Podcasts about boijmans

Chris en Tink. Over hoe het allemaal misging met de verbouwing van het museum Boijmans van Beuningen. Met verder echt heel erg veel aardige woorden over Hanneke Groenteman en over Jeroen Bos.En het is feest want Chris en Tink zijn vandaag allebei jarig! Daarom is er een extra podcast (het nagesprek) deze week voor iedereen gratis te beluisteren. Uw lievelings podcast-duo praat daar over ouder worden (bijna 50) en de ambities in het leven. (klinkt saai maar het is echt heel erg leuk) Op www.petjeaf.com/hoehetallemaalmisging Hosted on Acast. See acast.com/privacy for more information.

Dat er in zeventig jaar veel kan gebeuren is evident, maar dat iemand in diens mensenleven zowel model, fotograaf, oorlogscorrespondent, moeder en surrealistisch kok is, geeft blijk aan een op zijn zachts gezegd bijzonder leven. De Amerikaanse Lee Miller was dit allemaal: ze fotografeerde voor Vogue en Harper's Bazaar, trok na D-Day achter de geallieerden aan om de operaties en bevrijdingen vast te leggen en kon haar oorlogstrauma's na de bevrijding pas verwerken dankzij haar surrealistische gerechten waar ze gasten blauwe vis en gifgroene mayonaise voorgeschotelde. Conservator Moderne en Hedendaagse Kunst van Boijmans van Beuningen, Saskia van Kampen-Prein, spreekt met Lara Billie Rense over haar onderzoek naar Lee Miller. Verder in Wat blijft: hotelier Arie van der Valk, muzikant Bob Marley, en de jonge Rembrandt van Rijn. In het tweede uur en de podcast van Wat blijft aandacht voor het leven en werk van activist Klaas de Jonge: Klaas de Jonge had lak aan gezag en conventies. Hij sloot zich in de jaren ‘80 aan bij de anti-apartheidsbeweging in Mozambique en werd opgepakt tijdens het smokkelen van wapens voor het ANC. Toen hij de politie na zijn arrestatie moest laten zien waar een aanslag ophanden zou zijn, leidde hij hen listig naar de Nederlandse ambassade in Pretoria waar hij veilig was. Daar bleef hij maanden zitten, met open raam en op luid volume draaide hij er de hit Free Nelson Mandela. Hoewel hij ontegenzeggelijk aan de ‘goeie' kant van de geschiedenis stond, is zijn deelname aan een gewapende vrijheidsstrijd in Nederland toch altijd controversieel gebleven. Peter Blom volgt zijn spoor terug met biograaf Jenne Jan Holtland, Conny Braam (oprichter van de Nederlandse anti-apartheidsbeweging)  en zijn zoon Arjen de Jonge. ---- Redactie radio: Laura Iwuchukwu, Nina Ramkisoen, Nienke Spaan, Jessica Zoghary. Eindredactie: Bram Vollaers

Gast: Bert Jansen, kunsthistoricus Robert van Altena spreekt in deze uitzending met Bert Jansen over kunstenaar Marcel Duchamp (1887-1968). Zo'n vijfentwintig, dertig jaar geleden begon Bert Jansen, die zich tot dan voornamelijk met hedendaagse kunst bezighield, te schrijven aan wat een uitgebreide reeks artikelen zou worden over Marcel Duchamp. Marcel Duchamp, één van die kunstenaars waar boekenkasten vol over zijn geschreven. Bert Jansen voegde er moedig het zijne aan toe met ‘Chacun son Marcel. Meerduidigheid in het werk van Marcel Duchamp', zijn proefschrift uit 2015. BJ: “Ik probeer te reconstrueren wat tussen ca. 1914 en 1917 de oorspronkelijk beweegredenen waren van Duchamp.” De gentleman-kunstenaar Marcel Duchamp zoals wij die kennen is veelal een creatie uit de jaren zestig. Bert Jansen probeert om die mercuriale figuur enigszins vaste vorm te geven door Duchamp (zijn taalspel, zijn werk) te verbinden met zijn tijd. Bert Jansen dompelde zich hiertoe onder in de Franse cultuur van die periode.  Sporen van ‘zijn' Duchamp vond hij niet alleen in de kunstwereld van die tijd, maar ook, de kunstenaar achterna reizend, op rommelmarkten in bijv. de Jura, in o.a. populaire deuntjes en satirische tijdschriften. Met zijn vondsten laat Bert Jansen het werk van Marcel Duchamp op een verrassende manier spreken. James Joyce schrijft in zijn Ulysses: « Alles spreekt op zijn eigen manier ». Bij Duchamp, zo stelt Jansen, is alles meerstemmig. *Dit gesprek werd eerder uitgezonden op 13 november 2017 SPRINGVOSSEN 
redactie + presentatie: Robert van Altena
 contact: springvossen[at]gmail.com www.instagram.com/springvossen 
www.facebook.com/springvossen
 www.amsterdamfm.nl/onderwerp/springvossen Voor een speellijst met de Springvossen uitzendingen: www.soundcloud.com/amsterdamfm2/sets/springvossen Foto: Marcel Duchamp, 'La boîte-en-valise' (1952) (coll. Boijmans van Beuningen)

