HETTY HUISMAN, From Void to Void to Void to Void, 1982 [lecture at De Appel]

HETTY HUISMAN, From Void to Void to Void to Void, 1982
29,7 x 21 cm
lecture by Hetty Huisman dd. 31 March
print, twice folded as issued for mailing
published by De Appel, Amsterdam
inv.HHui 000-pr

HETTY HUISMAN, From Void to Void to Void to Void, 1982
29,7 x 21 cm
print on thin paper, ink stamp, once folded as issued for mailing
published by De Appel, Amsterdam

Added: report by KvG with taped on entrance ticket

Translation in English:

HETTY HUISMAN
“From Void to Void to Void to Void”, 1982

Report

– A computer with a screen, on which slides with texts (acting as answers to questions – in writing and previously sent to Hetty Huisman). A keyboard could be used by the visitors. This provided an answer(?) to questions such as “What comes after From Void to Void to Void?” Answers were given on the screen as: “Because the end of the talk is implied in the beginning” (Yves Klein quote), etc.
– A film was shown with ceramic stripes and prints on paper. Before the film was played you heard through a loudspeaker 1: “Wiès? Wiès?” and by loudspeaker 2: “Uh, Uh, Uh…”. During the film, Hetty’s voice was heard saying “The gaze lurks at a glance[?] for itself/her flight is carried long and unbalanced.”
– In an opposite corner, music by David Zack (Am. friend of Hetty) began to accompany a second film. This concerned more confessional literature (emotionally written sentences like “Oh, sure, I would.”) or identity texts put down by Hetty on sheets of paper. (David Zack sang about “problems in visualizing identity”). And about washing machines, etc. “I don’t use drugs; I use a dishwasher”.
– As a last part the “Lighthouse” was put into operation. Two images of ceramic paint or powder were rotated as beams of light using slide projectors. One image depicted a head with a crown (of Hetty). Musically, these images were accompanied by a monotonous booming sound.

The form.
– Is it useful to ask yourself whether something is correctly presented in a certain form? No, because it doesn’t matter whether I went to a ‘lecture’ or an ‘audio-visual performance’.
– Questions could be asked in advance: that is, before the lecture had taken place and before the content was known.
– Direct ceramic prints or objects were absent. It was now only available in the form of documentation (in the form of slides and film). The drawings themselves, which referred to ceramics, were replaced: ceramic objects > ceramic drawings > film, slides, sound.

What is new or different in her work or in its development?
1st The sound
2nd Identity texts on ceramic drawings.

 I believe that research into ceramic materials has shifted to questions about one’s own identity.

Kees van Gelder, 31 March 1982

HETTY HUISMAN, Gebruikersniveau / User level, January 1987 [drawing]

HETTY HUISMAN, Gebruikersniveau / User level, January 1987
14.4 x 10.5 cm
pencil, exhibition card, verso
Collection K. van Gelder, Amsterdam
inv.HHui 205-pr

This is not an edition, this is a drawing by Hetty Huisman explaining ‘the principle of each computer’. It is made on the back side of an exhibition card. She visited the gallery and I remember that she talked about ‘zeros’ and ‘ones’, about Tartan, Cobalt, Pascal, Basic. She tried to explain to me how the essence of a computer could be nailed down. Decades later I realised how much this was related to her thinking about her conceptual and deconstructive approach to ceramics. KvG

HOLLANDSE WEEK 4-11 juni, De Appel, 1976 [folio with 15 sheets]

HOLLANDSE WEEK 4-11 juni, De Appel, 1976
30,2 x 21,5 cm
16 parts: folio, index sheet with artists names, 12 prints by artists, 2 prints with text by Liesbeth Brandt Corstius
published by De Appel, Amsterdam
condition: excellent condition, very slightly toned paper
€ 320,- plus + € 15,- Track & Trace registered EU mail
inv.DeAp 03-pr

Ref. LI-MA film and video archive, Amsterdam various artists performing at De Appel, Brouwersgracht 196, Amsterdam

