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'Stempel.k'utlst een serie t

vier maanrten plaats. .Er trrlrdt Bounans, Fier De-u-noot, Mit:haâ‚Ź Robert Josegrh, lien MotrsLef,

Dik hralrauen

,eE

kunstenasu-s

kunstenaars, dlg

stelline in d,e C 16udi o tloulartlr volgende k werd opgenomen, via de Sin--npe leen een iilsta Hoo1.li33. tle-i

sen's handg.es in 1979 uit van Flavto lrong" kur-rs

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kultureel klimaat, waarin stempelgebruik gewoon en zelfs populair is geworden. Men hoeft de stempelplaats maar te bezoeken om te zien hoe enthousiast volwassenen en kinderen gebruik maken van de mogelijkheid om vieze vingers te krijgen door met stempels te spelen. Dit 'speelse', dat nauw verbonden lijkt te zijn met stempels heeft eigen- i lijk een negatieve invloed gehad op de waardering van critici en publiek voor stempelkunst. Dit is een van de redenen waarom tot nu toe nog niemand een serieus onderzoek heeft gedaan naar stempels a1s middel om kunst te maken.

Gezien de geweldige aktiviteit op dit gebied kan men zich afvragen of zo'rr cinderzoek kan helpen of van nut kan z:,jn.

Men kan concluderen dat stempelkunstenaars di-e hulp niet nodig hebben, maar het publiek? Naar mijn menlng verdient het publiek absoluut die hu1p, alleen al omdat de rnaiever aantrekkingskracht die iedereen schijnt te voelen voor stempels mislijdend kan zrjn voor hun betekenis. (rk kan het niet laten deze situatie te vergelijken met de geschiedenis van de filmkritiek. Hi.er hadden populariteit en massadistributie een negatieve, bijna verlammende invloed bp ons begrip en onze waard,ering voor de film).

Daarom kan professionele kritiek van nut ztjn, etr du\ i hoeft niet noodzakelijkerwijs te betekenen dat we vragen orT.r een historisch.e eruditie.

Het is waarschijnlijk niet nodi-g te weten dat de Braziliaan oswaldo de Andrade reeds in 1918/ 1919 een 'gestempeld gedicht' opnam in zijn boek rPerfeito cozinheiro das Almas doste Mundo'. Maar men moet zlch er we1 van bewust ztjn dat stempels verschillende benaderingswij zen bieden of opleggen. Met dit idee op de achtergrond heeft de stempelplaats verscheidene j aren gefunctioneerd. Dit idee vormt ook de basis van deze I

-l

serie

tentoonst,e;

bevat deze c,a over de biograf,[ kuns tena.ar. Er i het werk voor zi naar werden 4 pa reeds eerder do,o om

Van deze kunstem

catalogus. Er wo een redelijk bee afzonderlij k en sen de werken. komsten zrjn heeL Prodotti ) /Mo1en werken, a11een a.1 matige postale c.

belangrijke ro1 rius Quee en Fr benadering hebLre'u geformaliseerde Een ander duo, g seph, werkt nauriil post; hun werk is

lingen.

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i{alraven gebrui-it meestal gevonden tekststempels met politieke associaties, terwij 1 Huisman er de voorkeur aan geeft schoenzolen en cryptische teksten, die elkaar aanvullen of verdiepen, te gebruiken. 0ok Ra[r1 N{arroquin en Ko de Jonge lenen ztch voor het aantonen van een kon'trast. Marroquin gebruikt commerciele stempels om hun vorm en tevens om ze te becommentari6ren, terwijl De Jonge een konplexe keten van betekenissen heeft geconstrueerd met het concept sleutel als '1eit-motief'. Cl6udio Gou-

lart realiseerde in 1979 een uitgebreid project gebaseerd op Diirer's 'study of man's proportions ' in de vorm van segmenten die door de ontvanger hergegroepeerd moesten worden. In het geval van Piet Franzen's werken ligt het accent niet op stempelen maar op de elgenschap_pen van stempel kussens. wend,ela Gevers D"y.root maakt mysterieuze strips door middel van herhaling, combinatie en verandering van slechts 66n of twee stempels. Bart Boumans stempelt rijen incomplete zinnen zoals het strafwerk op school. Hiermee maakt hij reeksen zinnen dj-e aan drie kanten open zijn, boven, beneden en rechts. Wat -mtjzelf betreft, ik heb stempels' voornamelijk gebrulkt voor postkunst projekten en voor boeken en ik heb verscheidene malen over het onderwerp geschreven. Bij het maken van bovenstaand overztcht heb ik geprobeerd zo kort mogelljk te ztjn, aangezien mijn opzet was om verschillen in benadering te laten z1-efl. Ook denk ik dat men niet hetzelfde vocabulaire en dezelfde opvattingen kan hanteren a1s men spreekt over stempelkunst of a1s, men spreekt over, bijvoorbeeld, etsen. Het probleem is dat niemand (en ik vorm geen uit. zondering) met zekerheid weet hoe men met dit soort werken moet omgaan. Aan de andere kant wi1 ik het nieuwe

en'vreemde dat

niet

dramatis,e toekomst het nr staat zu11en zii

passen in het k re probleem, Ha automatische on

herhaling zijii langrij ke Fluxus historische kcr staat zi1n te

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in deze katatr verrijken van

