asserted by  one who has the best right to judge, and is not prone to exaggeration, 'that no one piece of music contains so many points of harmony and orchestration that had never been written before; and yet none of them have the air of experiment, but seem all to have been written with certainty of their success. Not the least singular thing about it is the exact manner in which it is found to fit into the music for the whole play when that music was composed 17 years later.
The motives of the overture all turn out to have their native places in the  drama. After many a performance as a duet on the piano, the overture was played by an orchestra in the Mendelssohns' garden-house, to a crowded audience, and its first production in public seems to have been at Stettin, in Feb. With the composition of this work he may be said to have taken his final musical degree, and his lessons with Zelter were discontinued. Camacho had been submitted to Spontini as General-Music-Director in the preceding year by Felix himself.
Spontini was then, by an odd freak of fortune, living in a house which had for some time been occupied by the Mendelssohns in the early part of their residence in Berlin, viz. But it was not so taken. The Mendelssohns and Spontini were not only of radically different natures, but they belonged to opposite parties in music, and there was considerable friction in their intercourse.
At length, early in after various obstructions on Spontini's part, the opera was given out for rehearsal and study, and on April 29 was produced. The house—not the Opera, but the smaller theatre—was crowded with friends, and the applause vehement; at the end the composer was loudly called for, but he had left the theatre, and Devrient had to appear in his stead. Owing to the illness of Blum, the tenor, the second performance was postponed, and the piece was never again brought forward. Partly from the many curious obstructions which arose in the course of the rehearsals, and the personal criticisms which followed it, partly perhaps from a just feeling that the libretto was poor and his music somewhat exaggerated, but mainly no doubt from the fact that during two such progressive years as had passed since he wrote the piece he had  outgrown his work, Felix seems to have so far lost interest in it as not to press for another performance.
The music was published complete in Pianoforte score by Laue, of Berlin, and one of the songs was included in op. It should not be overlooked that the part of Don Quixote affords an instance of the use of 'Leit-motif'—a term which has very lately come into prominence, but which was here Mendelssohn's own invention. A nature so keenly sensitive as his could hardly be expected to pass with impunity through such worries as attended the production of the opera. He was so sincere and honest that the sneers of the press irritated him unduly.
But on the present occasion the annoyance was too deep to be thrown off by a joke. It did in fact for a time seriously affect his health and spirits, and probably laid the foundation for that dislike of the officialism and pretension, the artists and institutions, the very soil and situation of Berlin, which so curiously pervades his letters whenever he touches on that  city. His depression was increased by the death of an old friend, named Hanstein, who was carried off this spring, and by the side of whose deathbed Felix composed the well-known Fugue in E minor op.
The chorale in the major, which forms the climax of the fugue, is intended, as we are told on good authority, to express his friend's  release. But Felix was too young and healthy, and his nature too eager, to allow him to remain in despondency. Meantime—probably  in —he had entered the university of Berlin, where his tutor Heyse was now a professor. For his matriculation essay he sent in a translation in verse of the Andria of Terence, which primarily served as a birthday present to his  mother March This translation was published in a  volume, with a preface and essay, and a version of the 9th Satire of Horace, by Heyse.
Mendelssohn's translation has been recently examined by an eminent English scholar, who reports that as a version it is precise and faithful, exceedingly literal, and corresponding closely with the original both in rhythm and metre, while its language, as far as an Englishman may judge of German, is quite worthy of representing the limpid Latin of Terence. Professor Munro also points out that as this was the first attempt in Germany to render Terence in his own metres, it may be presumed to have set the example to the scholars who have since that date, as a rule, translated Plautus and Terence and other kindred Greek and Latin classics in the original metres.
Whether Felix went through the regular university course or not, does not appear, but no doubt the proceeding was a systematic one, and he certainly attended several classes, amongst them those of  Hegel, and took especial pleasure in the lectures of the great Carl Ritter on geography. Of his notes of these, two folio volumes, closely written in a hand like copper-plate, and dated and 28, still exist. Italian he was probably familiar with before he went to Italy; and in later years he knew it so thoroughly as to be able to translate into German verse the very crabbed sonnets of Dante, Boccaccio, Cecco Angiolieri, and Cino, for his uncle Joseph  in Landscape drawing, in which he was ultimately to excel so greatly, he had already worked at for several years.
For mathematics he had neither taste nor capacity, and Schubring pathetically describes the impossibility of making him comprehend how the polestar could be a guide in travelling. The change into the new house was a great event in the family life. Felix began gymnastics, and became a very great proficient in them. He also learned to ride, and to swim, and with him learning a thing meant practising it to the utmost, and getting all the enjoyment and advantage that could be extracted from it.
He was a great dancer, now and for many years after. Billiards he played brilliantly. Skating was the one outdoor exercise which he did not succeed in—he could not stand the cold. The garden was a vast attraction to their friends, and Boccia a kind of bowls was the favourite game under the old chestnut-trees which still overshadow the central alley. The large rooms also gave a great impetus to the music, and to the mixed society which now flocked to the house more than ever. Young people too there were in troops; the life was free, and it must have been a delightful, wholesome, and thoroughly enjoyable time.
Nor was it confined to the younger part of the society, but grave personages, like Humboldt and Zelter even, did not disdain to add their morsel of fun or satire. It was now as it was all through his life. When he entered the room every one was anxious to speak to him. Women of double his age made love to him, and men, years afterwards, recollected the evenings they had spent with him, and treasured every word that fell from his  lips. One who knew him well at this time, but afterwards broke with him, speaks of the separation as 'a draught of wormwood, the bitter taste of which remained for years.
The latter half of August and the whole of September were passed in a tour with Magnus and Heydemann  through the Harz mountains to Baden-Baden where his amusing adventures must be read in his letters , and thence by Heidelberg, where he made the acquaintance of  Thibaut and his old Italian music, to Frankfort. The annoyance about Camacho had vanished with the tour, and Felix could now treat the tory as a joke, and take off the principal persons concerned.
The A minor Quartet was completed directly after his return home, and is dated 'Berlin, Oct. It is dated Berlin, Nov. Also a 'Tu es Petrus' for choir and orchestra, written for Fanny's birthday Nov. A very comic 'Kinder-symphonie' for the Christmas home party, for the same orchestra as Haydn's, and a motet for 4 voices and small orchestra on the chorale 'Christe du Lamm Gottes,' are named by Fanny in a  letter.
Soon after this their circle sustained a loss in the departure of Klingemann, one of the cleverest and most genial of the set, to London as Secretary to the Hans [App. During this winter Felix—incited thereto by a complaint of Schubring's, that Bach always seemed to him like an arithmetical exercise—formed a select choir  of 16 voices, who met at his house on Saturday evenings, and at once began to practise the Passion. This was the seed which blossomed in the public performance of that great work a year later, and that again in the formation of the Bachgesellschaft, and the publication of the Grand Mass, and all the Church Cantatas and other works, which have proved such mines of wealth.
Long and complicated as the Passion is, he must have known it by heart even at that early date; for among other anecdotes proving as much, Schubring, who may be implicitly believed, relates that one evening after accompanying one of the choruses at the piano without book, he said, 'at the 23rd bar the sopranos have C and not C sharp.
