8 juni – 16 september 2018
alle dagen open 11 tot 18 uur

Louwrien Wijers

Hoofdstraat 12 

9172 MP Ferwert NL

+31 624 910 885

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- Zaterdag 21 juli, 14 uur HENRY FLYNT + MATTHEW STONE In 1961 begon Henry Flynt (1940) met immateriële kunst, hij wilde dat musea sluiten en lanceerde Concept Art. Tot een Skypegesprek was hij niet in staat, mailde Henry, in plaats stuurde hij zijn elektrische viool solo ‘Shostakovich Cadenza’ voor ons om naar te luisteren.

Matthew Stone (1982) is zowel door Beuys als Warhol geïnspireerd, die beiden in de nabije toekomst een liefdevolle samenleving zagen ontstaan. Matthew gaat de Sociale Sculptuur die planten hebben ervaarbaar maken voor ons. “Dat worden diepe ervarigen,” zegt hij. “Planten geven de kans ervaringen van healing te hebben. Het gaat om mens-plant en plant-mens communicatie.”

- Zondag 22 juli, 14 uur  CEES HIEP Hij speelt op de vleugel zijn piano solo Geheime Recepten 1 en 2, miniaturen die telkens een andere richting en lading hebben, legt Cees uit.

- Zondag 22 juli, 15 uur MATTHEW STONE “Mijn idee is de aanwezigen door parfums van bloemen een interessante connectie met planten te laten ervaren. Het gaat om plant-bewustzijn. We gaan zelf parfum van bloemen maken en ik vertel over mijn eigen ervaringen met planten. Je ontwikkelt zo echt een connectie met de natuur,” zegt Matthew.

Fluxus en de Sociale Sculptuur

16 - 22 juli 2018

Henry Flynt reads "From Culture to Veramusment" at Walter De Maria's loft, NY, February 28th, 1963 (the picture is of Mayakovsky) photo by Diane Wakoski

In senior high school Henry Flynt received an honorary scholarship to Harvard. He entered Harvard College at age 17 and Flynt met peers who were intellectual companions in succeeding years, such as Tony Conrad, who placed Flynt in contact with La Monte Young in 1959.

By the beginning of 1960, Henry Flynt concluded that academe had nothing more to offer him and that he needed to devote his full time to creative endeavors. In 1961, Flynt continued to reinvent himself, and produced a body of work, which gave direction to everything he did subsequently. He appeared in the concerts at Yoko Ono’s loft curated by La Monte Young. He arranged a concert at Harvard for which Young, Richard Maxfield, and Robert Morris traveled to Cambridge to participate. He gave a private lecture at La Monte Young’s apartment at the beginning of June 1961. Later that month, Flynt coined the term Concept Art to refer to “an art of which the material is concepts, as the material of for music is sound.”

He presented a selection of current work in lecture-like appearances at George Maciunas’ AG Gallery in July 1961. In 1962, he began to criticize art wholesale, in the name of absolute subjectivity of taste. The cessation of art had already been proposed by John Cage and Christian Wolff in 1960, art was to be replaced with “general acognitive culture.”

Late in February 1963 Flynt visited New York for a pilot campaign against the cultural institutions and the art world. He picketed two museums and Lincoln Center with Tony Conrad and Jack Smith. The next day he lectured against art in Walter De Maria’s loft. In  1963 “An Anthology”, which included Flynt’s “Concept Art,” was released.

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FLUXUS and the Social Sculpture

16 - 22 July 2018


- Saturday 21 July, 2pm HENRY FLYNT + MATTHEW STONE In 1961 started Henry Flynt (1940) with immaterial art, he wanted museums to close and coined Concept Art. To the invitation to do a Skype interview he answered: “I wouldn't be able to do that interview.” Instead he sent his electric violin solo ‘Shostakovich Cadenza’ for us to listen to.

Matthew Stone (1982) is inspired by zo wel Beuys as well as Warhol, who both saw a compassionate society coming our way in the near future. Matthew will make us experience the Social Sculpture of plants. “Those will be profound experiences,” he explains. “Plants just offer that kind of opportunity. It is about human-plant and plant-human communication.”

- Sunday 22 July, 2 pm CEES HIEP He will play on his grand piano the solo ‘Secret Recepies 1 and 2, miniatures that have all the time a different direction and a different charge,” Cees explains.

- Sunday 22 July, 3 pm MATTHEW STONE “My idea is that the persons present can have an interesting experience. The flower’s essences give an interesting way to connect with the plant. It is about plant consciousness – mythology of the plant. I am also happy to talk about my experiences with plants, in a healing sense. It is a way to develop a connection with nature,” says Matthew.


Matthew Stone and Louwrien Wijers on Stromboli, Italy  (foto: Egon Hanfstingl)

Matthew Stone: Thinking about Goethe’s influence on Beuys and even Beuys’ on my own thinking. It could be that, in every age, there are cultural ideas that begin to define the limit, or the potential, of the new thinkers. It becomes important to try to understand the ideas of the past, but not to take them as something, which should be absolute.

Louwrien Wijers: Every mind interprets it differently, and there freedom starts. Because if you say you have to understand this in this way, you would already be a Nazi. So the beauty of wisdom is that it fits every person. And if we just stay away from talking about differences, then we get somewhere, because we want to go towards compassion, towards going together, towards feeling together. The future is within each of us, as Beuys says. It is already there, just like when a tree comes, in the seed the tree is already there. So all of us carry within us an idea of the future.

MS: My instinct is always to try and connect seemingly disparate entities, the co-existent and passionate voices in your interviews has provided me with a diagram for this type of thinking and an idea of distant collaboration. There are different visions of the world and it’s future, but conflict arises when people seek to impose their vision of reality forcefully onto other people. I wonder whether we can foster the potential for the coexistence of visions -- and for those visions to remain uncompromised.

LW: If I have stability somewhere inside that whole being that I am, then I can always come back to that place of rest, and then the differences don’t touch you. Live as a small universe [and you] will always be able to go back to their inner source and balance more easily than before.

MS: Each person is a universe... of their thoughts, of their intuitions, of their emotions.
Verruimd Kunstbegrip, Sociale Sculptuur en Eurazië
23 - 29 July 2018
- Zaterdag 28 juli, 14 uur JOHANNES STUTTGEN Van 1967 tot 1986 was Johannes Stüttgen die naaste medewerker van Joseph Beuys. Hij komt voor de tweede keer naar Ferwert om uit te leggen hoe het economische principe en het politieke principe in elkaar grijpen. In Eurazië zal straks het basisinkomen voor iedereen en de directe democratie tegelijk ingevoerd moeten worden om een stabiele nieuwe maatschappij te creëren.
- Zondag 29 juni, 14 uur CEES HIEP speelt op zijn vleugel zijn compositie ‘Spatels’.
-Zondag 29 juli, 15 uur JOHANNES STUTTGEN praat verder over het unieke samenspel van basisinkomen en directe democratie.
Klik op onderstaande links om een film een tekst van Charlotte van Winden over 21/24 juli te bekijken, toen Johannes Stüttgen, die 19 jaar met Beuys gewerkt, hier was, tegelijk met de Omnibus für Direkte Demokratie die vier dagen op de Vrijhof in Ferwert stond.
Film van Charlotte van Winden
Naar het 100 dagen programma en meer
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