Nissim Men

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Portret van de stad

Nissim Men is beeldend kunstenaar en fotograaf, wonend en werkend in Amsterdam.

Voor zijn project 'City's-Portraits' brengt Nissim Men (Tel Aviv, 1960) meerdere dimensies van een stad samen in een tweedimensionaal beeld. Het verleden, het heden, de architectuur, de culturele ontwikkelingen en de bezienswaardigheden voegt hij samen tot een portret dat de sfeer van de stad uitdraagt. "Door middel van archiefonderzoek en het lezen van documentatie bedenk ik welke objecten het karakter van de stad bepalen. Vervolgens wandel ik door de stad en maak veel foto's. Onderweg stet ik aan mensen vragen en hun doorgaans zeer enthousiaste antwoorden brengen mij weer op het spoor van interessante onderwerpen. Zo heb ik voor mijn portret van Groningen op de achtergrond bergen gemaakt van Groninger Koek en bij Zwolle heb ik de plaatselijke lekkernij van chocola erin verwerkt." Na het fotograferen monteert Nissim de vele beelden aan elkaar en gebruikt historische cartografische tekeningen uit stadsarchieven om te Iaten zien hoe een stad in zijn tegenwoordige vorm gegroeid is. Meestal begint Nissim een compositie met de skyline van de stad, maar in Amsterdam was dat moeilijk. "De enige duidelijke skyline in Amsterdam is te zien ten noorden van het Centraal Station en die vond ik niet representatief. Daarom heb ik twee andere skylines aan elkaar gemonteerd: die bij de Amstel en bij het Museumplein. Voor" de compositie en de Iucht heb ik me Iaten inspireren door Hollandse landschapsschilders."

Nissim blijft graag aan zijn projecten schaven en probeert zijn foto's voortdurend te verbeteren. "Onlangs reed ik door Amsterdam en in het hart van een rotonde zag ik een nieuw kunstwerk: een badeendje van drie meter hoog. Oat heb ik gefotografeerd en in de foto gemonteerd. Van de grote Nederlandse steden heeft Nissim Men inmiddels portretten gemaakt en nu zijn de kleinere steden aan de beurt. Als ik een aantal dagen wandel en fotografeer wordt een stad me meer vertrouwd. Ik begin dan met de stad mee te ademen en krijg op die manier contact met de sfeer en eigenheden van stadsdelen die je als oppervlakkige bezoeker ontgaan. De communicatie met mensen op straat, het enthousiasme van archiefmedewerkers en reacties van inwoners als zij het portret van hun eigen stad zien, maken dit project tot een zeer positieve ervaring."

 
Herman Brood

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Herman Brood werd op 5 november 1946 geboren in Zwolle. Brood kreeg zijn eerste pianolessen in 1959. Herman was erg intelligent, maar kwam op school niet mee. Hij had er een hekel aan om mee te lopen in het keurslijf. Regelmatig klom hij op school door het raam naar buiten, richting vrijheid. Veel liever zat hij achter de piano en eindeloos te oefenen om zich moeilijke akkoorden eigen te maken. De piano stond in de woonkamer van het huis die grensde aan de machinefabriek van zijn vader. Nachtenlang, het liefst in donker oefende hij met pianospelen. Altijd vergezeld door het gejank van hond Pat. Ook tekende hij in die tijd al heel veel. Als Herman weg was, was hij vaak te vinden op een kamertje boven het magazijn van de fabriek. In alle stilte zat hij daar dan te tekenen. Herman ging in 1964 naar de Kunstacademie in Arnhem en richtte daar The Moans op. De band deed veel optredens voor Amerikaanse militairen in West-Duitsland en Brood kreeg wel eens een pilletje toegeschoven om wakker te blijven. Zo begon zijn verslaving.

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In 1967 stapte hij over naar Cuby and the Blizzards. Hij ontmoette de toenmalige Miss Groningen Tekie Buissink, met wie hij een kortstondige relatie had. Op 24 mei 1968 werd hun zoon Marcel geboren. Toen de platenmaatschappij vernam dat hij drugs gebruikte werd hij uit de band gezet. Begin 1974 deed hij Herman mee aan een Cuby and the Blizzards-reunie voor het VARA-televisieprogramma Nederpopzien. Vanaf dit moment pakte hij zijn muzikale carriere weer op. Hij speelde korte tijd in de Noord-Hollandse formatie Stud en nam een album op met onder andere Jan Akkerman onder de naam 'Flash & Dance Band'. Vervolgens trad hij toe tot de band Vitesse. Na het debuutalbum in 1975 verliet hij deze weer.