March was occupied by the composition of a long cantata [App. The 'Trumpet Overture' preceded it in performance. Felix was not in love with his task, but as the work grew into shape and the rehearsals progressed, he became reconciled to it; the performance was good, and Fanny's sisterly verdict is that 'she never remembers to have spent a pleasanter  hour.
Even Beethoven failed when he had to write to order. Fate however had a second task of the same kind in store for Felix, with some curious variations. This time the cantata was for a meeting or, as we should now call it, a 'congress' of physicians and investigators of natural science, to whom a festival was given by A. Bellstab wrote the words, and Felix was invited to compose the music.
It contains 7 numbers for solo and chorus. Owing to a whim of Humboldt's the chorus was confined to men's voices, and the orchestra to clarinets, horns, trumpets, cellos, and basses. The thing came off in September; but no ladies—not even Fanny—were admitted, no report is given in the musical paper; and as there is no mention of it in the MS. Catalogue the autograph has probably vanished. Chopin was  present at the sitting of the congress, and saw Mendelssohn with Spontini and Zelter; but his modesty kept him from introducing himself, and their acquaintance was put off to a later date.
Fanny gives us the interesting  information that he especially avoided the form of an Overture with Introduction, and wished his work to stand as two companion pictures. She mentions also his having written pianoforte pieces at this time, including some 'Lieder ohne Worte' a title not destined to come before the world for some years and a great Antiphona and Responsorium for 4 choirs, 'Hora est,' etc. For Christmas he wrote a second Kinder-symphonie, which delighted every one so much that it had to be repeated on the  spot.
They have since been published, but are not satisfactory specimens of such work. The 'Calm sea and Prosperous voyage' was finished, or finished as nearly as any score of Mendelssohn's can be said to have been finished before it was publicly performed, and had received those innumerable corrections and alterations and afterthoughts, which he always gave his works, and which in some instances caused the delay of their appearance for years—which in fact prevented the appearance of the Italian Symphony till his removal made any further revision impossible.
We have already seen that the basis of the work was furnished by the visit to Dobberan. Felix's little choir had steadily continued their practice of the Passion, and the better they knew the mighty work the more urgent became their desire for a public performance by the Singakademie to voices under Felix's own care. Apart from the difficulties of the music, with its double choruses and double orchestra, two main obstacles appeared to lie in the way—the opposition of Zelter as head of the Akademie, and the apathy of the public. Felix, for one, 'utterly  disbelieved' in the possibility of overcoming either, and with him were his parents and Marx, whose influence in the house was great.
Against him were Devrient, Schubring, Bauer, and one or two other enthusiasts. At length Devrient and Felix determined to go and beard Zelter in his den. They encountered a few rough words, but their enthusiasm gained the day. Zelter yielded, and allowed Felix to conduct the  rehearsals of the Akademie. The principal solo singers of the Opera at once gave in their adhesion; the rehearsals began; Felix's tact, skill, and intimate knowledge of the music carried everything before them, the public flocked to the rehearsals; and on Wednesday, March 11, , the first performance of the Passion took place since the death of Bach; every ticket was taken, and a thousand people turned away from the doors.
Thus in Felix's own words for once and once only alluding to his descent 'it was an actor and a Jew who restored this great Christian work to the  people. It is probable that these successes did not add to Felix's popularity with the musicians of Berlin. Whether it was his age, his manner, his birth, the position held by his family, or what, certain it is that he was at this time in some way under a cloud.
He had so far quarrelled with the Royal Orchestra that they refused to be conducted by him, and concerts at which his works were given were badly attended. Paganini made his first appearance in Berlin this month, gave four concerts, and  bewitched the Berliners as he did every one else. He very soon found his way to the Leipziger  Strasse. It would be interesting to know if he heard the Passion, and if, like Rossini, some years later, he professed himself a convert to Bach. Whistling's Handbuch shows that by the end of this year Felix had published his 3 P.
Quartets; the Sonata for P. The dedications of these throw a light on some things. The quartets are inscribed respectively to Prince A. Ritz, Felix's favourite violin player; the 7 Characteristic P. The rest have no dedications. The engagement of Fanny Mendelssohn to William Hensel the painter of Berlin took place on January 22, , in the middle of the excitement about the Passion; and on April 10 Felix took leave for England. He was now His age, the termination of his liability to military  service, the friction just alluded to between himself and the musical world of Berlin—all things invited him to travel, and  Zelter was not wrong in saying that it was good for him to leave home for a time.
Hitherto also he had worked without fee or reward. He was now to prove that he could make his living by  music. But more than this was involved. His visit to England was the first section of a long  journey, planned by the care and sagacity of his father, and destined to occupy the next three years of his life. In this journey he was 'closely to examine the various countries, and to fix on one in which to live and work; to make his name and abilities known, so that where he settled he should not be received as a stranger; and lastly to employ his good fortune in life, and the liberality of his father, in preparing the ground for future  efforts.
The answer attributed to a young Scotch student who was afterwards to become a great English archbishop, when asked why he had come to Oxford—'to improve myself and to make friends'—exactly expresses the special object of Mendelssohn's tour, and is the mark which happily distinguished it from those of so many of his predecessors in the art. It was their first serious parting. His father and Rebecka accompanied him to Hamburg. The boat the 'Attwood' left on the Saturday evening before Easter Sunday, April 18, and it was not till noon on Tuesday, the 21st, that he reached the Custom House, London.
The passage was a very bad one, the engines broke down, and Mendelssohn lay insensible for the whole of Sunday and Monday. He was welcomed on landing by Klingemann and Moscheles, and had a lodging at , Great Portland  Street, where his landlord was Heincke, a German ironmonger. It was the middle of the musical season, and Malibran made her first reappearance at the Opera, as Desdemona, on the night of his arrival. His account of her, with other letters describing this period, will be found in Hensel's 'Familie Mendelssohn' i.
Stockhausen, and Donzelli; also Velluti, the castrato, a strange survival of the ancient world, whom it is difficult to think of in connexion with Felix Mendelssohn-Bartholdy. De Beriot and Madame Dulcken were among the players. Felix was much with the Moscheleses, and there met Neukomm, with whom, in everything but his music, he sympathised warmly. His first appearance before an English audience was at the Philharmonic Concert then held in the Argyll Rooms, at the upper end of Regent Street on Monday evening, May 25, when he conducted his Symphony in C minor.
Old John Cramer 'led him to the piano,' at which in those days the conductor sat or stood, 'as if he were a young  lady. How deeply he felt the warmth of his reception may be seen from his letter to the  Society. He published the Symphony with a dedication to the  Philharmonic, and they on their part elected him an honorary member on Nov. It was thus an English body which gave him his first recognition as a  composer. The simple applause of London had wiped out the sneers and misunderstandings of Berlin.
This he never forgot; it recurs throughout his correspondence, and animates his account of his latest visits to us. Near the close of his life he spoke of it as 'having lifted a stone from his  heart. Five days afterwards, on the 30th, at 2 p. After the concert the score of the overture was left in the hackney coach by Mr. Attwood, and  lost. On Mendelssohn's hearing of it, he said, 'Never mind, I will make another. The other concert was on July 13, for the benefit of the sufferers from the floods in  Silesia.