de

stenaars openden ken of met eerr

in Ne de r- I ste publikatie- ( rij ke anthologi richt waren; ue

wens

een nieurve piLrtrli te stempelte.nt dle bestaat urL nende kunstenaa omvang en de Hrj met Stempelkunst

aktiviteiten yan dat a1le aktivi pelfabriek zeer Ulises Carri6n Other Books

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rStamp

Art in The Netherlands' is the umbrella name for a seri-es of exhibitions that will take place in the Stempelplaats during the first four months of 1980 covering the work of 16 artists - Bart Boumans, Pier van Dijk, Piet Franzen, Wendela Gevers Deynoot, Michael Gi-bbs , Hetty Huisman, Ko de Jonge , Robert Joseph, Margriet Louwers, Jo Molenaar, Carolien Molster, Marius Quee, Cees de Rooy, Kees Vlietman, Dik Walraven, and Rolph Weyburg. Alongside of works by these artists this catalogue includes works by four other artists that have had a show in the Stempelplaats in the last couple of years - Ulises Carri6n, Cl6udio Goulart, Franz Immoos and Rafil Marroquin. (The following artists, unfortunately not included here, have also realised projects at or for the Stempelplaats - Elsa Stansfield made fi-rst a solo installation, 'VOID'; and then one more with Madelon Hooykaas -tSplit seconds'; Johan Cornelissen's hand-stamped book' Italian/Tunesian Curve' was published in 1979; in the same yea'r a. multiple by Flavio Pons, 'Love Letters,'was also published.) This list of names doesnrt include each and every artist that occasionally or exclusively uti-1tzes rubber stamps in The Netherlands, but it is large enough to reveal how attractive rubber stamps are as a medium and how many different approache.s are possible in a field that at first sight would seem rather narrow. As it usually happens, nothing else seems to be shared by all these artists besides the use of rubber stamps at one particular moment and for a given purpose, at least at first sight. But whether they like it or not, whether consciously or unconsci-ously, they all share a cultural 'climate' where the use of rubber

stamps has be

has to visit

6he

how enthous i as'ti the opportun j- Lf rubber stamps,

trinsic to ril-t effect on the

the critics

and

why nobody has vest i gation of

art. In vielv ,oi one wonders

ivhe

Practicing artis c1ude, but what public definitel the rnaive' at.t ber stamps can (I cannot avoid torv of filnn c'r'idistribution e fect on our Thus, professi fu1, and this

for historical that the BraziI 7y as 191 8- 1919, feito CozinXreiro aware of the va for or impose, appreciation,.

with this idea i

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this idea that lies behind the series of exhibitions rStamp Art in the Netherlands. ' For the same reasons, this catologue doesn't include detailed information on the biography, the bibliography, or the iconography of each artist. Preference has been given to, as they s2y, rletting the works speak for themselves. ' Each artlst has been given four pages, except those who in the past already have been published by the Stempelplaats. These artists have one page each in the present publication.

It's expected that the works lncluded will give a reasonable idea of each artist's work, and of the differences and similarities among them. Some of these dlfferences and similarities are quite obvious. The duo tr{eyburg (Rodolpho Prodotti)/ltolenaar and the trio Molster/ Louwers /Vlietman, if only because their work is based on periodical postal communications where chance and humor play an important ro1e, operate along qulte different lines than those followed by Marius Quee or Franz Immoos, who have a sculptural approach and make their pieces with quite definite and formalt-zed notions of space.

Another duo, formed by Pier van Dijk and Robert Joseph, practice a close collaboration without the intervention of the Post; their work is heavily loaded with conceptual intentions. Michael Gibbs' ambitious project, 'the largest ever edition of a nurnbered art print' (1.000.000 copies), is extrenely fluid in form, format, support, and even function. Quite different are Cees de Rooij's 'Monoprints' - mosaics of diagonal strips where the accent lies on colour contrasts. Dik Walraven en Hetty Huibman seem both to prefer large surfaces and random stampings, but I,Va1raven uses found, mostly verbal stamps with politj-ca1

associations ,. -. and cryptic t-,':-r other's mearr i:' themselves as ,. - uses standarc form and at -Li Jonge has set concept of r^i in 1979 a cci'-of man's pror,),i, be reassembl. -. .

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ty and strangeness will vanish and we'11 be able to see how beautiful.ly stampworks fit within the framework of contemporary culture. The other problem we should be aware of is, how to resist the automatic dismissal of stampworks as nothing less than repetitions of pioneering activities by some great Fluxus and Concept artists. The necessary historical correction will take place and we'11 be able to see in which way the artists represented in this catalogue modify and enrich the possibilities opened by earlier artists. For one thing, similar anthological publications from other geographical areas or wlth different intentions would be most welcome. In the Netherlands , dlthough this is neither the first publication, nor the last one (to ny knowledge, there have been five other najor anthologies of Stamp Art published in this country, all of them with an international scope; furthermore, the Dutch Art Foundation is planning a new publication for this same year in connection with a large exhibition of Stamp Art that will tour the country and will include works by Dutch artists and foreign resident artists), I'm not very optimistic about the scope and context of audience contact with Stamp Art. With all this in mind, we can fu11y appreciate the significance of Aart van Barneveld's efforts, as an individual, and simiTarLy acknowledge the Posthumus Stamps Factory's support of all Stempelplaatsr activitj-es.

Ulises Carrifln Other Books and So Archive, Amsterdam, 1980.

-with thanks to Martha Hawley for correcting my English.

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