Rotterdamse ambtenaren sloegen vanaf eind 2020 alarm over mogelijke fraude en corruptie bij grote vastgoedprojecten in de stad. Met hun waarschuwingen werd niets gedaan, vertelt onderzoeksjournalist Joep Dohmen. Hoe kan het zó fout gaan op het gebied van integriteit bij een gemeente?Gast: Joep Dohmen Presentatie: Egbert Kalse Redactie: Iris Verhulsdonk Montage: Yeppe van KesterenCoördinatie: Henk Ruigrok van der WervenHeeft u vragen, suggesties of ideeën over onze journalistiek? Mail dan naar onze ombudsman via ombudsman@nrc.nlVerder lezenRotterdam onderzoekt corruptie bij renovaties Boijmans en De DoelenDe tekenen van corruptie waren duidelijk. Toch keek Rotterdam wegDe geheime bron van de miljoenen die de familie Van der Vorm uitdeeltZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Das Museum Boijmans van Beuningen im niederländischen Rotterdam wird seit 2019 renoviert. Dennoch herrscht Riesenandrang - Im Depot des Museums, dem ersten öffentlich zugänglichen Kunstlager der Welt. Cornelia Wegerhoff hat es besucht. Von Cornelia Wegerhoff.

Uit zichzelf zal wethouder Maarten Struijvenberg niet veel over zichzelf vertellen (‘dat doe ik liever bij mijn vrienden') maar de ROPOPO-luisteraar leert hem tijdens de 22e aflevering van de Rotterdamse Politieke Podcast toch wat beter kennen. Van zijn voorkeur voor rockmuziek in zijn jonge jaren, tot zijn favoriete (ietwat excentrieke) ijssmaak.Na een kort bulletin lokale nieuwtjes duiken Ferrie en Tara met Struijvenberg in de verbouwing van Boijmans. Hij trad aan tijdens een donkere periode in dit taaie dossier, maar wist al snel de architect en museumdirecteur weer bij elkaar aan tafel te krijgen. Hij houdt de vaart er lekker in: “Ik ben niet zo bezig met of er ego's aan tafel zitten” en “het is zaak om zo snel mogelijk weer exposities in het museum te hebben.”Ferrie blikt terug op zijn eigen jeugdherinneringen aan Boijmans en heeft een verrassend favoriet werk, Struijvenberg tipt een museum in Brussel.In de voorjaarsnota zijn stevige bezuinigingen aangekondigd op de eigen ambtelijke organisatie. Niet door gedwongen ontslagen, maar door mensen te vragen of ze hun tijd wel effectief te besteden. Struijvenberg benadrukt dat er niet wordt bezuinigd op armoedebeleid, daarin wordt onderaan de streep juist in geïnvesteerd. Dat wordt voorlopig niet gedaan in het Schouwburgplein, de geplande vergroening is voorlopig van de baan. Tara was voor een korte reportage even op het plein en probeerde junks om hun mening te vragen.Op de socials kreeg Vincent Karremans een epische uitbrander van Riek Bakker, Struijvenberg wordt een lurker genoemd en vindt dat niet complimenteus. En welke oudere vrouw wijst hem weleens terecht?Het seizoen wordt afgesloten met een speciaal voorjaarsnota-rocklied. (In het najaar is ROPOPO weer terug.)

Na 4/5 maanden verlof zijn de vrouwen van Landmassa terug met een knallend seizoen 4. Allebei een levenservaring rijker en weer vol energie. In deze aflevering komen ze tot de conclusie dat ze eigenlijk niks hebben gemist als het gaat om de grote bouwprojecten van nu. Verder is het bij hoge nood beter om in Nieuw-Zeeland te wonen dan in Nederland en leren we een nieuw woord. Ook vragen ze zich af waarom een enorme betonnen constructie wordt ingezet om duurzame doelen te halen en dromen ze weg bij de gedachte dat ze over een paar jaar op een stadsstrand aan de Seine kunnen chillen. Shownotes Verkenning doorbouwgarantie - Overheid: https://open.overheid.nl/documenten/ronl-4302e668-fa79-4fbf-aa38-9c1f7ff84c15/pdf De Jonge maakt zich grote zorgen over terugvallende nieuwbouw - architectenweb.nl: https://architectenweb.nl/nieuws/artikel.aspx?ID=55269 Verbouwing museum Boijmans valt weer duurder uit, ontwerp tijdelijk stilgelegd - Volkskrant: https://www.volkskrant.nl/cultuur-media/verbouwing-museum-boijmans-valt-weer-duurder-uit-ontwerp-tijdelijk-stilgelegd~b39cae2e/ Rotterdam pauzeert ontwerpproces renovatie Museum Boijmans - architectenweb.nl: https://architectenweb.nl/nieuws/artikel.aspx?ID=55264 Nieuwe tegenvaller renovatie Binnenhof - De Architect: http://dearchitect.nl/280703/nieuwe-tegenvaller-renovatie-binnenhof-zeker-twee-jaar-vertraging Plannen voor Parijs - Time Out: https://www.timeout.com/news/how-paris-is-planning-to-let-people-swim-in-the-seine-by-2025-101122 Het Parijse waterreservoir: https://www.paris.fr/pages/se-baigner-dans-la-seine-en-2024-et-au-dela-6935 Ranglijst openbare toiletten: https://thegatewithbriancohen.com/public-toilets-which-countries-and-cities-have-the-most-and-which-ones-have-the-fewest/#:~:text=The%20country%20with%20the%20highest,56%20toilets%20per%20100%2C000%20population Iedere wc telt: https://www.iederewctelt.nl/