At this the Overture was repeated, and Felix and Moscheles played for the first and only time in England a Concerto by the former for two Pianofortes and Orchestra,  in E. All this was a brilliant beginning, as far as compositions went; it placed him in the best possible position before the musical society of London, but it did not do much to solve the question of livelihood, since the only commission which we hear of his receiving, and which delighted him hugely, he was compelled for obvious reasons to decline, viz.
But he found time for other things besides music; for the House of Commons, and picture galleries, and balls at Devonshire House and Lansdowne House, and so many other parties, that the good people at home took fright and thought he was giving up music for society, and would  become a drawing-room ornament. The charm of his manner and his entire simplicity took people captive, and he laid a good foundation this year for the time to come.
At length the musical season was over. Felix and Klingemann left London about July 21, and, stopping at York and  Durham, were in  Edinburgh by the 28th. On the 29th they were  present at the annual competition of Highland Pipers in the Theatre Royal. On the 30th, before leaving 'the gray metropolis of the north,' they went over Holyrood Palace, saw the traditional scene of the murder of Rizzio, and the chapel, with the altar at which Mary was crowned standing 'open to the sky, and surrounded with grass and ivy, and everything ruined and decayed'; 'and I think,' he continues, 'that I found there the beginning of my Scotch  Symphony.
From Edinburgh they went to Abbotsford, and thence by Stirling, Perth, and Dunkeld, to Blair-Athol; then on foot by Fort-William to Tobennory, sketching and writing enormous letters at every step. At Liverpool they went over a new American liner called the Napoleon, and Felix, finding a Broadwood piano in the saloon, sat down to it and played for himself and his friend the first movement of Fanny's 'Easter-Sonata'—whatever that may have been.
Home was always in his thoughts. Then to Holyhead for Ireland, but the weather was dreadful apparently as bad as in —'yesterday was a good day, for I was only wet through three times. John Taylor, the mining engineer, at Coed-du near Holywell. Here he remained for some days, seeing a very pleasant side of English country life, and making an indelible impression on his hosts; and here he composed the three pieces which form op.
The following letter, written after his death by a member of the Taylor family, gives a good idea of the clever, genial, gay, and yet serious, nature of the man at this happy time of life:—. It was in the year that we first became acquainted with Mr. He was introduced to us by my aunt, Mrs. Austin, who had well known his cousin Professor Mendelssohn, at Bonn.
He visited us early in the season in Bedford Row, but our real friendship began at Coed-du, which was a house near Mold in Flintshire, rented for many years by my father, Mr. John Taylor. Mendelssohn came down there to spend a little time with us, in the course of a tour in England and Scotland. My father and mother received him kindly, as they did everybody, but his arrival created no particular sensation, as many strangers came to our house to see the mines under my father's management, and foreigners were often welcomed there. Soon however we began to find that a most accomplished mind had come among us, quick to observe, delicate to distinguish.
There was a little shyness about him, great modesty. We knew little about his music, but the wonder of it grew upon us; and I remember one night when my two sisters and I went to our rooms how we began saying to each other 'Surely this must be a man of genius … we can't be mistaken about the music; never did we hear any one play so before. Yet we know the best London musicians.
Surely by and bye we shall hear that Felix Mendelssohn-Bartholdy is a great name in the world. My father's birthday happened while Mr. Mendelssohn was with us. There was a grand expedition to a distant mine, up among the hills; a tent carried up there, a dinner to the miners. We had speeches, and health-drinkings, and Mendelssohn threw himself into the whole thing, as if he had been one of us. He interested himself in hearing about the condition and way of life of the Welsh miners. Nothing was lost upon him. A letter that he wrote to my brother John just after he left Coed-du, charmingly describes the impressions he carried away of that country.
Sometimes he would go out sketching with us girls, sitting down very seriously to draw, but making the greatest fun of attempts which he considered to be unsuccessful. One figure of a Welsh girl he imagined to be like a camel, and she was called the camel accordingly. Though he scorned his own drawings, he had the genuine artist-feeling, and great love for pictures. I need not say how deeply he entered into the beauty of the hills and the woods. His way of representing them was not with the pencil; but in the evenings his improvised music would show what he had observed or felt in the past day.
The piece called The Rivulet, which he wrote at that time, for my sister Susan, will show what I mean; it was a recollection of a real actual  rivulet.
We observed how natural objects seemed to suggest music to him. There was in my sister Honora's garden, a pretty creeping  plant, new at that time, covered with little trumpet-like flowers. He was struck with it, and played for her the music which he said the fairies might play on those trumpets. When he wrote out the piece called a Capriccio in E minor he drew a little branch of that flower all up the margin of the paper.
The piece an Andante and Allegro which Mr. Mendelssohn wrote for me, was suggested by the sight of a bunch of carnations and  roses. The carnations that year were very fine with us. He liked them best of all  the flowers, would have one often in his button-hole. We found he intended the arpeggio passages in that composition as a reminder of the sweet scent of the flower rising up. Mendelssohn was not a bit 'sentimental,' though he had so much sentiment. Nobody enjoyed fun more than he, and his laughing was the most joyous that could be.
One evening in hot summer we staid in the wood above our house later than usual. We had been building a house of fir branches in Susan's garden up in the wood. We made a fire, a little way off it, in a thicket among the trees, Mendelssohn helping with the utmost zeal, dragging up more and more wood: we tired ourselves with our merry work; we sat down round our fire, the smoke went off, the ashes were glowing, it began to get dark, but we could not like to leave our bonfire.
Off rushed our boys to get the fiddle. When it came, it was the wretchedest thing in the world, and it had but one string. Mendelssohn took the instrument into his hands, and fell into fits of laughter over it when he heard the sounds it made. But he, somehow, afterwards brought beautiful music out of the poor old fiddle, and we sat listening to one strain after another till the darkness sent us home. My cousin  John Edward Taylor was staying with us at that time. He had composed an imitation Welsh air, and he was, before breakfast, playing over this, all unconscious that Mr. Mendelssohn whose bed-room was next the drawing-room was hearing every note.
That night, when we had music as usual, Mr. Mendelssohn sat down to play. After an elegant prelude, and with all possible advantage, John Edward heard his poor little air introduced as the subject of the evening. And having dwelt upon it, and adorned it in every graceful manner, Mendelssohn in his pretty, playful way, bowing to the composer, gave all the praise to him.
I suppose some of the charm of his speech might lie in the unusual choice of words which he as a German made in speaking English. He lisped a little.
He used an action of nodding his head quickly till the long locks of hair would fall over his high forehead with the vehemence of his assent to anything he liked. Sometimes he used to talk very seriously with my mother. Seeing that we brothers and sisters lived lovingly together and with our parents, he spoke about this to my mother, told her how he had known families where it was not so: and used the words 'You know not how happy you are.
He was so far from any sort of pretension, or from making a favour of giving his music to us, that one evening when the family from a neighbouring house came to dinner, and we had dancing afterwards, he took his turn in playing quadrilles and waltzes with the others. He was the first person who taught us gallopades, and he first played us Weber's last waltz.
