dinsdag 29 januari 2013

Behind Glass the Apol Twins Johan van der Keuken Photography


EMIEL VAN MOERKERKEN - original photograph [1958] - 33 x 26 cm. The girls pictured are Yvonne and Georgette Apol.

Earlier images of them were published in 1955: Joan van der Keuken included several photographs of the sisters in his famous work WIJ ZIJN 17 (WE ARE 17, see Parr/Badger Vol 1, page 244), although at the time the girls hadn't reached that age yet. 

Yvonne and Georgette (one of them was married with Van der Keuken for a short period) were immortalized by means of the classic ACHTER GLAS, another fine work by Van der Keuken, published in 1956 (see Parr/Badger Vol 1, page 244).

Van Moerkerken captured the sisters at the more mature age of 18 and had them put - nameless - in his book Meisjes van Nederland / The Girls of Holland, published in 1959. 



This selfmade new years greeting Anni sent to her parents in 1940. On the card we see Anni, with her
husband Piet Apol and their first twins Georgette and Yvonne.






Keuken, Joan van der Wij zijn 17. [Text S. Carmiggelt]. Bussum / 1955 / First edition / 64 p. / in wrappers / 24x16cm / 29 pl. of ill. / - / NN / Buch / Photographie - Monographie - 20. Jahrh. - Carmiggelt, S. / Text nederl. See for more Joan van der Keuken  ...

Martin Parr and Gerry Badger  : The Photobook: A History volume 1/ The Indecisive Moment: The 'Stream-of-Consciousness' Photobook

In 1955, the 17-year-old Joan van der Keuken caused a stir in Dutch publishing with his book Wij zijn 17 (We are 17), prefiguring the even greater furore that would greet the publication of Ed van der Elsken's Een Liefedesgeschiedenis in Saint Germain des Pres (Love on the Left Bank) a year later. Van der Keuken's book was as innovative as Van der Elsken's in its treatment of a section of society - not a class exactly, but a societal group - that was beginning to be regarded as a class apart.

It is sometimes forgotten in these days of 'youth culture' that it was only from around the 1950s onwards that the young were first talked about in this way. Previously they had been regarded - give a modicum of wild oats sowing and youthful high spirits - largely as replicas of their parents. In the 1950s, however, with its anxious air of repressed rebellion, such attitudes were overturned. The Beat Generation, the Beatnik movement, James Dean - the original rebel without a cause - and a pouting, gyrating phenomenon called Elvis Presley, drew the world's attention to the fact that, since the war, a new alien seemed to have been dropped on the planet - the teenager.

Van der Keuken's two books, Wij zijn 17 and his followup, Achter Glas (Behind Glass, 1957), caught this mood perfectly. Whilst perhaps not stream-of-consciousness in style, they certainly are in terms of attitude, capturing a moment's experience in which nothing much happens except for the moment itself. The 30 pictures in Wij zijn 17 are tellingly simple. Students lounge around in their rooms, doing nothing very much, as if waiting for their adult lives to begin. The mood is uncertain, capturing that moment when childhood ends and youth must take a deep breath and step out into the world.

This was also the theme of Achter Glas, Van der Keuken's second foray into the new form of the 'photonovel'. Two sisters, Georgette and Yvonne, do little more than sit by a window, day-dreaming. And it was this youthful lassitude, this apparent aimlessness, perfectly expressed by Van der Keuken, that caused a degree of controversy. But this view of teenage rebellion at the sulky rather than more active stage rings painfully true. It became a model for other books examining the same phenomenon, not he least of which is the recent work of Van der Keuken's compatriot, Helen van Meene , whose similar view od Dutch adolescents - now in colour - has also proved controversial.

Wij zijn 67

Door Henk van Gelder
artikel artikel | Zaterdag 05-03-2005 | Sectie: Achterpagina | Pagina: 66 | Henk van Gelder

Vandaag verschijnt na vijftig jaar een herdruk van `Wij zijn 17', het fotoboek waarmee Johan van der Keuken het naoorlogse Neder- land de stuipen op het lijf joeg.

