12-01 2008, 12:32 JB
Caldic art collection
Caldic Collectie B.V. has been entrusted with the custody of Caldic's art collection. This collection of mainly twentieth century art objects (paintings, sculptures, collages, photos, etc.) - built over the last 40 years - is now unique in its size, its diversity and its originality. Regularly (thematic) expositions are organised inside and outside the Caldic company to enable experts, employees, company relations and other people interested to enjoy the beauty of all these works. Jean Arp, Edward Ruscha, Man Ray, Louise Bourgeois, Sonia Delaunay, Wassily Kandinsky, Ellsworth Kelly, Joan Miró, Fernand Leger, Sol LeWitt, Henry Matisse, A.R. Penck, Pablo Picasso, Andy Warhol, Christien Meindertsma, Sophie Calle , Constant Nieuwenhuys / Gerrit Kouwenaar ... See also Blood on Paper - the Art of the Book ...
Artists' books are works of art realized in the form of a book. They are usually published in small editions, though sometimes they are one-of-a-kind objects called a unique. Artists' books have employed a wide range of forms, including scrolls, fold-outs, concertinas or loose items contained in a box as well as bound printed sheet. Although artists have been active in printing and book production for centuries, the artist's book is primarily a late 20th century form.
"Artists' books are books or book-like objects over the final appearance of which an artist has had a high degree of control; where the book is intended as a work of art in itself." Stephen Bury
Een van de deelcollecties van meesterverzamelaar Caldenborgh, kunstenaarsboeken, nu ten toon op het Caldic hoofdkantoor. Voorzien van voorbeeldige publicatie verzorgd door Suzanne Swarts. Lees een interview 'Ik leef met mijn ogen' ... & zie voor kunstenaarsboeken ...
Een gevarieerde tentoonstelling van grote en nog GROTERE namen. Een onvolkomen impressie, een selectie uit een overweldigend aanbod:
Alicia Martin, Zocalo, 1997
Edward Rusha, (bijna) alle boeken
Boeken op sterk water van Roman Ondak, Eternal Sleep 1996
Ondák preserves everyday objects - such as books - in formalin and exhibits them in glass showcases like those used by museums of natural history. The glass aquariums begin to act as reservoirs of knowledge, surrounded by the nostalgia of past times. Isolation, alienation and dehumanisation are the terms the artist uses to denote human culture at the end of the twentieth century. He copies the methods of classification from the exact sciences to research knowledge- and value systems in culture.
Kasper Andreasen, Tine Melzer, The Grass is Greener on the Other Side
This work is derived from a public expression in language referring to envy and neighborhood, coming from a proverb dealing with the notion of the ‘other side’, We use this notion to install rules to draw page after page with a green marker drawing lines denoting ‘grass’. These drawings also mark time passing. Texts and print works around this ambiguous saying, involving notions of the ‘rhizome’ and anecdotes on being two.
Kandinsky, Klänge, 1907
Jean Cocteau, Georges Hugnet, La Nappe du Catalan, 1964
Giacometti, Paris sans Fin, 1969
Marius Bauer, Arabian Nights, 1922, 4001 aquarellen en tekeningen in de marge en over de tekst van een zestiendelige editie van de vertellingen van 1001 nacht.
Baselitz radiert Beckett’s Bing, 1996
De atlas van Marcel Broodthaers komt uit de kast.
Barbara Kruger, Stephen King (?!), My Pretty Pony, 1988.
Daphne, Sigmar Polke, 2004
Daphne is an artist's book created by Sigmar Polke. It is an anthology of sources of visual inspiration, a photocopied book that paradoxically reveals the artist's hand, a sketchbook for the machine age--Daphne runs and runs, is caught by the photocopier, and runs some more, only to be bound in the end.~Created directly by Polke himself, Daphne is a book with 13 chapters illustrated in large-format photocopies. Each "copy" of the book differs, as each has been photocopied and manipulated individually, pulled from the machine by the hand and watchful eye of the artist. Process is revealed, over and over again. Motifs accumulate page after page, as do small graphic cycles. The printed dot, the resolution, the subject, and the speed all determine and are determined by the apparently unpredictable and often impenetrable secret of a picture whose drafts are akin to the waste products of a copying machine. Even if the motifs in this book provide but a brief insight into the artist's hitherto secret files and archives, it is still a significant one. For the first time, we witness an artist's book with such an aura of authenticity that Walter Benjamin's seminal essay, Art in the Age of Mechanical Reproduction, bears consequent re-reading.~Produced in a limited edition of 1,000 "copies," each of which has been numbered and signed by Sigmar Polke.(cit.) Essay by Reiner Speck. Clothbound, 29 x 41 cm../ 400 black & white
Popupboek met geurkaartjes, singeltje, ballon, ingevouwen ooit werkende accordeon, het schitterende Index Book van Andy Warhol, multimediaal avant la lettre, 1967.
"My idea of a good picture is one that's in focus and of a famous person doing something unfamous. It's being in the right place at the wrong time."--Andy Warhol
Andy Warhol's Index (Book) is a compilation of interviews, art inserts, pop-ups, photographs, recording discs, and descriptions of life at the Factory. An important Warhol document and an absolutely iconic publication of the psychedelic era in New York.