He enjoyed dancing like any other young man of his age. He was then 20 years old. He had written his Midsummer Night's Dream [Overture] before that time. I well remember his playing it. He left Coed-du early in September We saw Mr. Mendelssohn whenever he came to England, but the visits he made to us in London have not left so much impression upon me as that one at Coed-du did. I can however call to mind a party at my father's in Bedford Row where he was present. Sir George Smart was there also: when the latter was asked to play he said to my mother, 'No, no, don't call upon the old post-horse, when you have a high-mettled young racer at hand.
Mendelssohn together. Our dear old master, Mr. Attwood, often met him at our house. In the spring of Grunberg wrote a play, De Hollanders directed by Gerardjan Rijnders , about the return of Dutch soldiers from Afghanistan, for students of the Amsterdam Theater School. In February a first collection of Arnon Grunberg's daily column in the Dutch newspaper Volkskrant, Voetnoot Footnote , was published. In February Grunberg's collected essays about film, Buster Keaton lacht nooit "Buster Keaton never laughs" came out. In November a collection of short stories, Apocalypse was published.
In January Grunberg was awarded the Gouden Ganzenveer, a prize for his major contribution to the written word. June 1st was the premiere of De Mensheid , in which Grunberg played one of the leading roles. The play De tweede wereldoorlog eindigt vandaag premiered on May 4th Regularly he publishes essays and stories in literary magazine Hollands Maandblad. Grunberg also wrote a blog for the online literary magazine Words Without Borders from till Meanwork, would you like to take classes in the morning, the afternoon, or the evening?
That wasn't too bad. Someone will be with you in a moment. You know, in a shameless way like that. On the morning of November 22 I went to the synagogue, as I did every Saturday morning.
My mother was weeping and wailing. I had washed my hair with some color rinse that Rosie had managed to get hold of in bulk. My mother thanked God her parents had not lived to witness such a day. It was just before my bar mitzvah, and I was taking lessons three times a week from Mrs. Mohnstein tried to teach me Hebrew for six years. We had a rabbi who used to say that God saw everything, including your crotch, so you had to be sure to wash yourself well. And also arrange to be circumcised, if you weren't already. I'd rather have my crotch looked at by God than by people on the street.
The student members of the association were being prepared for their forthcoming emigration to the Jewish state, and he was welcomed with open arms. The Jewish state could use all comers. He convinced the leader that it would be good for them to all jump into the Rhine together on a warm evening and let themselves be carried off downstream. Physical exercise was an absolutely essential preparation for life in a young country still under constant threat.
That was music to the ears of Mr. Salomons, the leader of the youth association. At last, a potential emigrant who showed a little initiative. And so, that summer, one could often see him swimming in the Rhine with a group of Zionists. It was a fine sight: he out in front, behind him a group of about twenty youthful Zionists, some of them a bit nervous, others fast and bold. There were pretty girls among them who could summon up little interest in ideology but knew all the more about the latest bathing fashion.
His first encounter with Zionism was very much to his liking. Beauty is a fine thing, but a person needs ideals that go further than aesthetics alone. Zionism was an ideal that fit him to a tee. A suit made to measure. That evening at dinner my father kept nodding off to sleep and my mother would hit him on the head with her spoon. My mother came in with a pot of spaghetti. Then she tipped the pot of spaghetti all over his paper. The whole pot. My father stayed where he was, sitting there with the spaghetti all over his newspaper. The titled girl gave a party. A class-trip reunion.
She invited Koenraads, Diels, and Haaseveld too. Diels was drunk by the time he arrived. He sat in a corner and rolled a cigarette with shaking hands. The only tobacco he smoked was Javaanse Jongens. He told the story of how his mother sent him out to repair refrigerators when he was only twelve.
He told that story all the time at parties. He used to have to cover almost the whole north of Amsterdam, ringing every doorbell. Even the teachers all bought one. A day later I was summoned to see the principal. The magazine was full of obscenities. Of course it was full of them. I was suspended again, the only thing they could do. A few days later I learned that I would never have to go back again. Haaseveld was standing in the downstairs hall. If you only knew! I moved to New York in January I was living in a one-bedroom apartment in Holliswood, Queens.
Some people in Holland thought I was living in Hollywood. Most of the time, I didn't correct them. After the first couple of days, I already understood that there wasn't much of a difference between Amsterdam and New York. A neighbor with a vacuuming phobia is a neighbor with a vacuuming phobia, whether you live in Osdorp, Amsterdam, or Hollywood, Queens. In those early days I could never find an answer to the frequently asked question, "What is typically American?
A friend of mine recommended that I go in group therapy. On the contrary. After my vacation I took a job in a pharmacy owned by a man I knew from the synagogue. His name was Mr. Hausmann and he collected Smurfs. My parents thought it was a good idea for me to have a job. They tipped me everywhere, especially in the old age home. One woman there gave me at least ten guilders. She wanted me to eat her food.
All she had to do was to swallow it. Then I ate her custard away. I have a license. I am a salesperson in real estate. A broker, they call that in Holland, a moneygrubber.
I show people houses they want to rent. I listen to their wishes. Sometimes I give them advice, or pretend to. I sell service. My real estate diploma is hanging in my kitchen, right above the stove; I never cook anyway. Waiter, real estate salesperson, writer of love letters on behalf of other people, pharmacy worker, actor, writer and chess teacher, gigolo, clerk, entertainer. He went on to work as a courier in the pharmacy industry for a while, before becoming a Yellow Pages salesman and working on the radio.
At the age of twenty, he founded a publishing company, and made everyone think it was a huge company by adopting various telephone voices and pretending to be the publisher, company secretary and head of marketing. Finally, I had to walk up to the table and say my name loud and clear. I told him it tickled. I jumped. I jumped higher. I jumped even higher. I was starting to feel like some kind of frog. We all raised our glasses. Operation Brando is the name of the hitherto top-secret project. It has absolute priority. If not, we will know the meaning of humility for the rest of our lives.
During the first half of and a large part of , I was a frequent visitor of the Amsterdam restaurant Panini where I'd eat penne alla pesto, only because I desired a waitress there. I sent some two hundred letters to that waitress, most by registered mail, and when this did not lead to a satisfactory outcome, I decided upon the ultimate gesture: I would write this waitress a lenghty letter and make it into a booklet. Beck had girlfriends, back when he was still pursuing his own happiness.
Even when he was already living with the Bird; maybe even especially when he was already living with the Bird. Dozens of girlfriends, they came and went. Sometimes it would last a week, sometimes a month, sometimes a year. On the surface, those romances were always very passionate and intense. Beck enjoyed being infatuated, it went well with the happiness he systematically sought. Wherever it was, there Beck was also. Some of those girlfriends had wanted to marry him, others had only wanted to live together, yet others to live together and have children, preferably more than three.
Beck wanted nothing, really, only to be happy, but such details he kept to himself. Al Pacino. Watching in general: looking at people and things at my leisure. Small airports where planes land only four times a day. The guilty feeling that the company of many a woman inevitably brings with it. Dispute: via letters, Fax, or e-mail. De film kan beschouwd worden als een documentaire, maar ook als een artefact en dus als een af werk dat op zichzelf staat.
