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4. January 2020

Body Performance - Ausstellung der Helmut Newton Stiftung - Teil 2

Viviane Sassen begeistert seit Jahren die Modefotowelt. Auch sie arbeitet in erster Linie mit dem menschlichen Körper, etwa indem...


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31. December 2019

Body Performance - Ausstellung der Helmut Newton Stiftung - Teil 1

Performance ist eine eigenständige Kunstform, und die Fotografie ist ihr ständiger Begleiter. In dieser Gruppenausstellung werden...


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Top-News  |  15. October 2018

The Depth of Color- Kees Visser

Photos courtesy of BERG Contemporary

Photos courtesy of BERG Contemporary

Photos courtesy of BERG Contemporary

Photos courtesy of BERG Contemporary

KEES VISSER - The Depth of Color

Kees Visser’s (b. 1948) recent works on paper are an exploration of color and form that began already in the 1970s with works that blended the conceptual and Fluxus art of that period with formal concerns that can perhaps best be compared to the art of de Stijl, a movement founded in the Netherlands in 1917 by Theo van Doesburg, Piet Mondrian and others. While self-tought, Visser’s first exhibitions, at home in the Netherlands, engaged with the Fluxus movement that flourished there at the time. These featured works that used text, either stencilled letters or found, printed texts, but soon Visser’s art began to show more formal characteristics with explorations of colors, textures and shapes that seemed calculated to exhaust the possible variations of a given premise with almost scientific precision. Having met some Icelandic artists in Amsterdam, Visser came to Iceland in 1976 and has since spent much of his time there, currently sharing his time between Reykjavík, Amsterdam and Paris. In Iceland, Visser engaged with the local art scene that was increasingly oriented toward Fluxus and conceptual art. He was one of the founders, in 1978, of the Living Art Museum, an artist-run institution dedicated to preserving and exhibiting the work of the avant-garde artists who at that time were largely ignored by the public museums. It was this vibrant avant-garde scene that turned Iceland into an international hub in the 1970s and 1980s and instead of finding himself isolated on a remote island, Visser met leading contemporary artists from both Europe and the US. 

A characteristic of this period in Icelandic art was the remarkable variety of the work being produced and exhibited. For a while Visser turned to sculpture and he has used photography and continued to incorporate textual elements, but by the 1990s his focus had turned mostly to his color studies which became increasingly minimalistic. His series of monochrome paintings on paper show a single colored shape – e.g. a trapezoid, a skewed rectangle or broad, geometric lines – on a white background. In the mid 1990s he developed a method for giving these monochrome paintings a crystalline surface, an approach he still uses today and which has become a well-known characteristic of his work. Visser has exhibited extensively in Iceland, the Netherlands, France and several other countries. 

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