In 1herman_8976 vond een cruciale ontmoeting plaats. Brood speelde mee in Cuby and the Blizzards, die voor korte tijd was heropgericht, toen hij in cafe 't Pleintje in Winschoten de naald van zijn injectiespuit in een prullenmand liet vallen. De eigenaar van het cafe, Koos van Dijk, kwam binnen toen Brood in de prullenmand op zoek was naar zijn naald. In plaats van Brood buiten de deur te zetten, keerde Van Dijk de prullenmand om en zocht ijverig mee. Vanaf dat moment trad Van Dijk op als Broods manager; hij zou dit blijven tot Broods dood in 2001. Brood verliet Cuby and the Blizzards en begon zijn eigen formatie: Herman Brood & His Wild Romance. In 1977 kwam het album Street uit dat enthousiast werd ontvangen. In 1978 volgde Shpritsz. De single Saturday Night werd een grote hit. Duitsland en Frankrijk raakten geinteresseerd.

Brood werkte in 1979 mee aan de film Cha Cha van Herbert Curiel en trad in de film in het huwelijk met punk-operazangeres Nina Hagen. In hetzelfde jaar vertrok hij naar de Verenigde Staten. Maar een Amerikaanse tournee werd geen succes en het in de VS geproduceerde album Go Nutz (1980) werd zowel daar als in Nederland afgekraakt. Hierop viel Wild Romance uit elkaar en zakte de carriere van Brood in. In 1985 trad hij in het huwelijk met Xandra Jansen, samen hadden ze twee kinderen, Lola (1985) en Holly (1994), en een aangenomen dochter Brenda (1979).

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Nicoletta Ceccoli

nicoletta_torNicoletta Ceccoli was born in San Marino, Italy, and graduated from the Institute of Art in Urbino. She has made a name for herself illustrating children's books, including winning the prestigious Italian Anderson Prize for best illustrator of the year in 2001 and being a four time recipient of the 'award of excellence' from Communication Arts. In 2006 she received the silver medal from the Society of Illustrators in New York.

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More recently, she has been showing her art in galleries all over the world, and had solo exhibitions in the US, Italy and France, garnering great demand for her allegorical, luminous, dream-like paintings. Beautiful and intriguing, her work consistently strikes a delicate balance between disturbing and enchanting. At first glance, images and figures masquerade as youthful and innocent, but a darker narrative inevitably unfolds.

Each painting is rife with symbolism that sparks the viewer's imagination and inspires a deeper level of consideration. Reminiscent of Mark Ryden, her paintings in acrylic on paper aren't as sweet as they appear, focusing rather on the dark sides of cuteness and sugariness.

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Amsterdam Enjoy has the privilege to introduce you to this talented artist and her richly detailed, dreamlike work. To learn more about the woman behind the dark fairytales, we found Kamiel Proost once again ready and willing to ask a few questions in interview.

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You mostly paint Girls, the only Man I see in Your Book 'Beautiful Nightmares' is about to be eaten by a Dragon. Are You a Man Hater, or a Man Eater...!?

I love to play with contradictions. In spite of their delicate look my Princesses are not so fragile and don't need to be saved by a Prince . Instead, they hide a dark dangerous side, their vulnerability is only apparent, they show a will for independecne , self confidence , strenght.

Are you One of Those Who Refuses to Grow Up..? Is your Art helping you to protect your 'Childishness'..?

There is always a kind of nostalgia for Childhood in my works. Drawing made me live in a timeless otherworld dimension where I still keep in touch with my Imagination and my Dreams, like a Child.

Your Technique seems Very Special. It looks like Aquarel or Pencil, can you tell us a bit about it. Like do you use an airbrush or oil colors too...?

Thank you for the kind words. I use acrylics very liquid as watercolours with airbush and brushes, more graphite and coloured pencils.




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Interview Gary Goldschneider

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Some of Gary's books:

 
Ray Ceasar

The English born artist Ray Caesar has grown explosively into a phenomenon. The demand for his work, which is exhibited worldwide, is overwhelming. He can be seen as one of the front runners of Digital Art. His subtle colours and surreal scenes are a mix of Romanticism, 1950's Nostalgia and a future decadence. Flying Girls in ballroom dresses have light emerging from their octopus legs. Tattooed Babies smoke pipes on old fashioned beach boulevards. Princesses with three fingers kiss with cats, and bleeding poodles with glass feet pose in turquoise rooms.