Elke zaterdag- en zondagochtend tussen 6 en 7 uur horen NPO Radio 1-luisteraars de mooiste cultuurtips in Een Uur Cultuur. In deze aflevering ontvangt Eva Koreman schrijver Joris Escher, die in ‘Escher worden' (https://www.atlascontact.nl/boek/escher-worden/) het leven en werk zijn oudoom beschrijft; de graficus en kunstenaar M.C. Escher. Hij deelt zijn cultuurtips met Eva en de luisteraar: Gast: Joris Escher (https://www.atlascontact.nl/auteur/joris-escher/) De tips van Joris: Boek: George Saunders - Een duik in een vijver in de regen (https://www.singeluitgeverijen.nl/de-geus/boek/een-duik-in-een-vijver-in-de-regen/) Podcast: Wie is Poetin? (https://open.spotify.com/episode/26753hRk2xb9oNS4lsTpug?si=bffc17773e584d26&nd=1) Dans: Anne Teresa de Keersmaeker (https://www.rosas.be/nl/8-anne-teresa-de-keersmaeker) Tentoonstelling: Ibrahim Mahama - Garden of Scars (Oude Kerk) (https://oudekerk.nl/en/whats-on/exhibitions/ibrahim-mahama-garden-of-scars/324) Museum: Depot van Boijmans van Beuningen, Rotterdam (https://www.boijmans.nl/depot) Openbare kunst: Apentafel van Merijn Bolink, Amsterdam (https://www.buitenbeeldinbeeld.nl/Westerpark/Apentafel.htm) Muziek: Aldous Harding - The Barrel (https://open.spotify.com/track/06lw2dBFqdXhAErz7Xz9Zs?si=2bc260daabd54889&nd=1) Festival: Fuji Rock, Japan (https://en.fujirockfestival.com/) Bioscoopfilm: Broker (https://www.vprogids.nl/cinema/films/film~14728433~broker~.html) Online documentaire: Muhammad Ali (PBS) (https://www.pbs.org/kenburns/muhammad-ali/) Heb je cultuurtips die we niet mogen missen? Mail de redactie: eenuurcultuur@vpro.nl

Milano ci stupisce ancora una volta con un palinsesto di mostre davvero interessanti. A Palazzo Reale la mostra di Bill Viola, celebrità indiscussa della video art, ferma il tempo e ti porta in una dimensione in cui ogni attimo conta. In esposizione alcune delle opere più significative della carriera dell'artista. Al Museo Diocesano arriva una delle opere più famose di Masaccio, genio indiscusso del 400 italiano. La crocifissione dell'artista toscano è secondo noi un'occasione per visitare questo interessante museo. Infine qualche anticipazione sulla mostra che si terrà al Mudec dal 22 marzo sui capolavori del museo Boijmans. Dalì, Man Ray, Magritte, un focus sul surrealismo che non si ha l'occasione di vedere spesso in Italia.

In de laatste ROPOPO van 2022 blikken Ferrie en Tara terug op de traumatische ROPOPO live met Vincent Karremans in Arminius. Ondanks de geplande introspectie wordt voornamelijk gemopperd op AD-columniste Carrie en de boze Esch-bewoners.Daarna is het tijd voor de laatste politieke nieuwtjes. Politiek verslaggever Peter Groenendijk vertelt over de belangrijkste discussies op het stadhuis, zoals de verbouwing van Boijmans en de oplopende spanning tussen coalitiepartners Denk en Leefbaar Rotterdam.Tijdens het grote ROPOPO jaaroverzicht horen we de hoogtepunten van een jaar politieke podcasts. Van de posters van Robert Simons, naar tante Hannie in Delfshaven en een gedesillusioneerde René Segers-Hoogendoorn op verkiezingsavond. Op de valreep bespreken Ferrie en Tara de politieke socials en lichten ze een tipje van de sluier van de ROPOPO-plannen in 2023, van een live-editie over de participatie-illusie tot hyperlokale uitzendingen in de wijk.

A Rotterdam, le Museum Boijmans Van Beuningen s'est imposé comme une référence. Dans le pays mais aussi à travers le monde. Il se démarque en effet des autres musées par son double rôle : être à la fois un musée et un dépôt. Une double fonction qui lui permet de montrer à la fois ses collections mais aussi ses stocks. L'expérience muséale et architecturale promise à Rotterdam est-elle réussie ? Eléments de réponses en reportage avec la journaliste Judith Chétrit et en débat avec le rendez-vous critique de la Cité de l'architecture et du patrimoine, également partenaire de ce podcast.Retrouvez l'ensemble des épisodes sur ce lien.« Archi intéressant », un podcast produit et réalisé par Joséfa Lopez pour Le Monde, en partenariat avec la Cité de l'architecture et du patrimoine. Reportage : Judith Chétrit. Voix off : Isabelle Regnier. Réalisation : Eyeshot. Identité Graphique : Mélina Zerbib, Aurélien Débat. Partenariat : Sonia Jouneau, Victoire Bounine. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Het glanzende nieuwe depot van Museum Boijmans van Beuningen is een internationale hit, maar de verbouwing van het museum zelf duurt nog wel tot 2029. Kan je als museum zeven jaar varen op publiek dat je depot bezoekt? Directeur Ina Klaassen is te gast in BNR Zakendoen. Kees de Kort Elke dag, even over twaalf, bespreekt presentator Thomas van Zijl met macro-econoom en commentator Kees de Kort de economische stand van zaken. Ondernemerspanel Rivian heeft sinds de beursgang 120 miljard dollar van zijn beurswaarde verloren. EN: banken en overheid leggen contante betalingen steeds meer aan banden. Dat en meer bespreken we in het ondernemerspanel met: - Désirée van Boxtel, oprichter en partner van Karmijn Kapitaal - Johan van Mil mede-oprichter van Peak Capital Luister l Ondernemerspanel Pitches Elke vrijdag is het weer tijd voor jonge ondernemingen om zichzelf op de kaart te zetten. Dat doen zij via een pitch en het doorstaan van een vragenvuur. Vandaag is het de beurt aan Joop Muller van Grizz Energy Gum en Bas Flipse van Quatt! Zakenpartner Ze studeerde levensmiddelentechnologie en kwam door haar technologische achtergrond terecht in de auto industrie. Ze gooide het roer volledig om, stopte met haar baan en begon haar eigen voedselinnovatie bedrijf NoFairytales om voedsel gezonder te maken. De zakenpartner deze week is Bernadette Kooijman, oprichter van innovatief voeding merk NoFairytales. Contact & Abonneren BNR Zakendoen zendt elke werkdag live uit van 12:00 tot 14:30 uur. Je kunt de redactie bereiken via e-mail en Twitter. Abonneren op de podcast van BNR Zakendoen kan via bnr.nl/zakendoen, of via Apple Podcast en Spotify. See omnystudio.com/listener for privacy information.