Recentelijk nam hij in deel aan het winterfestival Orbitfest in Groningen. English text: I really like what you're doing!!!!!!! In each studio there is a moment that an art piece is on the point of being finished. Once the artist has decided that the work is done, the art piece has come into existence. The tension between the work-in-progress with the end in sight and the final piece of art is the starting point of the first solo exhibition of Australian artist Kimball Gunnar Holth. With this attitude preferably to suspend a final product Holth brings together a group of works that is misleading and even confusing.
The visual outcome arouses questions about the work, but also about the influence of a white space of a gallery. A video film named 'I really like what you're doing!!! Apparently a lot of things happen there. The movie may be looked at as a documentary, but also as a film on its own, and so as a finished artefact. Abbotsford, Australia. Recently in he participated in Orbitfest, a winter festival in Groningen. She utilizes street photography as a means of orientation when roving metropolitan areas where she encounters, documents and collects objects and stories as input for her research of social realities and DIY cultures.
The works address the direct tangible effects of cheap materials and care. Via reenaction she addresses inventive approaches towards scarcities, damages, and challenges in general. The smaller hand-woven pieces refer to repaired parts of cars. The artist's cultural roots inform her work, while her research consists of a reflection on the consequences of political actions and economical influences that reiterate across time and place. It symbolizes the value and emancipatory power of handicrafts and female co-operative practices. In this series experience, sensitivity and contiguity form the goal and interaction, contact and relationships between people, art and society constitute the conceptual starting point.
For him in painting there is more than the pure act of painting and more than the work itself. He says: 'The work does not matter'. Instead of emphasizing the interest of the artifacts as a final result he also questions them, especially in his shows. How do they behave, what meaning could it generate other than in his studio? In the works of Klaas Kloosterboer gesture is a re-appearing phenomenon. It makes his works energetic and in an attractive way short cut and simple.
It is a matter of take-it-or-leave-it and in that sense radical in just executing his plan or program. In his exhibition 'Voorraad' Eng. On the floor a straw bale is standing upright with on its top a touch of straw. A second floor sculpture exists of a few bales couvered with a lacquer painted canvas. The use of loose straw in the exhibition 'Voorraad' creates an atmosphere of temporality and improvisation.
Such a set-up as working attitude is characteristic for Kloosterboer. It makes his work broad in spirit and playful in its final result. During the exhibition a very limited edition of different copies on newspaper pages will be offered. Klaas Kloosterboer exhibited a.
It is a spatial sound installation that balances spoken texts with other noises, particularly percussion. The installation itself consists of an aural landscape in which speakers, tympans and earphones are positioned as sound-probes that provide the viewer with a reciprocal experience through vibrations and sound. In this bare setting, transparency and honesty towards one's own position are literally represented in various manners. Consecutive claps and screeches, scats and rubbings, whispers and murmurs can be heard while the artist improvises modes to connect while using and perusing his surroundings.
Sharing these with a public entails a sense of interaction, an attempt to which one can be an active witness. Vincent van Velsen 'Dear Nickel, you remind me of a bat, emitting signals into the world so you can orient yourself based on their reflections. Among the instruments I brought were my drums, an orchestral tam-tam gong and some idiophonic toys made by my 4-year-old son. Squatting in front of the large gong in a sound-proof chamber, my head a few inches away from the reverberating metal, I turned into a vibrating body myself, relieved of thought, relieved of judgement.
Nickel van Duijvenboden The work of interdisciplinary artist Nickel van Duijvenboden frequently involves writing, both as medium and as a subject. The focus on orientation and rhythm results from Van Duijvenboden's use of ongoing written correspondences in his work. Writer, critic and curator Vincent van Velsen has a background in art and architectural history. He frequently writes for individual artists, several institutions and various magazines. Het is een gekrioel vanjewelste met een enorme impact op onze waarneembare wereld, zonder dat wij daar weet van hebben.
In de loop van de afgelopen decennia heeft zij dit gedachtegoed ontwikkeld en in de beeldende kunst neemt zij daarmee een unieke positie in. Elk atoom kan zich aan elk ander atoom vastklampen, ten minste als die dicht genoeg bij elkaar in de buurt zitten en dan ook nog van elkaar houden. Een elektrische lading kan spontaan tot een botsing leiden of tot een hechte samensmelting. Als er reacties plaats vinden, ziet Voebe de Gruyter in het gedrag van zowel mensen als dingen gebeurtenissen die tot nu toe door niemand zo op atomair niveau zijn waargenomen.
Wat is oorzaak, wat is gevolg? Een ander werk vertelt over ouderen die tijdens het boodschappen doen opzettelijk tegen andere karretjes opbotsen. Via elektrische ontladingen vertellen zij iets dat door de andere winkelende klant thuis achter de computer gedecodeerd kan worden. Van "Atomes crochus' is sprake als atomen elkaar aanklampen en een lichaam vormen. Als het over personen gaat, voelen deze zich sterk tot elkaar aangetrokken.
Bij Voebe de Gruyter kan er ook sprake zijn van chemie tussen mens en ding, want ten slotte is alles en iedereen opgebouwd uit atomen. Voebe de Gruyter is een narratief conceptueel kunstenaar. Zo onderzocht zij geplette kauwgom op trottoirs. In haar Kauwgom-tekeningen uit collectie Stedelijk Museum Amsterdam detecteert zij gesprekken die in de kauwgom zijn doorgedrongen en opgeslagen. In het verleden heeft zij solotentoonstellingen gehad in Marres in Maastricht, Stroom en in Den Haag. Zij exposeerde verder o. Recentelijk had zij in een solotentoonstelling in Club Solo in Breda.
De dagen hierna kunnen bezoekers telefonisch vragen aan hem stellen. English text: Atomes Crochus Voebe de Gruyter observes atoms that attract or repel each other in companies, houses and cities. There is a jostling and swarming with an enormous impact on the world around us, something we do not know anything about at all. In the course of decennia she has developed this body of thoughts and with this she occupies a unique position in the visual arts.
Atoms may seize each other, at least if they come close enough and after that also fall in love with each other. An electrical charge may spontaneously lead to a collision or to a strong merge. Voebe de Gruyter detects this continuum of invisible particles that occasionally meet each other. In case a reaction occurs she sensitively notices the change in behaviour of the people and objects involved; she senses matters on atomic level that no one observed before. If he closes his eyes he catches a glimpse of the approaching harbours, places where he once moored.
This he tries to paint; the harbours themselves are absent. What is cause, what is consequence? Another work tells about elderly people doing their shopping and who on purpose bump their carriages into the ones of other clients doing their shopping. Through electrical discharges they tell something to the other client that he or she can read at home sitting behind the computer and decoding the received discharges.
The 'Atomes crochus' come about when atoms take hold of each other and compose a body. And if it concerns people they feel strongly attracted to each other, but in the perception of Voebe de Gruyter chemistry can also come into existence between human being and object, since eventually everything is constructed out of atoms. Voebe de Gruyter is a narrative conceptual artist.