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The secret to his success? In part it is the 3D technique but above all his unique imaginativeness. Dark, surreal, with a touch of romance. Thrilling, fairy like work - it is heart wrenching. Dark details manifest themselves through the deep, impenetrable imagination of the artist. He transports you to holy places, created for his lost 'child spirits'.

They only appear when they perceive safety, in a world full of secrets and hidden truths. The exposure of childlike innocence and the unambiguous, conscious inner strength they radiate contrasts in a thrilling way with their fragile physical appearance.

Amsterdam Enjoy is lucky to be able to ask the master artist some questions:

There is always something Scary, something Eerie in your Beautiful Worlds. I once heard a Japanese Artist say: 'Beauty is fear' How do you see this..??

Things are often more complex than they seem and this is true of life. We have all experienced those kinds of times or we will. There are many kinds of beauty and to indulge in it too much can be perilous. It would behoove us not to have a sensible amount of fear of beauty. My work has a story that unfolds and some parts of that story are disturbing. I try to be kind to the viewer and when I present this disturbing part of the story and I am trying to be kind to the disturbing memory itself ...as if it has a life of its own. I want to wrap it up in something beautiful like any mother does....this is a way of being kind and gentle and caring. It's also a trap for prey and above all things .... my girls are hunters.

You often speak of 'Nostalgic Hunger'. Longing for the Past.? Unsatisfied with Modern Fashion...?

My love of the past and my own sense of nostalgia take nothing away from the present or the future. I am excited to live in this time and love the energy of freedom in creativity that we are living through. I also am one of those rare people who see a great future for the human species and a great hope for things to come. I have a belief that the more we are aware of all the challenges and struggles that face us the more we will stand up to them and find interesting and creative solutions to overcome them or live with them. Its true I love the past and as an artist I have to honor what has been built in the past and what we now call "modern Fashion" has its deep roots in the building blocks of the worlds that came before us. When I look at modern fashion I see the past as I work at building my knowledge of what has come before.

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Van Gogh was convinced that People could be Cured by looking at his Paintings. Would you be surprised if someone gets Sick from looking at your Work..?

[Continued: read the whole interview]

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Mario Martinez (MARS-1)

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Last year I received an e-mail from someone who had ordered banknotes from my Exchanghibition Bank project. That someone was Mario Martinez aka MARS-1, who sent me an e-mail including a picture of a live-painting he had done with some other artists at Burning Man. This led me to Google to find some more of his work and delve into and get lost in his wonderfully abstract, multi-layered seemingly alien landscapes with lots of detail. Paintings which invited me to take a look beyond the surface and go on a journey into the worlds he has created.

Mario Martinez began writing graffiti when he was 13 and finished his School of art in San Francisco where he currently lives, still very active in the city’s contemporary art scene. Besides using brushes on the usual material he paints high buildings in cities and makes sculptures of bronze, participated in so many projects, exposed in so many galleries. Early inspirations include: graffiti, animation, comic book characters, UFOlogy, extraterrestrials, unexplored life, mysteries of the universe, alternate realities and the abstract quality of existence.

Then, as so often happens in our frantically-paced world, other things happened, new projects, more paintings, so much stuff going on in the interweb world that for a while my eye lost sight of those paintings, but they found a safe place stacked somewhere in the art library of my sub-consciousness, ready to be picked up again when the moment was there.

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Recently that moment happened when Judith of Amsterdam Enjoy mentioned Mars-1 and the possibility to do an interview with him. A chance to renew my interest in his paintings and maybe learn some more via long-distance virtual communication, which hopefully might be followed up with a real life encounter with him in the desert at Burning Man 2012. Time to rinse my brushes, clean my hands, and start typing some questions.   

Because of the above Burning Man seems a good place to start my questions - Burning Man with all its dust seems a pretty hostile environment for painting , but you did a live-painting out there in both 2010 and 2011. So what made you come back? And how did Burning Man influence/inspire your work?

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We definitely allow elements of the surrounding area to seep into the painting. It was interesting to interface with an environment that lets you fall into your natural rhythm and hours of operation.  With five people/friends painting together, what starts to emerge immediately is the "day shift" and "night shift."  Personally, after a couple days my schedule would usually mean I would start painting  around 8 p.m.  and go on until  6 a.m. when I would take a break to watch the sunrise.  I would then go back  to paint for a few more hours before going to sleep around 10 a.m.

When Burning Man ended, and I would get back home, the day-to-day scenario this special mode of operation quickly disintegrated in the wake of small children dancing around my bedroom at 7 a.m. :).  Being a painter can, for the most part, be a solitary sport as well as an opportunity to be creative with others and have a meaningful dialogue with others.  In that context, it is a welcomed change of pace and an escape from my own creative inner-space, expanding ( the) my view by peering in to other infinite worlds within .