Hoe komt museum Boijmans van Beuningen uit de coronacrisis en een verbouwing van tien jaar? In ‘De top van Nederland' een uitgebreid gesprek met Ina Klaassen, directeur van museum Boijmans van Beuningen.  Abonneer je op de podcast      Ga naar ‘De Top van Nederland' en abonneer je op de podcast, ook te beluisteren via Apple Podcast en Spotify.    See omnystudio.com/listener for privacy information.

Ernesto Neto (*1964, Rio de Janeiro) lives and works in Rio de Janeiro. The artist participated in the Venice Biennale in 2001 and 2017. In recent years, his work has been the subject of solo exhibitions in public institutions including The Museum of Fine Arts, Houston (2021); Centro Cultural La Moneda, Santiago (2020); Pinacoteca de Sāo Paulo, and Museo de Arte Latinoamericano de Buenos Aires - MALBA (2019); Fondation Beyeler, in the Zurich Main station (2018); Museum of Contemporary Art Chicago (2017); Thyssen-Bornemisza Art Contemporary - TBA 21, Vienna (2015); Aspen Art Museum, Colorado, and the Guggenheim Bilbao (2014); Espace Louis Vuitton, Tokyo (2012); and Museum of Modern Art, New York (2010), The Art Museum of Nantes (2009); The Panthéon, Paris (2006); among others. Neto's work is represented in institutional collections worldwide including The Museum of Modern Art, New York; Tate, London; Solomon R. Guggenheim Museum, New York; Carnegie Museum of Art, Pittsburgh; Albright-Knox Gallery, Buffalo; Boijmans van Beuningen Museum, Rotterdam; Art Gallery of New South Wales, Sydney; Hara Museum, Tokyo; Contemporary Art Center of Inhotim, Brumadinho; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Museum of Contemporary Art, Los Angeles; and Centre Pompidou, Paris. Ultimatum at Galerie Max Hetzler 57, rue du Temple, 75004, Paris 12 March —16 April 2022 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In deze aflevering persvoorlichter van Museum en Depot Boijmans van Beuningen, Sharon Cohen. Zij vertelt over de hectiek rondom de opening van het Depot afgelopen november, de vele initiatieven die het museum ontplooit, haar aanstaande switch van persvoorlichter naar de marketingafdeling van het museum en nog veel, veel meer…. (Muziek Intro / Outro: ‘I Can't Find The Words To Say' door Onyx Ashanti)

Al sippend aan een Negroni bespreken we deze aflevering de architectuurkritiek van Prins Charles, de museummachine Centre Pompidou en de complexe liefdesrelaties van bijbehorend architect. Een aantal ambities uit het coalitieakkoord, websites van architecten en het depot van Boijmans van Beuningen worden gefileerd. Ook de eurobiljetten gaan terug naar de tekentafel. Het goede nieuws is dat we ons met het ontwerp mogen bemoeien. Het slechte nieuws is voor Spijkenisse. Verder ontkomt Parijs niet aan een annexatie in de vorm van een blokje Toblerone chocolade en staat de halve Amsterdamse binnenstad leeg omdat winkeliers niet meer boven hun zaak wonen. Gelukkig zijn de snacks van de Febo voortaan jouw wandel-doel en koop je na het luisteren van deze aflevering alleen nog maar citroenen in plaats van limoenen. En neem jij de (niet bestaande) wisseltrofee van ons over als winnaars van de Amsterdamse Architectuur Quiz? Dit jaar verdedigen we niet onze titel, maar hebben we als onderdeel van de redactie de quiz van inhoud voorzien. Doe mee t/m 7 januari via www.arcam.nl Shownotes Arcam - De Grote Amsterdamse Architectuurquiz 2021: https://arcam.nl/architectuur-tips/de-grote-architectuurquiz-2021/ Nieuw coalitieakkoord Architectenweb: https://architectenweb.nl/nieuws/artikel.aspx?ID=51229 Landmassa: https://landmassa.nl/?p=815 Het Parool: https://www.parool.nl/nederland/woningcorporaties-willen-dat-verhuurdersheffing-verdwijnt~bccd8234/ Euro bankbiljetten NOS: https://nos.nl/artikel/2408423-euro-bankbiljetten-krijgen-nieuw-uiterlijk-en-burger-mag-meedenken Landmassa: https://landmassa.nl/?p=963 De Franse Toblerone De Volkskrant: https://www.volkskrant.nl/cultuur-media/met-12-jaar-vertraging-krijgt-parijs-zijn-180-meter-hoge-glazen-toblerone-maar-de-weerstand-neemt-toe~b025b6ab/ Het huis van Richard Rogers YouTube: https://www.youtube.com/watch?v=Obf_DhgF8uo Audiotours over architectuur Architour: https://www.architour.nl/audiotours/ Wonen boven winkels, waarom niet? De Volkskrant: https://www.volkskrant.nl/nieuws-achtergrond/al-die-etages-boven-winkels-waarom-zijn-dat-geen-woningen~bdcbdfb6/?utm_source=link&utm_medium=app&utm_campaign=shared%20content&utm_content=free NRC: https://www.nrc.nl/nieuws/2021/12/17/in-een-winkelcentrum-kun-je-ook-wonen-a4069428#:~:text=Het%20winkelcentrum%20kreeg%20de%20afgelopen,etage%20van%20de%20winkel%20eronder. Subsidie Wonen boven Winkels Gemeente Amsterdam: https://www.amsterdam.nl/veelgevraagd/?productid=%7BDCFC0112-36B3-443C-8DCD-08CD243FAA95%7D#case_%7B70C569D1-860C-45EE-B30B-A389970C8346%7D