Although drawing is the core of her work, any material may be used for creating an image. For example, she investigated crushed chewing gum residues on the pavement. In her Chewing Gum drawings from collection Stedelijk Museum Amsterdam she detects conversations that penetrated the chewing gum. Furthermore she exhibited a. Recently in she had a solo show in Club Solo in Breda. In an extensive catalogue has been published by Roma Publications. The days after visitors may ask him questions by telephone.
Minimale klanken vullen de galerie, opzwepende beats brengen de teksten naar een nieuw plan. Als schilderijen in de tijd komen de teksten aan de toehoorder voorbij. Als ware het een auditieve film reist de luisteraar door een imaginair landschap. In deze reeks zijn ervaring, gevoel en voeling het doel en vormen interactie, contact en verhoudingen tussen mens, kunst en maatschappij het uitgangspunt. De toekomst ligt in zee Stel nu, als denkexperiment, dat we de geschiedenis laten sterven, het arme kind. We geven haar een tijdje niet te eten. We laten haar in haar mandje liggen. We doen alsof ze er niet is.
Ze zal krijsen, misschien wel dagen aaneen, maar we leggen haar in een andere kamer en doen de deuren dicht. We stoppen watten in onze oren en voeren een hedendaags gesprek. De Egyptenaren, we kijken er niet meer naar om. Laat maar liggen in zijn mandje, we timmeren er straks een kistje omheen. De Romeinen, niet wat je zegt het beste voorbeeld. Hadden zij niet het geld uitgevonden? Het rijtje gaat nog even door. In sneltreinvaart, absoluut, begrijp me niet verkeerd, maar we willen er vanaf.
We willen er doorheen. Een Westers perspectief, ik weet het. Chinezen, Afrikanen, boeddhisten, communisten, ze mogen er allemaal bij. Bovenop de stapel, of onderop, maakt mij niet uit. We laten ze links liggen, of rechts. Ook het politieke spectrum gooien we met het kind en het mandje uit het raam.
Net als het feminisme en het marxisme, het neoliberalisme of het anti-kapitalisme. En buiten, op de grond en in de lucht, zal het zwart zijn. Donker zwart. Licht zwart. Zwaar zwart voor mijn part. Zwart dat zijn weerga niet kent. Zwart als nooit tevoren. Een aantal schilderijen leunt met de voorkant tegen de muur en slechts een achttal zijn zichtbaar tentoongesteld. Maar, zo blijkt, het is onderdeel van het concept van Wedges is om de werken te rouleren. Er wordt een wig geslagen tussen deel uitmaken van de tentoonstelling en niet. De individuele werken worden bij verhanging bovendien gekozen op hun dubbelheid of tweeledigheid.
Zo is er een olieverfdoek van Jaap Kroneman verpakt n speciaal door hem ontworpen pakpapier zit dat deel van het werk is. De eigenaar kan het uitpakken, waardoor het werk als geheel vernietigd is. Twee Lolita's van Henk Peeters zijn een pendant van elkaar doordat het ene werk roze is en het andere donkerbruin. Hij kwam op dat idee nadat hij in Nice tijdens een opening geweigerd had de hand met burgemeester Jean-Marie Le Pen te schudden.
Zij is inmiddels 87 jaar en nog volop actief als het gaat over kunst maken en performances zelf uitvoeren. Wedges In Galerie van Gelder there is chaos, a removal seems to cause problems. Several paintings are leaning against the wall; a few are clearly shown and exhibited. It is part of the concept of Wedges to circulate the objects. Each time when a work is changed for another one the work is chosen on its twofolded presence. In this way an oil painting of Jaap Kroneman is wrapped in special designed wrapping paper as part of the piece.
One may choose to unwrap it by which the work is partly destroyed. Two breasts of Henk Peeter's Lolita are each others pendant; one is pink and one is dark brown. In the space AP at the back of the gallery the installation of Takako Saito is still on show. She is quite well-known in the Fluxus movement for her communicative actions and distorted chess works. By now she is 87 and still very active in doing performances and making installations.
While rooted in active field research, Coppes explores the material and immaterial conditions that shape such sites. He creates large-scale architectural installations, texts, films and sculptures. With the exhibition Roineabhal Coppes investigates the processes that create and deteriorate the landscape, cultural heritage and collective memory. To what extend does the constant geological formation of the earth reflect the way our ideas take shape? This island in the northwest of Scotland became the center of social controversy when a multinational cement manufacturer planned the largest super-quarry in the world.
An industry to extract 10 milion tonnes of anorthosite, a type of intrusive igneous rock used to build highways, that would turn Mount Roineabhal into a gigantic crater. Sulian Stone Eagle Herney visited Roineabhal. He testified at the British Government inquiry, and in due course the mountain was saved from destruction. Text: Rieke Vos en Jasper Coppes. Stilte is aangenaam doordat er rust ontstaat, een moment van bezinning. Takako Saito heeft een grappaglas voorzien van een 'Body music'-instructie.
Het lezen van de uit te voeren taak is zo evocatief, dat de verbeelding al voldoende is om het geluid te kunnen horen. Stilte ontstaat wanneer het geluid wegvalt, zoals in het werk van John M Armleder. Hij heeft scheepshoorns van boven naar beneden onder elkaar aan de muur bevestigd. Ze kunnen geen geluid meer maken, alhoewel bij het zien van de vijf hoorns het krachtige geluid hoorbaar lijkt te zijn.
De gehalveerde LP met stiksel van Christian Marclay is ook zo een visuele onomatopee. Het collagebeeld van een open mond suggereert de indruk dat iemand zingt. Stilte is fijn Wanneer stilte ontbreekt dan kan het verlangen ernaar des te groter zijn. Zoals het schreeuwend verlangen naar rust en vrede wanneer de strijd nog voortduurt. Zo bekeken wordt stilte een erg kostbaar goed en ons rest dan niet veel meer dan in stilte naar de werken te kijken.
English text Silence Silence is enjoyable. Silence is pleasant for the reason that it arises calmness and a moment of contemplation. In this way he represents music, above anything else. To read the text is an evocative experience, to such a degree that your imagination is already enough to hear the music.
Silence emerges when sound fades away, as in the art piece of John M Armleder. He placed five marine horns from top to bottom on a wall.
Laat maar liggen in zijn mandje, we timmeren er straks een kistje omheen. After many a performance as a duet on the piano, the overture was played by an orchestra in the Mendelssohns' garden-house, to a crowded audience, and its first production in public seems to have been at Stettin, in Feb. A friend of mine recommended that I go in group therapy. Comment rbartlog: Oh yes, I did notice. These are consciously made gestures that lead to an unveiled new body of works. The story goes that one of the Rumanian soldiers once swam through the shit pit for two hundred dollars.
These horns are unable to make a sound, although looking at the horns seems to evoke the powerful sound that the horns can make if connected to a electric circuit. The LP of Christian Marclay roughly cut in half and sewn is also a visual onomatopoeia as such. The image of a tipped on wide-open mouth suggests that someone is loudly singing. When silence is missing the longing for it can be stronger than ever. Like to yearn for serenity and peace when the battle continues. In this light silence becomes a precious commodity and then it leaves us with no more than silently watching the other works.