I love the conversations with the random folks who stop by and hang out. It can get pretty far out. From time to time, I have to remind(ing) myself where I am.  The often dilated nature of some of the people who engage me are usually not the average person one would encounter on the streets. To be quite honest, I find some of the ideas/concepts they throw around at such events on a regular basis to be extremely creative and inspiring.  Surprisingly, some of these conversations end up pleasantly haunting my future thoughts consciously and subconsciously for years.

Last weekend I went to the Documenta exhibition in Kassels. Participants this year came from a range of fields of activities. Not just art but also from science, including physics and biology. Looking at your work also gives a feeling of science, so I was wondering if you felt a connection to the scientific world? Or is it more a world of alien encounters and sci-fi?

I feel a connection to all of the above. I am particularly fascinated with the gray fuzzy areas where art can perhaps probe further into different spectrums where merely words may fail us.  Achieving this is maybe a different story. Encouraging others to superimpose and attach their own meaning to the artwork.  I guess what I am trying to say is - Its' something I am shooting for, always trying evolve in that direction...

Your work seems on the one hand very structured and pre-meditated. Especially certain details seem to be very well thought out in advance, and almost feel like designed on a computer, whereas on the other hand your paintings have a very organic feel as if they automatically flow out of your subconsciousness. So I was wondering how your working process goes; is it one big creative explosion, or is it a well-thought out process?

The process is very much about Exploration, Experimentation and the Opportunity for growth. At the same time, it involves trying to build on the works that came before it.  I rarely start out with a plan, or predetermined outcome, for the most part.  However,  there is an occasional painting that is based on a clear vision, worked out in my head before the painting process begins.

 
Do you sketch a lot and use those sketches to guide you through your painting process?

Usually, if I get stuck and have trouble conjuring up new ideas in a painting, I'll flip through my sketchbook to stimulate ideas.  I love my sketch book for capturing  fleeting ideas that I would otherwise probably forget about. It also serves as a reminder of what I was thinking at the time of the sketch.  These days though,  I find that I am working more ideas out on the painting itself,  and look less at my sketchbook for reference. I tend to spend more time with my sketchbook when I travel.  For me it's especially important to draw a lot before starting on a large body of work.  Over time, I have taken note that the quality of the doodle/drawings can serve as a meter of how creative and focused I am at any given day.  Obviously we all have our inspirational highs and lows, sometimes the sketchbook can act as a compass to guide me back on course.

With so many layers and details it's easy for the viewer to get lost in your paintings. Do you sometimes get lost in your own paintings?

Definitely! During the process of creating the painting a lot of problem solving and ideas pop into the mind's eye.  This way, especially when the painting gets to a certain point, I get creatively stuck.  Just staring at and getting lost in the painting can lead to unlocking the next step.  After it's finished though, I usually need some time away from it, maybe even a year, before I can really look at it again subjectively without getting all caught up on the tiny shit  nobody else probably would ever notice.

Do you feel that you yourself are creating your paintings, or that by being an artist you have the right antennae to pick up energy that is floating around?

Funny you should ask.  I have wondered about that before. There have been times that it really feels like I am channeling information, almost stumbling over myself trying to get it out as fast as the signal is streaming in. Unfortunately, that does not happen as often as I would like it to. I do believe, however, there is a natural depth in man which can be tapped into, a place where we can reach within to push ourselves  to higher potentials! This may be a collective dream that we all share.  It is called reality, a magical motherfucking place that we don't really understand. What's possible is largely unknown; so, I like to keep my eyes and my options open.

http://mars-1.com

https://www.facebook.com/mars.m.martinez

 
Mark Ryden

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When I first saw Mark Ryden's paintings in Juxtapoz Magazine I knew that Modern Painting was saved. Intricate details, superb technique, humor and a strange darkness captured in oil paint. Jesus in a Rocket, a naked Snow White between dinosaurs, Abraham Lincoln juggling with grade A-beef. It was the beginning of Pop Surrealism, a new school in Art, long before predicted by the ‘savior’ of painting the great Salvador Dali. With only a few paintings a year dripping out of Mark Ryden's Californian studio he has conquered the world with his enigmatic vision.

If you visit his website, www.markryden.com, please don’t be just amazed by his paintings, but also read the artist’s statements on Trees, Meat, Art and the Mystery of Life.