Dit wordt het nieuws: Koning Willem-Alexander opent depot Boijmans van Beuningen in Rotterdam, tweede dag van formatiegesprekken in Groningen en weer een stap dichterbij het kampioenschap in de Formule 1. Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

What you'll learn in this episode: Why Marie-José developed the Marzee Graduate Prize to help young jewelry artists How she secured the historic building her gallery and apartment are located in Who Marie-José's favorite artists are, such as Dorothea Prühl Why the term “art jewelry” is redundant How the pandemic inspired Marie-José to look closer to home for exhibition ideas About Marie-José van den Hout Born in Roermond in the Netherlands, Marie-José van den Hout grew up in a family of three generations of ecclesiastical gold- and silversmiths. It was in the workshop of her grandfather, a renowned craftsman who specialized in repoussé and chasing, that her passion for gold grew and flourished. Alongside two of her brothers, Marie-José worked in her father's studio before studying gold- and silversmithing and then fine art at the Academy of Fine Arts in Maastricht. She established Galerie Marzee in Nijmegen in 1979 and was honored with the title of Officer of the Order of Oranje-Nassau at the gallery's 40th anniversary celebrations in June 2019. Additional Resources: Website Instagram Facebook Openingstijden / opening hoursdi-vr 10.00-18.00 uur, za 10.00-17.00 uur Tue-Fri 10am-6pm, Sat 10am-5pm Photos: Otto Künzli, Quidam XVIII, 2019, brooch; Corian, plastic, operculum, acrylic paint, steel, 75 x 87 mm  Rudolf Kocéa, Tears, 2019, necklace; fine silver, enamel, stainless steel, pendant: 80 x 110 x 20 mm, L 600 mm  Barbara Paganin, Rose, 2017, necklace; polymethylmethacrylate, oxidised silver, gold, 200 x 200 x 20 mm    Vera Siemund, untitled, 2019, necklace; enamelled copper, copper, steel, silver, 100 x 60 x 40 mm  Dorothea Prühl, necklace, Raben im Kreis (Ravens in a circle) 2020, titanium and gold    Transcript: Located in a former grain warehouse on the banks of the River Waal in the Netherlands, Galerie Marzee is the largest (and some would say the most influential) art jewelry gallery in the world. The gallery was founded in 1979 by Marie-José van den Hout, who has spent her lifetime immersed in jewelry, goldsmithing, and art. She joined the podcast to talk about the exhibitions she's working on now, why she dedicates so much time to helping art and jewelry students, and how an exhibition of combs put Galerie Marzee on the map. Read the episode transcript below.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Marie-José van den Hout, founder and owner of Galerie Marzee, the world's largest art jewelry gallery. The gallery is located in the Netherlands. Marie is a highly regarded leader in the field of art jewelry and has an interesting story, which we'll hear about today. Marie-José, welcome to the podcast. Marie: Thank you. Sharon: Tell us about your jewelry journey. You studied metalsmithing. When did you start liking art jewelry or jewelry? Marie: I started at eight, I think. Well, my journey started when I was four or five years old. My great-grandfather, although I never knew him, and my grandfather and my father were gold and silversmiths, but they didn't make jewelry; they made objects for Roman Catholic churches. I grew up with all these objects, which now are exported from Europe to America because there are too many and museums can't have them anymore. Anyway, when I was four years old, my father made a ring for me, and I was very proud of that ring. I was not interested in jewelry. He sometimes made rings for friends or for my mother, but he made a ring for me when I was a child and I took it. I was allowed, against his wishes to be honest, to take it to kindergarten. In the class, I very proudly showed this ring. At the time, those classes were huge, 40, 50 children, so it went around the class and it never came back to me, the ring. I was very shy; I didn't dare say anything to the teacher, so I went home without a ring. Many years later, I had an exhibition with Manuel Vilhena. He's a Portuguese jeweler. He had his exhibition and he made a ring from a string, just a simple string, and he said, “This is your ring. I know why you started the jewelry gallery; because you're still looking for your ring.” I found this such a beautiful story.  So, my journey started when I was four, but to be honest, it didn't really, because I was not interested in jewelry at all, not a bit. I always used to like drawing and painting. In those times, you learned to do those crafts at home, and the best teachers are your parents. At the academy where I went in Maastricht, they once asked my father—they wanted him to be a teacher at the academy, and he said, “No, no, no, no, I'm not interested.” But then we, my two brothers and me, went to the academy. We had to, because you were not allowed to work as a gold and silversmith and make pieces when you didn't have the—what do you call this? The mark you have.  Sharon: The hallmark? Marie: Yes, you had to go to the academy to get this hallmark. We did go there every day, the three of us by car. It was two hours' drive from our home, but in the end, it turned out I was not that interested, so I changed direction and went to painting and sculpture. Sharon, there is something I'm not that proud of. I met a man—I was 20, 21—my first boyfriend, who I thought was such a fantastic artist and painter that I stopped doing that altogether and I returned to gold and silversmithing. In the end, we worked at home designing, doing all the crafts.  