Petra Laseur was net zestien geworden, toen in 1955 het fotoboekje Wij zijn 17 verscheen - en toch was zij, de ogen naar een hoger doel verheven, een van de geportretteerden. Men moest de titel dan ook niet te letterlijk nemen, zei de jonge fotograaf Joan van der Keuken later: ,,Het was een nogal rekbaar begrip, mijn zusje was negentien en zwanger, en er zaten er ook een paar in van veertien, maar dat kon niet bommen.'' Waar het hem om ging, was de generatie die hij in beeld wilde brengen. En dat was de zijne, want zelf was Van der Keuken toen wel zeventien.
Een lief boekje, op het eerste gezicht, waarin zo'n dertig adolescenten veelal in gepeins verzonken leken over de wereld die voor hen lag. Maar de ernst die uit hun oogopslag sprak, joeg de aangeharkte Nederlandse samenleving van de jaren vijftig - nog nauwelijks de wederopbouwjaren voorbij - de stuipen op het lijf. Wij zijn 17 heeft de gemoederen destijds maandenlang beziggehouden.
Van der Keuken bleek een spookbeeld te hebben opgeroepen. Zo wilde men zijn jeugd niet zien; men wilde jongens en meisjes die met verwachtingsvolle blikken de toekomst in keken, verrukt in een appel beten of zich in de vrije natuur aan sport en spel overgaven. Ook de recensent van het Algemeen Handelsblad (een zekere J.M.) vond het boekje weliswaar ,,zo opzienbarend dat het om erkenning schijnt te schreeuwen met een jeugdig vuur dat niet te blussen is'', maar voegde eraan toe dat de confrontatie met deze jeugd ,,toch ergens unheimisch'' was.
De debuterende Johan van der Keuken, die zichzelf artistiekerig Joan noemde, vond zijn - anonieme - modellen dicht bij huis. Als leerlingen van het Montessori Lyceum in Amsterdam, waar hij zelf in het laatste schooljaar zat, en het Barlaeus Gymnasium vormden ze een vrolijke vriendenkring. ,,Een beetje een elite-clubje'', zegt Petra Laseur. ,,We droegen coltruien en sommige jongens rookten een pijp. Veel jazz, roken en drinken. En ik denk dat in ons allemaal ook wel een vleugje artisticiteit zat.'' Maar in het nawoord bij de vandaag verschenen heruitgave verzet Van der Keukens klasgenoot Giel Janse zich wel tegen het sombere beeld dat de kritiek van deze jongeren opriep: ,,We waren helemaal niet ernstig en somber. Als hij steeds een seconde later had geklikt, waren er alleen maar lachende gezichten geweest.''
Het feit dat ook de dochter van Simon Carmiggelt tot de vriendenkring behoorde, verklaart wellicht waarom de populaire columnist bereid was een voorwoord bij het boekje te schrijven - zich in diverse bochten draaiend om de oudere lezer te verzoenen met dit beeld van de jeugd van tegenwoordig: ,,Problematisch, somber, gewichtig poserend, maar ondanks alles vol verwachting en daardoor toch optimistisch, al wordt er weinig gelachen in dit boek.''
Een ander lid van de groep was de latere schrijver Gerben Hellinga, die destijds met Petra Laseur ,,ging'' - in de jongerentaal van toen. Hellinga's beeltenis is in Wij zijn 17 echter niet te vinden. ,,Johan had van mij ook een foto gemaakt'', verklaart hij desgevraagd. ,,Maar het idee dat ik op mijn zeventiende in een boekje zou worden afgebeeld dat voor de eeuwigheid zou blijven bestaan, vond ik blijkbaar een raar, naar idee. Ik heb Johan toen gevraagd om mijn foto eruit te halen, en dat heeft hij gedaan.''
Het boekje verscheen in december 1955 bij de ordentelijke uitgeverij C.A.J. van Dishoeck te Bussum, waar Van der Keukens vader al eens een paar schoolboeken had gepubliceerd. In korte tijd haalde Wij zijn 17 vier herdrukken. En bij de Nijmeegse uitgeverij B. Gottmer verscheen zelfs een tegenboek op katholieke grondslag: Wij zijn ook 17, waarin leerlingen van drie Gelderse lycea bewezen dat de huidige jeugd heus niet alleen verzonken was in existentieel gepeins. ,,Het boekje toont alleen maar opgewekte gezichten'', schrijft de journalist Willem Ellenbroek in het nawoord, ,,veel sport en spel en ijver bij het maken van huiswerk; geen spoor van existentialisme, moderne jazz of rokerige cafés, maar vertederende ballroomdancing, blanke dixieland en keurige ijssalons.''
Van der Keuken, gerenommeerd fotograaf en filmer, stierf in 2001. De vrienden en vriendinnen uit zijn eerste boekje zijn nu vijftig jaar ouder.
Info: Johan van der Keuken: Wij zijn 17. De Verbeelding, 76 blz, € 16,90. Fototentoonstelling t/m 9/4 bij galerie Paul Andriesse, Amsterdam, www.galeries.nl/andriesse
Foto-onderschrift: Johan van der Keuken en Lysander Apol. Op de foto rechts de latere actrice Petra Laseur
Trefwoord: FotografieNon fictieKunst en CultuurKunstTaal- en Letterkunde
Persoon: Johan van der Keuken
Op dit artikel rust auteursrecht van NRC Handelsblad BV, respectievelijk van de oorspronkelijke auteur.