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‘Many people think that childhood’s world of imagination is silly, unworthy of serious consideration, something to be outgrown. Modern thinking demands that an imaginative connection to nature needs to be overcome by “mature” ways of thinking about the world. Human beings used to connect to life through mystery and mythology. Now this kind of thinking is regarded as primitive or naive. Without it, we cut ourselves off from the life force, the world soul, and we are empty and starving.’ Mark Ryden

Amsterdam Enjoy is thrilled to be able to ask the ‘King of Pop Surrealism’ some serious questions:

You once were a commercial painter and did Michael Jackson’s ‘Dangerous’ cover. It is rumored that he visited your studio in the middle of the night so you could paint His Eyes from real Life. Did the ‘King of Pop’ and the ‘King of Pop Surrealism’ have a little dance together?

Unfortunately I cannot “officially” discuss the details, but I can tell you that I feel very fortunate to have met and worked with a person of such relevance in our time.  We got along really well while working on the project.  He was a very creative and amazing person.

Are you still emotionally attached to your paintings, and is it hard to sell some of your favourites? 

I have never felt much attachment after finishing a painting. I like to see them go out into the world.  My hope is that they end up in a place where they will be loved and appreciated, but I don’t have any desire to hang on to them. I like to move on to the next one!

You must have spent ages on The Creatrix, if people want to see it for real, where do they have to go?

A wonderful collector, Mark Parker, who lives in the Northwest, owns “The Creatrix”.  He has a great collection of art as well as toys and other collectables. Fortunately he likes to loan out his paintings and share them with the world so “The Creatrix” is a painting that is more likely to get loaned out.  The last exhibition it was part of was called “The Juxtapoz Factor” at the Laguna Art museum. Hopefully soon it will make an appearance somewhere. 

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Is God a Woman? And if so, how did she paint all of this? Or is the Universe maybe a Poem?

There are many gods. Some are feminine and some are masculine.  Problems in perception arise when people personify the gods and think too literally about them.  It is better to think of the gods as archetypes or energies, or even simply “qualities”.  I think of the Universe as a dance of these gods.  

Besides Dreaming of your own theme park, don’t you think the World needs a Mark Ryden Museum first?

I would love to develop a museum space. That would be marvelous.    

What is or are your favorite saying(s) of the ‘King of Presidents’ Abraham Lincoln?

“People are just as happy as they make up their minds to be.”

I once asked an Italian painter: ‘Where can I still learn to paint like the Old Masters?’ He answered: ‘In Peking‘. Do you have any other suggestions?

There are not too many places around to learn the techniques of the old masters, but the museums are full of amazing examples!  You can learn so much by simply spending time carefully studying and looking at the paintings themselves.  It is one of my favourite things to do.  What is magnificent about old master’s paintings has a lot less to do with secret techniques and a lot more to do with careful attention to the subtleties and beauty of the world around us.  

Who or what are your new -dis-coveries in art at the moment?

The music of Moondog, the paintings of Neo Rauch, the movies of Terrence Malick.

Our city is know for it’s liberal laws on drugs, did you ever try Magic Mushrooms, and what do you think of psychedelic substance.?

I don’t do well with psychotropic substances. I think that in my regular daily life, my thoughts are already somewhat hallucinatory.  Adding anything else, even marijuana, puts me too far out there.

America and the Western World are in a crises, financially and spiritually. What do you see for a future of the ‘Land of Freedom’?

It may take quite some time, but I see a future where people have let go of scientific reductionism vs. monotheistic spi-ri-tuality. The world will be looked at with enchantment again. People will see spi-rituality in the natural world around them once again.  We can do this without losing what we have gained in the modern era, that is an awareness of the importance of the individual self, and will have a better, more balanced relationship with the world…  

Interview door Kamiel Proost

www.markryden.com


 
Hans kanters Art

Dali van Amsterdam, Hans Kanters Het lijkt net een sprookje, al 45 jaar schildert op één van Amsterdams mooiste kleine grachtjes en sinds 20 jaar op het Spaanse eiland Ibiza een Kunstenaar, die zich met recht de ‘Dali van Amsterdam’ zou kunnen noemen. Een eigen universum vol Rhinocerossen en Fietsende Vissen. Met dit verschil dat waar Salvador Dali, zijn genialiteit van de daken schreeuwde, de Amsterdamse Kunstenaar Hans Kanters (1947) in stilte door schildert aan zijn indrukwekkende oeuvre.