As a child, I loved to go to my grandfather. He was very well-known for making those figures in gold and silver, and he was invited all over the world, all over Europe to restore church treasures. Although we are Dutch, my father was born in Cologne, because my grandfather at the time worked in Cologne restoring the treasury of the Dome of Cologne. My aunt was born in Brussels in Belgium, where my grandfather worked for the Dome of Brussels, and so on. He worked in Paris. At the same time, what he did—I loved my grandfather—after his work, he was always sitting in museums. You know those people who are sitting there and copying famous paintings? I once went to Paris to a museum, and I saw a painting and thought, “No, this can't be. My grandfather did this.” It turned out it was a famous painting by Monet. So, my life, my youth, was all in art, in gold, painting and silversmithing. But in the end, I didn't do all those things because I married, and within a year I had three children because I have twins. Sharon: Not much time between. Marie: Not that much. Sharon: With everything else, yeah. Marie: In the meantime, my father had died, and my two brothers didn't make those church things anymore. There was not much interest in those at the time, so they turned to jewelry. Both made jewelry, but my younger brother—I liked him very much; we had a very good relationship—he asked me, “I think you could be a very good shopkeeper and I would like to start a shop in Roermond.” He lived in  Roermond, which is 100 kilometers south of Nijmegen, and he had several shops already in Holland. I said, “O.K., I'll do this. It's possible do this while having children.” So, I did this for some time. It was modern jewelry, but not the kind I was interested in.  At the time, I visited another gallery, and I have to confess I was much more interested in the sort of art jewelry there. So I changed my policy; I went everywhere to look at this sort of jewelry. In the end, my brother was not so happy with my change of thought, and he said, “I don't want you to have my jewelry anymore,” which, Sharon, was a shame, because it was good jewelry. It sold very well. It was mostly gold and diamonds, but in a modern way. So, suddenly I could hardly survive, because the sort of jewelry we are dealing with now is very hard to sell. Sharon: I'm sorry—did you say very hard to sell? Marie: Very hard to sell, yes. It's really difficult. Anyway, I worked very hard, 12 hours a day. I was always working. My children were complaining. They said to me—I have three children—and they said, “Mom, you hear me, but you're not listening.” Now, they're proud of me, and two of them, when I stop, will carry on with the gallery. This is more or less the beginning of this journey. In the very beginning, the work I showed looked like what Galerie Ra showed. In the end it was completely different, because I traveled through Europe, traveled to academies, traveled to artists and so on, and I had my complete own style. It's what I'm doing now. Sharon: So just in case people don't about Galerie Ra, can you tell us a little bit about that? Marie: Galerie Ra in Amsterdam was a small gallery funded by Paul Derrez and Louis Martin, two of them. Later on Paul carried on on his own, and last year, after I think 40 years, he stopped with his gallery. He had to rent a shop in Amsterdam, and once every five years you have to have a new contract, and he thought, “This is too long for me. In the meantime, I can't stop because I still have to pay the rent.” So, he stopped, and last week on Koningsdag, King's Day, he got a medal from the king. He is an officer in the Order of Orange-Nassau; that is how our kingdom is called. I had this honor two years ago with the 40th anniversary of the gallery. In 2019, I also got this order. You can compare it with OBE in Britain. Sharon: Wow!  Marie: It is sort of like that. It's a huge medal. If people would have asked me, “Would you be interested in having anything like this?” I would say, “What nonsense. No, please, no,” but at the anniversary in 2019— Sharon: The 48th anniversary. Marie: I was so surprised and I was so proud. Sharon: That's quite an honor, wow! Marie: It was really nice. They said, “We were so frightened you would say”—I told you I can be quite undiplomatic—“Oh, what a horrible medal,” because it's not a very nice design. It's old, of course, but I didn't say it. I was very honored. All of this was based on the fact that I do so much for young artists. Sharon: You do. Marie: With the annual graduate show. Sharon: Tell us about the annual graduate show. It's so well-known.  Marie: I started this 30 years ago. I'm now in this beautiful building. It's a huge building overlooking the River Waal, and it has four stories. At the time, I was in a smaller building, not that small really, but I wanted to do something completely different. I said, “I'd like to work with young people and see if I can guide them or travel with them in their development.” I started making exhibitions that were quite small. I had an academy in Amsterdam. I had Maastricht and Utrecht, and I think Holzheim in Germany. It was quite small, but it in end, it developed. Now, it's 740, 750 schools from all over the world. Mostly there are between 17 and 19 participants, and all the floors of the gallery are full of young graduate work.  What can I say about this? In the beginning, there was just the show and the opening. Later on, 10 years ago, I started having a symposium on Monday. The participants came to Holland from everywhere, from America, from Australia, from Japan. So then on Monday, all the participants showed their work to their colleagues. There was this huge show, and, for instance, the first artist took one of her or his pieces out of the show, put it on the next graduate—so he or she was the model—and then they started talking about the work. It went on and on, sort of like—what do you call it?—it went from one to the other. Of course, they were not used to talking in public, so it was quite emotional. People were very nervous, but it was heartbreakingly beautiful. Also the fact that they came from all over the world, it was really something. People traveling from America, it's not that expensive to travel to Holland, but from Australia, it's a really expensive trip. From Japan it's really expensive, so it's very good they came.  Then 10 years ago, I started to award the Marzee Prize, the Marzee Graduate Prizes. They were awarded to six to eight people, but sometimes there was so much beautiful work that I had 10 people. The prize consisted of a workshop in Ravary, an estate in Belgium. Some friends of mine built a large workshop there. It's paradise, where they can work for a whole week. Everyone has a bedroom and we cook together; we talk together. It's working deep into the night; also drinking deep into the night. Unfortunately, last year we didn't have this workshop. We are not allowed to travel. This year there will probably not be a workshop, either, so that's a pity. The borders are still closed. We are not allowed to travel to Germany, which from here is only five kilometers. Belgium is a bit further, but we are not allowed.  