Klok_TodaysArt 2015

‘Zero is silence. Zero is the beginning. Zero is round. Zero spins. Zero is the moon. The sun is Zero. Zero is white. The desert Zero. The sky above Zero. The night – . Zero flows. The eye Zero. Navel. Mouth. Kiss. The milk is round. The flower Zero the bird. Silently. Floating. I eat Zero, I drink Zero, I sleep Zero, I am awake Zero, I love Zero. Zero is beautiful. dynamo dynamo dynamo. The trees in springtime, the snow, fire, water, sea. Red orange yellow green indigo blue violet Zero Zero rainbow. 4 3 2 1 Zero. Gold and silver, sound and smoke. Traveling circus Zero. Zero is silence. Zero is the beginning. Zero is round. Zero is Zero.’

A Tribute to ZERO

Halfway through the fifties, an influential, international art movement was born, called ZERO. The ZERO movement was a progressive movement that wanted to separate itself from the heaviness after the years of war. ZERO is a group of young artists that found each other in their optimistic, utopic and innovative perspective on life. Artists from all around the globe where part of this ZERO movement, and also in The Hague, ZERO (Nul) had a strong representation.

ZERO wanted to break with the established principles regarding what art should look like. The movement saw a strong relationship with society and its environment, – earth, wind, fire, water – and used new, common materials that had become available through technological progress. Revolutionary in that time was that ZERO-artists were as much ‘researchers’, ‘entrepreneurs’, ‘scientists’ and ‘curators’ as they were ‘artists’.

In 1965, exactly 50 years ago, The Pier was the main site for a large scale, open-air multimedia art manifestation: ZERO on Sea, with plans for installations, performances, soundworks, music, video and even theater. However, because of financial difficulties and bad weather conditions, the event was postponed to spring 1966 and eventually even cancelled.

 

Klok

For the 11th edition of TodaysArt Mike Rijnierse has developed a site specific work for The Pier in Scheveningen. During the festival, a 100 kg church bell was thrown from the bungee jump, situated on the tower at the pier, where the festival took place. The sixty meters deep fall of the bell resulted in a unique sound experience.

While contacting Royal Eijsbouts Bell Foundry – world’s largest manufacturer of cast bronze bells, carillons, swinging bells, clocks, and bell- and clock towers – for asking whether they wanted to contribute to the project, Joep van Brussel asked if he had understood it correctly: “So, it is like cycling towards a church with the speed of 60 km per hour?”. The answer lies in the question. Joep immediately understood what is the concept of Klok.

The effect is commonly heard when a sounding object approaches, passes, and recedes from an observer. Compared to the emitted frequency, the received frequency is higher during the approach, identical at the instant of passing by, and lower during the recession. So the fall of the sounding bell caused a Doppler effect, which resulted in a surrealistic metamorphose of the unique location.

Interview: WE MAKE MONEY NOT ART

SHAPE: Lift-off: An interview with Mike Rijnierse

TodaysArt 2015

Supported by:
Royal Eijsbouts Bell Foundry
Bungy Jump Scheveningen
Rene Bakker
Mischa Daams
Dario Giustarini

EJ6_4607_©_Ed_Jansen
foto’s by Ed Jansen

 

 

KLOK_Ed_Jansen
foto’s by Ed Jansen

EJ6_4625_©_Ed_Jansen
foto’s by Ed Jansen

2015-08-13 19.38.37
foto by Ludmila Rodrigues

EJ6_4546_C_Ed_Jansen
foto by Ed Jansen



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