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Title: |
That very night in Maxâ s room a forest grewâ ¦ |
| Sub-title: |
Commissioned murals in private collections |
Search Result:
| By (author): |
Gijs Frieling |
| ISBN10-13: |
9493146693 : 9789493146693 |
| Format: |
Hardback |
| Pages: |
174 |
| Weight: |
.990 Kg. |
| Published: |
APE (Art Paper Editions) - April 2021 |
| List Price: |
30.00 Pounds Sterling |
| Availability: |
Reprint under Consideration
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| Subjects: |
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| Donâ t be misled by the sweet pictures in pretty colours, for weâ re dealing with a radical artist here. This anarchist in angelâ s clothing contravenes a number of contemporary artâ s unwritten laws. Gijs Frieling is a standard-bearer for ornament and decoration and he embraces exuberance. His representations are not minimal but maximal, as full as can be, and thereâ s always room for an extra flower. Gijs couldnâ t care less about the concepts of novelty and originality; on the contrary, he wants to work as unadventurously and predictably as possible. His paintings are jam-packed with repetition and he often falls back on the same elements. Also, he copies to his heartâ s delight â his own work and that of others, in versions that are painted (on glass) or embroidered (by his mother) and the distinction between the copy and the original doesnâ t interest him in the slightest. Moreover, his work is not critical but it is pleasing, it is incredibly beautiful, and on top of this he is a Christian. (Nanda Janssen) This book contains 10 visual essays photographed by Johannes Schwartz and conversations with the patrons of commissioned murals in private collections by Hanne Hagenaars: â The patrons who speak in this book are the brave among art buyers: their walls bear a mural by Gijs Frieling, and thatâ s not something you can put away, or put into storage, turn to face the wall or sell. Painting over it is a possibility but if you have finally decided to enter into this commitment, moving house seems like a more realistic way of escaping from the work than a white coat of paint on top of it. But not a single owner that I spoke to is tired of the artwork; on the contrary. It seems that the whole ritual of deciding, discussing and allowing the artist into your house changes your position as a buyer: the patron is no longer a consumer but an accomplice. â (Hanne Hagenaars) With the generous support of Mondriaanfonds, Jaap Hartenfonds and Amsterdams Fonds voor de Kunsten |
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