Achter Glas / Behind Glass

Amsterdam: Uitgeverij C. De Boer Jr (1957). First Edition in paperback (the scarce hard cover was published in 1957). Quarto. The photographer's second book, a study of teenage sisters, looking at turns moody, gleeful, or seductive. Understated book that has echoes of Sam Haskins and Dave Heath (Parr / Badger 244, v.1). 

Het genre van de beeldroman bereikte zijn meest lyrische vorm in Achter glas van Johan van der Keuken en Remco Campert. Het boek beschrijft de gedachten van Georgette en Yvonne, twee meisjes die dagdromend achter het door hun adem beslagen glas van het raam zitten, en zich afvragen hoe ze hun dag zullen gaan doorbrengen. Vrolijkheid en melancholie wisselen elkaar af als ze een schoolfeest bezoeken of poseren voor een beeldhouwer. Van der Keuken en Campert slaagden erin om de met veel twijfel en on-zekerheid gepaard gaande overgangsfase van jeugd naar volwassenheid in poëtische beeldspraak te vangen. Van der Keuken verzorgde zelf de lay-out, waarin de combinatie van dichterlijk proza en romantische fotografie - in de eerste editie sfeervol aangevuld met kleurblokken en linosneden van Georgette Apol - elkaar voortreffelijk aanvullen.





MOERKERKEN, EMIEL VAN - Meisjes Van Nederland. Jeunes Filles Des Pays Bas. The Girls of Holland. Madchen Von Holland

Utrecht, A. W. Bruna, 1959. First edition. Softcover. 17x11. With a foreword by Jan Blokker. In four languages. Black / white photography.




maandag 28 januari 2013

Don't pay attention to the photography WOMAN AJAR Sex Marcel Mariën Erik Kessels / Paul Kooiker Terribly awesome photo books


WOMAN AJAR

(ISBN 10: 9067710202 / ISBN 13: 9789067710206 )

Marien, Marcel


4to. 111pp. Foreword by Patrick Hughes. One hundred b/w and color photographs. Marien uses collage and juxtaposition of elements and objcets to create surreal, 'talking pictures.' Erotic, startling, sometimes sexually explicit, they include scissors dangling from a nipple; a nude suckling a reproduction of the Venus de Milo; a woman holding a seashell, its opening painted bright red, over her vagina; the hole in a painter's palette revealing a scene of cunnilingus; mirror play, and more. Marien's work combines classic Surrealist gestures with uncanny moves of his own. This is the first English-language edition, published simultaneously in French as La Femme Entrouverte, and in Dutch as De Openstaande Vrouw. Boards in dust jacket. 

Marcel Mariën: Ne faites pas attention à la photographie

By France Lejeune
Ne faites pas attention à la photographie
Don't pay attention to the photography

Marcel Mariën was born in Antwerp, Belgium, in 1920, a single child in modest and rather unhappy surroundings. His mother was eager for him to leave school so that he could earn some money.