Voor veel vrouwen zijn hun nieuwste aankopen een pronkstuk, zo ook voor Sylvie Fleury. Een verschil is echter dat haar pas gekochte schatten op een andere manier in gebruik worden genomen, ze veranderen namelijk in kunstwerken. Winkelen krijgt hierdoor in de context van de kunst een hele andere dimensie. Waar winkelen vrijwel gelijk geassocieerd wordt met vrouwen, zo zijn er ook begrippen direct verbonden aan mannen. Aan deze typisch mannelijke associaties wil Fleury een einde maken. In haar werk Formula 1 Dress wordt dit bijvoorbeeld zichtbaar; de mannelijke Formule 1 race-uitrusting is door Fleury ontmand en omgetoverd tot half-jurk, half-overall.
Gehuld in gekopieerde jurken met de op Mondriaan gebaseerde prints van de modeontwerper Yves Saint Laurent, betraden vijf vrouwelijke modellen vergezeld van schoothondjes het winkelcentrum Hoog Catharijne in Utrecht. Uiteraard werden zij vergezeld door hun trouwe viervoeters als ultieme verwijzing naar ontspanning.
Het winkelen en het flaneren in deze performance gaven de Mondriaan-jurken van Yves Saint Laurent een extra feministische draai. In had zij haar eerste solotentoonstelling in Nederland bij Galerie van Gelder. English text C'est la Vie! Many women see their latest purchases as showpieces. This also applies to Sylvie Fleury. However, in her case she shows off her treasures in a different way, by turning them into art pieces. Shopping like that in the context of art is adds an extra dimension to the excitement of buying fashionable commodity goods.
Where as shopping is being instantly associated with women, certain terms are also directly linked to men as well. Fleury wants to bring an end to these typical male associations. This becomes visible in her work Formula 1 Dress for example, the male Formule 1 race equipment is sissified by Fleury and transformed into half-dress, half-overall.
Atired in the outfit of Mondrian-dresses of the designer Yves Saint Laurent, five female models accompanied by lapdogs entered the shoppingmall Hoog Catharijne in Utrecht. The parading and the shopping in this performance gave the Mondriaan-designs of Yves Saint Laurent an extra feminist twist. Sylvie Fleury works and lives in Geneva, Switzerland. In she had her first solo exhibition in the Netherlands at Galerie van Gelder. Pas dan komen de persoonlijke stempels van de kunstenaars naar voren.
Deze zijn helder te onderscheiden zodra ze in de combinatie van concept-en-beeld bekeken worden. Dan verschijnt de individuele kunstenaarsattitude. De handeling is bij een aantal werken letterlijk te zien, maar niet iedere kunstenaar wil direct zijn persoonlijke touch laten zien. Bij de werken van Olivier Mosset is er geen fysieke hand aan te pas gekomen.
Zijn handeling bestaat, binnen deze tentoonstelling, uit het letterlijk vermenigvuldigen van zijn werken. Er zijn vier identieke doeken van onbewerkt katoen te zien; apart gesigneerd en gedateerd alsof het unieke werken zijn. Door vier dezelfde werken te maken, trekt hij de uniciteit van elk van deze kunstwerken in twijfel. Het is een radicale handeling die zowel een galeriehouder als een verzamelaar danig in de war brengt als het gaat over de status ervan.
De kale linnen doeken van Wjm Kok zijn herhalingen van zowel zichzelf als van eerder gemaakt werk uit en later uit Wanneer echter gebruik wordt gemaakt van een ander zintuig dan het oog, wordt duidelijk dat er toch een eigen identiteit aan de werken is gegeven; elk doek is bespoten met een eigen parfum. Hij heeft namelijk een monochroom gelakt doek bekrast met schuurpapier en laat hiermee een spoor van zijn eigen hand achter. Elvire Bonduelle toont eveneens haar hand, wat zij letterlijk met haar hand doet.
Zij bedrukt haar wand- en zitkussen met verfvingers. Zo worden op verschillende niveaus handelingen van een werkplan en een kunstenaarshouding zichtbaar gemaakt. It is not until then the personal signatures of the artists jump forwards. These can be distinguished clearly when the combination concept-and-image is taken into consideration. Subsequently the individual artist's attitude appears. A few works show the act literally, but not every artist likes to present his personal touch directly.
The works of Olivier Mosset do not involve a physical hand. His act consists of literally duplicating his works, in this exhibition. There are four identical canvases of un-processed cotton; all separately signed and dated as if the works are unique. By making four of the same works, the artist puts the uniqueness into question. It is a radical act that confuses both gallery owner and any collector about its status. The pale linen canvases of Wjm Kok are repetitions of previous works, made in and again in At first sight the works also appear to be identical. As soon as one uses another sense than the eye, it becomes clear that the works have been given their own identity; each canvas has been sprayed with its own perfume.
Furthermore the executed acts are literally visible too, as in the work of Klaas Kloosterboer. Elvire Bonduelle literally leaves traces of her hand, i. In this manner acts of a plan in various ways are shown and the artist's attitude becomes visible. Sinds de invoering van de iPhone worden prentbriefkaarten zelf gemaakt en in een fractie van een seconde zijn die virtueel verstuurd.
De A5 en A6 prentbriefkaarten van weleer vallen zelden nog in de brievenbus, maar beelden blijven binnenstromen en heel wat meer dan voorheen. Die beeldenstroom gaat met enorme hoeveelheden. Misschien is het goed om even de rem er op te zetten en dan te kijken wat een vertraging op kan leveren. Daar gaat de tentoonstelling 'Postcards are to be looked at' over. Voor een deel zijn de prentbriefkaarten speciaal voor deze tentoonstelling gemaakt. Een ander deel van de tentoonstelling bestaat uit een keuze van bestaande prentbriefkaarten die nu even het daglicht zien in relatie tot de nieuw gemaakte kaarten.
Voebe de Gruyter heeft in samenwerking met haar zoon een geluidswerkje op ansichtkaartenformaat gemaakt. Met het 3-delige werkje kan door met de kaarten te wapperen geluid geproduceerd worden. Klaas Kloosterboer heeft een rood-wit-blauw vlaggetje op een toeristenkaart met daarop een haring afgebeeld uitgesneden en vervolgens stukjes uitgesneden canvas als namaakvlaggetjes op de muur bevestigd.
Sigurdur Gudmundsson heeft de galeriehouder gevraagd een mooie prentbriefkaart te kopen en die midden in de afbeelding aan de galeriemuur te nagelen. Marijke van Warmerdam heeft een filmloop gemaakt die een opmerkelijke souvenirmok uit Praag tot onderwerp heeft. Kunstenaars hebben nagedacht over hoe een prentbriefkaart er uit zou kunnen zien door een of meerdere aspecten van de traditionele prentbriefkaart nader te belichten. English text Nowadays postcards are self-made due to the introduction of the iPhone and in a split second pictures are sent by virtual mail.
The A6 and A5 postcards from the old days are hardly dropped in the mailbox anymore, but images keep on coming in and certainly a bunch more than before. The inexhaustible stream of images is not to stop. Perhaps it is a good thing to use the brake for a minute and then to see what a moderate slowdown could lead to.
This is what the exhibition 'Postcards are to be looked at' is about. For a part the shown postcards are specifically created for this exhibition of which several ones were sent by traditional post. Another part consists of a choice of postcards that was made in the past and that has been compiled for bringing it to the daylight and having it accompanied with the newly made cards.