Ooit in de onstuimige jaren ’60 toen Amsterdam het ‘Magisch Centrum’ was voor hash profeten en de ongeschoren driehoeken van de Seksuele Revolutie, werd hij op jonge leeftijd beroemd met zijn schilderijen vol Vliegende Fallussen, tot dieren omgevormde Vagina’s en Kwijlende Pausen. Een fantasie als die van Hieronimus Bosch met de verworven vrij­heden en uitbundigheid van de jaren ’60 zorgde voor uitver­kochte tentoonstellingen, waar­bij de Kikkers met Penissen, Jezussen op Eenwielers en Apen als warme broodjes over de toonbank gingen. Het stigmata van ‘erotische’ schilder zal hem altijd blijven achtervolgen, maar met de jaren ontwikkelde Kanters een olieverf techniek die door weinigen in de wereld geevenaard wordt. De Penissen kwamen wat minder in beeld en maakten plaats voor Dansende Narren, Balancerende Draken en Brandende Gieren. Op een schilderij uit 1986 schildert hij zichzelf als Christus, niet genageld aan het kruis, maar aan een schildersezel. Wij zijn trots en blij dat hij meteen positief reageerde op ons verzoek zijn werk te mogen tonen. En in de Culturele Ontdekkings­reis door Onze Stad vinden wij van Amsterdam Enjoy dat het hoog tijd is om de Generaties die uit de Sappen der Seksuele Revolutie zijn voortgesproten, kennis te laten maken met het Geniale Werk van de Amsterdamse Meester Schilder: Hans Kanters. Want zijn Schilderijen spreken Duizenden woorden, en laten je Dromen met je Ogen Open…

Kamiel Proost

 
Hans Kanters

Dali van Amsterdam, Hans Kanters

Het lijkt net een sprookje, al 45 jaar schildert op één van Amsterdams mooiste kleine grachtjes en sinds 20 jaar op het Spaanse eiland Ibiza een Kunstenaar, die zich met recht de ‘Dali van Amsterdam’ zou kunnen noemen. Een eigen universum vol Rhinocerossen en Fietsende Vissen. Met dit verschil dat waar Salvador Dali, zijn genialiteit van de daken schreeuwde, de Amsterdamse Kunstenaar Hans Kanters (1947) in stilte door schildert aan zijn indrukwekkende oeuvre.

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Ooit in de onstuimige jaren ’60 toen Amsterdam het ‘Magisch Centrum’ was voor hash profeten en de ongeschoren driehoeken van de Seksuele Revolutie, werd hij op jonge leeftijd beroemd met zijn schilderijen vol Vliegende Fallussen, tot dieren omgevormde Vagina’s en Kwijlende Pausen. Een fantasie als die van Hieronimus Bosch met de verworven vrij­heden en uitbundigheid van de jaren ’60 zorgde voor uitver­kochte tentoonstellingen, waar­bij de Kikkers met Penissen, Jezussen op Eenwielers en Apen als warme broodjes over de toonbank gingen. Het stigmata van ‘erotische’ schilder zal hem altijd blijven achtervolgen, maar met de jaren ontwikkelde Kanters een olieverf techniek die door weinigen in de wereld geevenaard wordt. De Penissen kwamen wat minder in beeld en maakten plaats voor Dansende Narren, Balancerende Draken en Brandende Gieren. Op een schilderij uit 1986 schildert hij zichzelf als Christus, niet genageld aan het kruis, maar aan een schildersezel.


Wij zijn trots en blij dat hij meteen positief reageerde op ons verzoek zijn werk te mogen tonen. En in de Culturele Ontdekkings­reis door Onze Stad vinden wij van Amsterdam Enjoy dat het hoog tijd is om de Generaties die uit de Sappen der Seksuele Revolutie zijn voortgesproten, kennis te laten maken met het Geniale Werk van de Amsterdamse Meester Schilder: Hans Kanters. Want zijn Schilderijen spreken Duizenden woorden, en laten je Dromen met je Ogen Open…

Kamiel Proost

www.hanskanters.com

 
Bernart Amygdalah

https://www.facebook.com/bernart.amygdalah


Vanaf het moment dat ik kon denken houdt ik mij al bezig met kunst, dit

komt mede door het feit dat mijn vader schildert  en mijn opa muzikant was.

In mijn jonge jaren schilderde ik met aquarel en olieverf, ik leerde

mijzelf gitaar spelen, fluit en experimenteerde met de synthesizer. Mijn

grootste wens was om als kunstenaar door het leven te gaan en dus liet ik

mij opleiden tot beeldhouwer. Toch waren schilderen noch beeldhouwen de

juiste media om mijn visioenen uit te beelden. Toen kwam ik rond het jaar

2000 bij de digitale kunsten. Met een photoshop programma was het eindelijk

mogelijk zó in detail te werken als waar ik altijd van gedroomd had.