Alice Devenue Grande (Alice Becomes Large)
Alice Devenue Grande (Alice Becomes Large)
When he left school at the age of 15, he became an apprentice to a photographer for a year, doing all the menial jobs. He set up a small studio at his home, but continued to work in odd jobs.

He became acquainted with Surrealist publications, and, at the age of 17, he went to Brussels to meet René Magritte. He, a youngster 20 years junior to Magritte, was welcomed into the circle of Brussels surrealists.

In 1937 he started to make collages and some photos in the surrealist tradition. In December 1937 he participated in the group exhibition 'Surrealist Objects and poems' in the London Gallery.

In Paris he met Breton, Eluard, Picasso, Hugnet...
He came to art, not being able to draw or paint. However it was not a major constraint for Mariën. He made two- and three-dimensional collages, exposing the physical and metaphysical connections between things.

In 1939 he enlisted in the Belgian Army and did his military service. In the early stages of WWII, he was captured and made a prisoner of war in Germany. After his release, he returned to Brussels, where he wrote the first monograph on René Magritte.

During the war, he met a young widow, Elisabeth Altenloh, with whom he had a tumultuous relationship for eight years.
In order to make ends meet during the war, René Magritte painted fakes (e.g., false Max Ernst and de Chirico paintings). Mariën was given these works to sell in Paris on commission.

In 1948 Mariën opened the bookshop 'Au miroir d'Elisabeth'. The business is not a great success. In 1950 Mariën had to close it down.

In 1953 he helped René and Paul Magritte to distribute false bank notes on the Belgian coast.

He left Belgium and worked on a Danish cargo ship for two years.

In 1959, he directed the film 'L'imitation du cinéma' with his associate Leo Dohmen. Dohmen, Mariën and Gilbert Senecaut set up a scheme to win a contest at the newspaper where Mariën was working. With the winnings, they financed the making of the film. The film caused a scandal and was banned in France.

Mariën continued to write and publish numerous books. His best known publication was the magazine 'Les Lèvres Nues', for which Guy Debord wrote a contribution.

In June 1962, a Magritte retrospective was shown in the casino of Knokke. At this point, there is general recognition and wide acceptance for Magritte. Together with Leo Dohmen, Mariën made and distributed the pamphlet 'Grande Baisse'. They pretended that the pamphlet came from Magritte himself. In this pamphlet the 'Great painter' advertised big discounts on his most successful works. These could be ordered in various sizes. A majority of supporters, intellectuals and journalists were taken in by this fake communication. The episode put an end to 25 years of friendship between Magritte and Mariën.

At the end of 1962, Mariën lived in New York. When he tried to return home, through the Orient, he ended up in communist China. He went to work for the French edition of a propaganda magazine. This was not from sympathy for Mao or China, but simply due to lack of money. The Chinese were the only ones to offer him a job and a ticket for the boat back to Belgium.

In 1965 he finally moved back to Brussels. His friend Leo Dohmen encouraged him to go back to making collages.
In 1969 he had his first solo exhibition in Brussels at Galerie Defacqz. From that point on he received many solo and group exhibitions in Belgium and abroad.

Mariën was not a very practical man. His companion Hedwige Benedix helped him with the production of his works. After she died, Mariën returned to photography.

From 1980 until his death in Brussels in 1993, he never stopped taking photographs.

During the last years of his life, he was also a very prolific publisher. Among his many books were two publications on his photographs. In 1984 he published “Le sentiment photographique” and in 1985 “La femme entrouverte”.

The English edition 'Woman Ajar' was seized by the customs at the border and the books were destroyed.

Mariën was not, like his friend Leo Dohmen, a good-looking and natural-born rascal, so he made big efforts to lead an adventurous and exciting life.

In 1988 he published his autobiography, 'Le radeau de la mémoire'. In his book Marien recounts his first visit to prostitutes, his time as a prisoner of war, his (sex) life as a sailor on a cargo ship and the schemes with Magritte to sell falsified paintings and distribute forged bank notes. But we learn very little about his more emotional and personal relationships. He was careful to hide his feelings behind stories of adventure and mischief.