Participating artists:
Nan Hoover: Light Shapes
Harrie de Kroon: untitled
Michel Szulc Kryzanowski: Naakt Zijn / Being naked
Robert Malasch: Madonna
Raul Marroquín: Dialogue
Pieter Mol: Ik zou je ogen willen kussen / I’d like to kiss your eyes
Sef Peeters: Dat wat ik achterlaat / What I leave behind
Marjo Schumans: Het Leven / Life
Wally Stevens: Mythomanie / Mythomania
André Swagers: Rituals
Nikolaus Uban: Parrot Training
Hans Eijkelboom: Identiteiten / Identities

HARRIE DE KROON, untitled, 1976

 

NIKOLAUS URBAN, Parrot Training, 1976

 

NAN HOOVER, Light Shapes, 1976

 

HANS EIJKELBOOM, Identities, 1976

 

WALLY STEVENS, Mythomania, 1976

 

Extra information

Wiesje Smals showing the couver print of Hollandse Week 4 – 11 June.
source: www.deappel.nl

STEINGRÍMUR EYFJÖRD KRISTMUNDSSON, Three Icelandic Artist, 1982 [catalogue]

STEINGRÍMUR EYFJÖRD KRISTMUNDSSON, Three Icelandic Artist, 1982
21 x 15 cm
offset, SC, stapled, 16 pp., wrap for mailing
with Magnús V. Gudlaugsson and Kristinn G. Hardarson
published by the artists on behalf of XII Biennale de Paris, Paris, France
pristine condition, apart from hand written correction on couver by artist
€ 65,- plus Track & Trace registered EU mail
inv.SKri 04-pr

This catalogue comes with a mail wrap with written text dd 4-10-’82 by Steingrímur E. Kristmundsson who also corrected the spelling on the cover by hand.

LILY VAN DER STOKKER, How I Went to New York 1983 – 1992, 2022 [book, autobiography]

LILY VAN DER STOKKER, How I Went to New York 1983 – 1992, 2022
22,2 x 17,2 cm
HC, 184 pp.
mint, sealed as published
published by Les Presses du Réel, Dijon, France
p.o.r.
inv.LvdS 000

The story in this biographical book start as follows:
‘The story I am going to tell is a story that Jack had said several times we should make a film of. In those days I was never interested in writing down everything, but here it is.

With a girlfriend I decided to travel to New York. It was meant to not be a short holiday. We thought it was the coolest place to go to. If we could survive in New York, that would be the ultimate challenge.
I told more than Jack intended me to tell, but I did it the way he said it: “Write it down, the Six Street Gallery story and all the things that happened with you, because it sounds like a movie.’

SIGURDUR GUDMUNDSSON, The Universe is a Poem, 2021 [here signed]

SIGURDUR GUDMUNDSSON, The Universe is a Poem, 2021
18 x 13,2 cm
offset, HC, 46 pp.
here signed
published by Ars Longa, Braedslan, Djúpavogur, Iceland
p.o.r.

This is a catalogue accompanying a solo exhibition at Ars Longa with artist’s statements on the first 7 pages on thinner paper in the front:
The universe is a poem.
The only way to understand my art is to love it.
My art is my way to live my life.
My art begins where my thinking leaves off.

 

“Ars Longa” is a contemporary art museum located in Djúpivogur. Its venue is an old abandoned fish factory in Borgarfjörður Eystri. In 2021 it has received a gift of twenty-seven art works by Sigurður Guðmundsson. All the works can be found in his solo exhibition “Alheimurinn er ljóð / The Universe is a Poem”, which opened in Bræðslan in Djúpivogur in July. Sigurður Guðmundsson, who together with Þór Vigfússon is the founder of the new museum, says he hopes that within a few years this museum property will become a venue with new inputs of works of art by contemporary artists, both foreign and Icelandic artists.

BEN VAUTIER, Stencils de Ben 1963-1969, 1969 [stencils in folder]

BEN VAUTIER, Stencils de Ben 1963-1969, 1969
31 x 21,5 cm
stencils on paper, 58 loose sheets in folder with printed title
edition of 180
artist’s publication
not available

The text in French reads:
‘This collection contains old stencils dating from 1963 to 1969. I removed these stencils because lately people often asked me for old issues of TOUT from 1 to 6 which are sold out.
This collection is far from complete; most of the stencils of magazine ‘BEN DIEU’ those of the chapter poetry and ‘Moi Ben je Signe’, have not been preserved’