Dan Graham meets Robert Smithson, thanks to Irene.
The existence of the Rijksakademie van beeldende kunsten is being threatened by the Dutch Government. The intention to terminate governmental support as of 2013 endangers the future of this crucial source of top talent in the visual arts.
The Rijksakademie was founded by law in 1870 to keep Dutch talented artists in the Netherlands and to attract talent from abroad. The Rijksakademie holds State Collections on artistry and organizes the Prix de Rome. The internationally acclaimed residency program has enabled artists to make an essential contribution to the local and global art scene. For 141 years the institute has delivered artists like George Breitner, Piet Mondriaan, Karel Appel and more recent Michael Raedecker, Folkert de Jong, Fiona Tan, Meshac Gaba and Yael Bartana. Artists who have been able to excel and achieve a strong independent position. Their work is shown in leading museums, galleries and biennials and acquired for important collections all over the world.
The Rijksakademie is a healthy institute with a continuously growing, vast base of support. It serves as an example for residency programs and non-profits worldwide. It would be a devastation for Dutch culture if this institute would be terminated. This is why we plead to the Dutch Government to guarantee the continuation of the Rijksakademie and act as a responsible partner, also towards the other financial partners of the Rijksakademie, by creating a long term strategy.
The Rijksakademie is part of a large community. We have launched this online petition to reach out to our alumni, friends, partners and supporters from all over the world.
Cows. Pigs. Elephants. Franz West. Tilted Arc.
No work goes unscathed, apart from Picasso, but nobody ever called him an asshole.
A commission, for a forthcoming exhibition, from the selection of a collection, in an old factory.
The before. Expected after is April, 2011.
You’ve got that right.
Looks like some work is already installed.
Special prize goes to the person who knows what this is.
Post industrial aesthetics.
I ask my brother if the postcard, sent to my nephews from São Paulo, had arrived.
He writes back –
I ask my brother if my nephew Jack knew that I stayed there.
He writes back –
He knew, I told him. He inquired whether you were now “on the dark side”. I reassured him that you continued to follow the ways of the force. He smiled and said “good”.
Inside. On the opening day of the 29th Bienal de São Paulo and artists, curators, gallerists, and critics are manically hopping about from work to work.