A few years ago, also to try to help young people, I started Intro in Amsterdam. My son, who you just saw, has studied in Amsterdam. He's a lawyer. I rented a place for him 30 years ago. I still have that place, but it was redone two years ago and made into a gallery workshop. In 2019, I was awarded another prize, Gallerist of the Year 2019 by RISD, Rhode Island School of Design.   Sharon: Wow!  Marie: Yeah, maybe you didn't know that.  Sharon: Now it's coming back. Yes, I do remember that. Marie: It was a real surprise. It was very nice. I had to travel to RISD because they set up a show for me in the museum. Then Tracy, the head of the department, said, “I would like you to participate and organize everything in Amsterdam at Intro. I would like for you to run this gallery for three years.” I was the Gallerist of the Year for three years, and we started to do this. The board liked it very much, so for a year we have had two internships there. You can live there; you can work there. It's a beautiful workshop and a beautiful gallery. They make exhibitions with the graduates, but last year there was nothing because they had to return to America. They were not allowed to come here, but probably in August or September there will be two people from RISD again. Not everyone was allowed to participate in Amsterdam at Intro. We selected 20 people per year who could show their work and have exhibitions in Amsterdam. I hoped it would help, but we still have to see because it was interrupted by this horrible Covid disaster. That's my graduate show. There is much more to it.  Sharon: Administering something like that is such a big task. Coming from a traditional background of jewelry and fine art, what attracted you to art jewelry? How did you transition? Marie: The jewelry my brother made was not so far from what you call art jewelry. I'm not such a fan of the term art jewelry, although I don't know what else we should call it. I don't know. Jewelry was not only the thing I did. When the gallery existed for 10 years, I made an exhibition of combs. Sharon: Clothes? Marie: Combs, to comb your hair. Sharon: Combs, O.K. Marie: I did this because I thought a comb is a piece you can use, and I had objects in the gallery you could use. I also sometimes had exhibitions with fine arts, and I had jewelry. I had all three in the small gallery at the time, so I thought a comb has all those elements in it. It's graphic, you can use it as a utensil, and you can wear it as a piece of jewelry. I asked 400 artists in the whole world to make a comb, and I selected 80 pieces for a traveling show. This was really the start of the gallery, because I had a fantastic graphic designer who made a book for it. I had an interior designer who made huge showcases for it. I traveled to museums to ask if they would be interested to have the exhibition after it had been in my gallery. I had the luck that I went to Rotterdam to a famous museum, Boijmans van Beuningen, and they said they would gladly have the exhibition, but they wanted it as a premiere. That was not what I wanted, because I wanted it for my 10thanniversary, and then they said, “No, we want it first.” It was a very good decision to do this, because after that, all the newspapers were full, all the magazines were full, and all the museums wanted to have this exhibition. I have had this exhibition in Tokyo, in Cologne, in Frankfurt, in Pforzheim. My name was there, and then I decided to buy 40 of those pieces. They are now in my collection. My collection is more than 2,000 pieces, I think, and they mirror the history of the gallery. That exhibition was the real start of the gallery. That's when it started to become international. Sharon: For anybody who hasn't been to the current gallery, the building is incredible. It's worth going just to see the building itself. How long have you been in that building? Marie: This is a building channeled with history. There is a history to this building. The town of Nijmegen owns the building, and it used to be a grain warehouse in the beginning of the 20th century. It's around 1900 or even older. They wanted to tear it down to have a hotel here, a Holiday Inn, if you can imagine, but there were some parties in town who wanted culture in this building. I had to fight Holiday Inn. I remember very well, Sharon, that Holiday Inn's director called me and said, “Ms. Van der Hout, why don't you let us buy the building and you can have the ground floor?” Sharon, you know those hotels that have a gallery on the ground, those galleries are mostly horrible. In the end, I won the fight. In 1992, the building was mine; I bought it, but it was ruined. I showed the architect the building, and we had to climb on ladders because the town had decided to tear it down and everything was taken out. The wooden floors were taken out. The only thing left were the beams and those beautiful walls, of course, but that was all. I climbed on that ladder and I fell down and broke my back. Sharon: Oh my gosh! Marie: I lost part of my memory, which is sometimes annoying. On the whole, it's O.K., but I broke my back. I could have been in a wheelchair. When I fell down, I woke up after a half hour or an hour and walked to my art gallery. That seemed a bit strange, so they called a doctor and ambulance and I was taken to the hospital. They said, “You're O.K. You can go because you walked,” and I said, “No, I can't get up anymore.” Then I had this scan and they saw that my back was broken in three places. Sharon: Oh my gosh, you got up and walked! Marie: I was in a cast for a long time. I thought, “Maybe this is too big a task for me. Maybe this was a warning.” Then I thought, “Oh no, I'm going to build an elevator so everyone who is in a wheelchair can see all the floors.” Every day I'm glad I made that decision. Sharon: The building is so fabulous. Did you have a vision for what you wanted? I'm sure you