Het doel van mijn werk is om de waarnemer een gevoel van eeuwigheid te

geven. Ik ben nog altijd op zoek naar een muzikant die mijn kunst kan

aanvullen om zo een multimediaal project in het leven te roepen.


 
Android Jones

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AmsterdamEnjoy heeft voor de editie van December-Januari 2012 een interview gedaan met Andrew Jones:

Apocalyptic art shaman

Interview with Andrew 'Android' Jones, by Larissa Quaak

The work of Android Jones is a hybrid of academic training, emerging technology and the mystical experience. His digital art adorns the cover of this edition, and more works can be found throughout the magazine. Enough reason to get answers for some of the question you might have.

When and why did you first started making art?

My parents were painters and while in preschool, I painted a picture of a caterpillar which the teacher thought was something really special. So she encouraged my parents to get me into private lessons and that started my life as an artist. I've been painting ever since.

I did a Bachelor of Fine Arts in Computer Animation, and received classical academic artistic training from masterElvie Davis. I also took a semester off and went to medical school to dissect cadavers. I used that time to really get in close to these cadavers and learn anatomy. You don't really forget it once you cut open somebody's back. It's a great way of burning images into your mind.

How did you become the only North American concept artist to work for Nintendo?

I moved to Europe because I needed a change from living and working in California. I actually sold everything and quit my job and was living in Europe as a portrait artist, just working, living off the street, and traveling around in a real gypsy-like, nomadic life. Then I received an email from a friend telling me about a job opening at Nintendo's. So I sent in my portfolio, and they liked what they saw and offered me the job. From there, not only did the ideas keep coming, but the work kept coming to me as well.

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What kind of medium do you prefer for your art?

I was exposed to the digital side of the arts pretty early. I remember fooling around with Painter 1.0 when it was sold in something like a paint can. At the time, I was really into markers and pencils, so it was hard for the original programs to compete with that. When the first Wacom tablet(electronic pen/brush) came out, towards the end of 1998, I really got stuck into Painter. I never really looked back, because I was sold on the digital medium from then on.

Digital is great.With it you get light, pixels and energy; it's a beautiful medium but it does sometimes leave you wanting more from the tangible world. That's why for instance I also do bodypainting sometimes. It's the most tangible of all because not only am I using real medium, like propellants, airbrush and stencils, but I'm painting on living canvases. It's very much like Zen-Buddhist sandpainting, you know, it's 'only there for so long'.

Can you tell us a bit more about your more recent projects?

I have been working on building online and physical communities through collective sites such as www.conceptart.org and www.dreamcatcher.net. I have also done a lot of festivals: designing and building large-scale interactive installations at events like Boom and Burning Man.For the last one I also designed this year's tickets, which felt like a great honor. Recently, I did a live art project covering the exterior and interior of the Sydney Opera house, another great honor and experience.

www.androidjones.com

 
Amanda Sage

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Visionary artist Amanda Sage

Amanda Sage is at the forefront of a new breed of visionary/interdimensional artists using art as a tool for personal, spiritual, planetary growth and transformation.

Amanda was born April 19, 1978 in Denver, Colo­rado to her mother YOU and father Jackson, with two brothers still to come. Her childhood was filled with healthy, tropical, media-free, creative freedom in Florida without the distraction of formal schooling until she entered 4th grade in Colorado.

After graduating she went to Bali as a volunteer for close to a year, and amongst other projects & exotic distractions, illustrated an herbal book with over 70 indigenous plants and herbs for the natural Birthing Clinic, now called Bumi Sehat.
 Through meeting Philip Rubinov Jacobson and Michael Fuchs in 1996, she was invited to do a private 2 year intensive experiment to study the techniques of painting and etching of the old masters as an apprentice under the classical/fantastic artist Michael Fuchs in Vienna Austria. Following this in 1999 Michael introduced her to his father, internationally famed godfather of Fantastic and Visionary Art, Ernst Fuchs, and she has since been a student and painting assistant on various projects throughout Europe. Michael taught her to “see” the world around her through the brush and the Old Master techniques in painting. Ernst has reminded her to “listen”, which has opened up other ways of ”seeing” and perceiving.