Voebe de Gruyter co-operated with her son that brought them to an innovative sound piece of postcards.
For getting the sound one is supposed to flap the paper work in three parts in the size of a postcard. Klaas Kloosterboer has cut out a tourist postcard showing a tiny red-white and blue flag stuck into a haring. Next to this card 16 pieces of canvas on postcard size form a group of fake cut out mini flags. Sigurdur Gudmundsson has asked the gallerist 'to buy a beautiful touristic postcard' that should be bluntly hammered with a big nail to the gallery wall.
Marijke van Warmerdam has made a film loop that has a striking souvenir mug from Prague as subject. Artists have thought about how a postcard may become different by concentrating on or playing with an aspect of the traditional postcard. De installaties van Jay Tan hebben alles te maken met objecten die iets van ons willen en iets over ons zeggen.
Laten we deze fles bekijken, is het glas, een beeld, een ruimte met lucht? Het glas geblazen tot een vaasvorm met een hals die de wijn in zich droeg die ons dronken maakte. Met haar werk vestigt Tan de aandacht op de relatie tussen mens en ding, waarbij beide soms als onderwerp en soms als lijdend voorwerp optreden. Folkloristische decoratie, urban lifestyle en budget meubels vertellen hier een verhaal dat zowel persoonlijk als sociaal-politiek is. Een pruttelende rijstkoker verspreidt de geur van thuiskomen, een kledingkast verbergt tienergeheimen en de gevallen Icarus herinnert ons aan de onbesuisdheid van de jonge uitvlieger.
In dit atypisch tafereel van huiselijkheid maken we geen onderscheid meer tussen wat er al was, wat er is en wat nog komt - kunstobjecten, already mades, interieurstukken en ornamenten. The installations of Jay Tan are all about how objects talk and have their way with us. The glass blown into a form that held the wine that got us drunk. With her work Tan puts focus on the relation between humans and things, in which both take position as apparatus and substance. A simmering rice-cooker spreads an all-too-familiar smell, teenage-secrets hide behind sliding wardrobe doors and the fallen Icarus reminds us of youthful foolhardiness.
In this scene of idiosyncratic domesticity we make no distinction between what was already there, what is and what will come — interiors, art objects, already mades en ornaments. Jay Tan , Great-Britain lives in Amsterdam where she is currently a resident at the Rijksakademie van beeldende kunsten.
Daarbij maakt het niet uit welke materialen of dragers hij daarvoor gebruikt: tafelbladen, afdekzeilen, polystyreen isolatieplaten, textiel, aluminium folie of parfum maken net zoveel deel uit van zijn oeuvre als zijn meer conventioneel geschilderde Mix -serie in verf op doek.
In de tentoonstelling in Galerie van Gelder zien we twee series monochrome doeken. Grey Monochrome , waarvan er nu enkele getoond worden uit een gesloten serie van twaalf, met een verhuisdeken als beeld en tegelijkertijd als drager. Het egale grijs lijkt bij nadere beschouwing meer op een veld van kleurige pixels. De andere serie schilderijen - Mix genaamd - kenmerkt zich allereerst door de verscheidenheid aan kleuren, maar er zijn, minder opvallend, ook verschillen in de methode van uitvoering en textuur.
Zoals de titel Mix suggereert heeft Wjm Kok elk monochroom schilderij in samenwerking met een door hem uitgenodigde kunstenaar geschilderd. Dit project startte hij in met Henk Peeters, die als eerste bereid was hieraan mee te werken en die in zelf ooit Yayoi Kusama had gevraagd om samen een doek te maken. Of volgens de collega-kunstenaar zou moeten zijn.
Bij de Mix -serie gaat het om een samenwerking, waar twee kunstenaars, na het nodige overleg, uiteindelijk elkaar ontmoeten op het doek zelf. English text Monochromes In the practice of Wjm Kok one notices that monochromes turn up time and time again. It is less relevant whether he uses paint on canvas or anything else like tabletops, tarpaulins, polystyrene insulation boards, textile, aluminum foil or perfume.
They are all part of one and the same oeuvre, including his more conventionally painted monochromes from the Mix series. In the exhibition at Galerie van Gelder two series of monochromes are presented. Grey Monochrome comes from a closed series of twelve and displays a removal blanket that shows both image and support simultaneously. At closer observation, the apparently solid grey renders a field of colourful pixels.
The other series consists of paintings on canvas and is entitled Mix. Initially the variety of colours is what catches the eye. Less obvious are the differences in the methods of production and consequently the rendered texture of each canvas. As the title Mix suggests Wjm Kok painted each monochrome in collaboration with an invited artist. He started this project in by inviting Henk Peeters who was pleased to join in and who himself invited Yayoi Kusama to make a work together in For Kok this series is not only about the execution of a work made together but equally relevant is his interest in the discussions on the notion of the monochrome.
The Mix series is based on collaboration, where two artists, after due deliberation finally meet on the canvas itself. The Wacky starts shooting spaghetti out of his fingertips and his head turns into a disco ball. The Zen wants to dance too. Zijn verhalen komen voort uit zijn onderzoek naar allerhande dingen; gevonden of geleende objecten, ready-mades, of door hem zelf ambachtelijk vervaardigde kunstwerken. Maar wat hem vooral interesseert is hoe deze dingen de basis vormen van sociale relaties. Vanuit zijn een achtergrond als meubelmaker en industrieel ontwerper, heeft David zich in de laatste jaren ontwikkeld tot een eigenzinnig performer en schrijver, die met gevoel voor generositeit zijn publiek meeneemt in waarachtige verhalen die gaan over verbondenheid met elkaar en de dingen om ons heen.
In de tentoonstelling bij Galerie van Gelder geeft Bernstein vorm aan het concept Zenwacky, een term ontwikkeld in samenwerking met David Kirshoff. Zenwacky is een benadering, een manier van kijken, een esthetische filosofie. Het is een omgeving van rust en verwarring, van verlichte absurditeit. De galerie is veranderd in een sereen interieur, ingericht met elementen waarvan de identiteit slingert tussen ding, anekdote, structuur, sculptuur, meubel of kunstwerk — afhankelijk van onze waarneming, fantasie, ervaring en wijze waarop we ze met het leven verzoenen.
Interactie is essentieel en samenwerken is voor Bernstein natuurlijke onderdeel van zijn werk en houding. His stories emerge from his research into all kinds of things; found or borrowed objects, ready-mades, or carefully crafted art works. But what interests him most is the way these things constitute a basis for social relations. From his background in furniture and industrial design, Bernstein moved into performance and writing.
With generosity and care he chaperones his audience into imaginative stories about our relations between each other and the objects surrounding us. In his exhibition at Galerie van Gelder Bernstein gives shape to the concept of Zenwacky — a term he developed together with David Kirshoff. Zenwacky is an approach, a way of seeing, an aesthetic philosophy. It is an environment of ease in confusion, of enlightened absurdity. The gallery becomes a serene interior filled with elements whose identity meanders between object, thing, artwork, tool, construction, sculpture or story — all dependent on our perception, imagination and ways of bringing them to life.