"Don't pay attention to (the) photography" might seem a bizarre title for a book on photographs. It is inspired by the title of Mariën's 1974 solo show in Liège in the Galerie de l'APIAW, 'Ne faites pas attention à la peinture'. It meant that we should focus on the ideas in his work and not on the execution.

In the same way, we should not pay too much attention to the technical aspects of his photographic work. Photography for him is just another tool to cause embarrassment and pleasure, laughter and poetical emotion. He arranges intriguing scenes, usually with the body of a woman as canvas, playing with objects, toys and words. Then he records the scene by taking the photo.


Erik Kessels / Paul Kooiker, Terribly awesome photo books 30 x 37 cm 64 pages news paper print edition of 1000 ISBN 9789490800093 
For several years, Paul Kooiker and Erik Kessels have organized evenings for friends in which they share the strangest photo books in their collections. The books shown are rarely available in regular shops, but are picked up in thrift stores and from antiquaries. The group’s fascination for these pictorial non-fiction books comes from the need to find images that exist on the fringe of regular commercial photo books. It’s only in this area that it’s possible to find images with an uncontrived quality. What’s noticeable from these publications is that there’s a thin line between being terrible and being awesome. This constant tension makes the books interesting. It’s also worth noting that these tomes all fall within certain categories: the medical, instructional, scientific, sex, humour or propaganda. Paul Kooiker and Erik Kessels have made a selection of their finest books from within this questionable new genre.




















vrijdag 25 januari 2013

Wie lebt man im Ruhrgebiet. Bewohner fotografierten Erik Kessels / Paul Kooiker, Terribly awesome photo books


Wie lebt man im Ruhrgebiet. Bewohner fotografierten.


Essen: Museum Folkwang, 1981. First edition. 4to. (11 x 8 inches). pp.130. Colour and b/w photo illusts. Pictorial card wrappers. O/w contents VG. Exhibition catalogue. Text in German. See for A Review of Chargesheimer, Im Ruhrgebiet by Robert L. Jones ...

Wie lebt man im Ruhrgebiet. Bewohner fotografierten - Bilder von Amateuren und Profis. 18.12.1981. - 24.1.1982, Museum Folkwang, Essen [et al.]. Eine Ausstellung in Zusammenarbeit mit dem Sekretariat für gemeinsame Kulturarbeit NW, Wuppertal. [Konzept, Ausstellung, Katalog Ute Eskildsen. Mitarbeit Andreas Horlitz. Text Manfed Blohm, Ute Eskildsen, Hans J. Scheurer, Hermann Sturm].
Ausstellungskatalog, Essen, Museum Folkwang, 18.12.1981-24.01.1982; Oberhausen, Stadtsparkasse, 15.02.-15.03.1982; Mülheim, Städtisches Museum, 19.06.-18.07.1982; Düsseldorf, Stadtmuseum, 27.07.-22.08.1982., Essen, Museum Folkwang, 1981, ill., RHK; BL; HCA; ARK, Katalog, Photographie - Anthologie - Deutschland, Nordrhein-Westfalen - 20. Jahrh. - Blohm, Manfred - Scheurer, Hans J. - Sturm, Hermann - uv

Erik Kessels / Paul Kooiker, Terribly awesome photo books 30 x 37 cm 64 pages news paper print edition of 1000 ISBN 9789490800093 
For several years, Paul Kooiker and Erik Kessels have organized evenings for friends in which they share the strangest photo books in their collections. The books shown are rarely available in regular shops, but are picked up in thrift stores and from antiquaries. The group’s fascination for these pictorial non-fiction books comes from the need to find images that exist on the fringe of regular commercial photo books. It’s only in this area that it’s possible to find images with an uncontrived quality. What’s noticeable from these publications is that there’s a thin line between being terrible and being awesome. This constant tension makes the books interesting. It’s also worth noting that these tomes all fall within certain categories: the medical, instructional, scientific, sex, humour or propaganda. Paul Kooiker and Erik Kessels have made a selection of their finest books from within this questionable new genre.