She has exhibited solo and in group shows in galleries, salons and in various projects/events worldwide since 1999, including London, Vienna, Munich, Berlin, Bali, Colorado, Seattle, San Francisco, and most exo-tically at Burning Man, hanging next to renowned visionary artists and friends such as Alex Grey & Allyson Grey, Martina Hoffmann, Robert Venosa, & many amazing artists involved in the growing movement of Visionary Art.


www.amandasage.com

 
Luke Brown

Luke Brown is an intrepid explorer, part of a new generation of visionaries recontructing the templates of culture as we know it. His art speaks of the spiritual mysteries in the human imagination.

Mystical experiences, dreams, medicine journeys, and channelled lucid dialogues with the source of creativity itself, seem to guide and be guided by the colourful symmetries and living surfaces of his art. Much of his work emerges from a graceful synthesis of digital and painting mediums. Developing his work through mix and remix technologies, Luke is constantly redefining his style as a spiritual medium for growth. He is intent on mapping his hyperspatial experiences with utmost accuracy, with whichever medium seems best suited, as a form of multidimensional cartography.

His art has been shown internationally with such visionary heavyweights such as Alex Grey, HR Giger, Robert Venosa and Ernst Fuchs. He is currently a resident of the lush Elfinstone rainforest in BC Canada, one of an infinite number of parallel universes in which he resides within simultaneously.

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www.spectraleyes.com

 
Dadara

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Dadara is de artiestennaam van Daniel Rozenberg – een Amsterdamse kunstenaar met vele gezichten.

www.dadara.nl

Hoewel zijn kunst de afgelopen twintig jaar ging van cartoons, flyers, totempalen, schilderijen en dvd's naar grote interactieve kunstinstallaties, is zijn stijl herkenbaar gebleven. Met veel vrolijke kleurtjes, humor en oog voor detail levert hij een beschouwende en bekritiserende blik op de huidige maatschappij. Zijn werk bewijst dat aesthetiek en thematiek niet ten koste van elkaar hoeven te gaan, maar juist versterkend kunnen werken.

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Kamiel Proost
The Ship of Fools is originally a triptych; three paintings forming one. The three paintings are Birth, Life and Death. 

Birth: Out of the flower on top, in a shower of Light new Baby’s are falling onto a heart shaped World. As Life begins all seems lovely, pink and positive. The Buddha is a big temple, a meditation cathedral, that I one day hope to realize. On the Pink Elephant you see the three races of People; Asian, African and European living in harmony.

http://www.kamiel-proost.com/


Life: As we grow up, the chaos of Life starts surrounding us. We end up in traffic jams, drown in desires, make Fools out of ourselves or get beaten up by the police. There is two ways of looking at it: On the left island you see a Buddha observing the world in acceptance. On the right we see a skull island with a Doomsday Prophet screaming at the world that it should change, or else...

Death: All suffering disappears when we die. That’s why the skeletons are all dancing laughing and juggling; they laugh at Life‘s complications. Under the rose we see the tunnel of White Light. The Source of our Souls that takes us up when we die... only to be reborn again, and fall upon the world as new Baby’s... The title ‘The Ship of Fools’ came from a popular medieval book ‘Das Narrenshiff’, a satire about the human weakness and folly.

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Tashi Norbu
Inmiddels verovert hij ook Nederland en binnenkort Japan met zijn werk en persoonlijkheid.,,

Geboren in Bhutan als kind nadat zijn ouders vluchtten uit Tibet, groeide Tashi op in de kloosters van de Dalai Lama in Dharamsala, India. Hier werd al snel zijn schildertalent ontdekt en kreeg hij les van de beste leraren.

Hij kreeg toestemming de muren van de leslokalen te beschilderen en werkte enkele jaren voor de Office van de Dalai Lama als thangkaschilder. Inmiddels is hij uitgegroeid tot de beste thangkaschilder ter wereld en woont hij alweer 8 jaar in België waar hij studeerde aan de kunstacademie om zich te bekwamen in de westerse kunst. 

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Bruce Brouwn

Bruce Brouwn was raised in a very artistic environment. Already at a very young age, he discovered the world of art by drawing, painting and sculpting. During this period of childhood, Bruce enjoyed visiting art exhibitions and (modern) art museums, and the urge to create/visualize became a never ending process, up till today. At the age of 19, he started to discover the computer as an artistic tool. During this time period, Adobe Photoshop, Apple Mac and even Internet were not developed. Instead, he mastered the dedicated computer hardware program Quantel Paintbox, and became one of the first artist worldwide using this as a digital artistic tool.

 

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"Today, Bruce Brouwn is one of the most experienced professional artist specialized in photographic image manipulation / creation."

www.brucebrouwn.nl

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