worked closely with the architect, but what was in your mind? Marie: I had a bit in my mind, but my ideas at the time were that it should be wide and so on. I had a fantastic architect, a really fantastic architect, and he didn't want it to be wide; he wanted the walls as they were. We have concrete floors because it was the only possibility. Thanks to this architect—he was a very well-known Dutch architect, by the way, because the town said, “We want this to be a fantastic architectural place. You can invite three architects and we'll pay for that, but the architect you take, you will have to pay him yourself.” They never paid those other architects, by the way, but never mind. I'm so very glad with this architect, and sometimes I see him. Two years ago, he was married for I don't know how many years, and he said, “Marie, I want to go visit the buildings in Holland I'm most proud of”—there are several museums he built—“and you have one of those buildings. If it's O.K. with you, I'd like to have a party here.” He said, “You used it so well. It's so well done now.” I travel a lot—not at the moment, of course—but every time I come home to my building, I feel relieved.  Sharon: It's home.  Marie: It's not only home, it's my first building I remember very well. Once I went on a holiday, and I came back home and I stood in front of my first gallery. I was still in my car in front of the first gallery, and I said to someone, “I don't want to get out. I don't want to do it anymore.” Here, every time I come back, it's rest and peace; it's fantastic. I don't know. Sharon: It is an amazing building  Marie: And inside it's fantastic, of course.  Sharon: You're in a fabulous location. I want to let people know when they go to the gallery, they may need a lot of time because you have a lot of—it's not one small gallery. Marie: No, it's not. I started collecting from the very beginning. I always bought something from my exhibitions, because if people didn't do it, I had to do it. I have a huge collection, but the pieces I have from the beginning are maybe not that interesting. Since then, I have the best pieces. It's fantastic. I have a huge collection of Dorothea Prühl, the necklace I'm wearing now— Sharon: Say the name again. Marie: Dorothea Prühl. Sharon: Dorothea Prühl. It's a fabulous necklace made of wood. Marie: Yeah, there was an exhibition two years ago in New York. Do you know Nancy and Georgio? Sharon: No. Marie: They have the Magazzino, the museum for Italian Art near New York. It's a fantastic, beautiful museum. Anyway, they had an exhibition about arte povera in New York, and there was a famous artist—I can't remember the name; that's my memory—who gave a talk there. The sculptor was there, a famous artist from Italy, and he came to me and said, “You have a fantastic necklace.” It was this necklace. I told Dorothea, of course, because that's a famous sculptor and all her work is like this. There's something else which may be interesting; you know I'm working with schools. Sharon: No, tell us about that. It doesn't surprise me, but tell me about that. Marie: Apart from the private shows. Dorothea Prühl, for instance, she is from Eastern Germany. Sharon: I just want to interrupt, because some people listening have never heard of Dorothea Prühl, who is one of the leading and most well-established art jewelers. Continue, I'm sorry. Marie: She was teaching in Halle in former Eastern Germany. I got to know her work because I went to an exhibition in Halle with her and her class and another teacher. I saw the work and thought, “I would like to have this in the gallery.” The well-known German artist who was there with me said, “There's no way she will do this. She doesn't like Wessies.” Do you know Wessies? People from the west, Western Europe. But I thought, “You know what? I'm going to call her.” So, I called her, and then came this voice. She was a heavy smoker, Sharon, and I said, “I want to make an appointment with you. Is that O.K?” “Oh, yes.”  It was sort of love at first sight.  Sharon: We understand. Marie: Sometimes you have this immediate connection, so I went there. The work she did with her students was fantastic, and then and there I decided I was going to do school exhibitions. I said, “I want you to have an exhibition with your whole class in the gallery for five years. Every spring you will have an exhibition.” They did, and it was always a beautiful exhibition. I bought a lot of pieces for the collection from this exhibition. After those five years, I asked Iris Eichberg. At that time, she was teaching at an academy, and I asked if she would be interested in working with us. She said, “I can't do it. I'm not happy with the level of what's being done here.” Then I decided I would go to the Royal College in London first, with Otto Kunzli in Munich. Otto Kunzli had a show here for five years with his students, also in spring. Then I started to make it a bit shorter, three years with the Royal College with Hans Stauffer. He was the head of the department. At the moment, I'm working with Nuremburg. This is our fourth year. At the end of this month, they will set up an exhibition, also a class exhibition. Do you know that I publish magazines of all the exhibitions? Sharon: Yes. Marie: And we always buy pieces. I really like to work with students. I really like to do this. Sharon: What is it that you like about it? Marie: I don't know, the way that they're open to things. I like that they‘re still developing. By the way, the only school where there were more boys in class was in Munich. In Holland, there was only one boy. In Munich, there were a lot of boys. Most schools just have girls, although in the end, the boys got famous.  Sharon: That's the way it is, yes. Marie: Yes, that's the way it is. Sharon: I was really interested to read that you don't like the term art jewelry. We call it art jewelry because, as you say, there's not another term, but why don't you like the term art jewelry? Marie: Because I think if you're talking about painting, you don't say art paintings or art culture or art design or arts this and that. It's a discipline like all other disciplines. You have paintings, and some are art and some are not. It's the quality that makes it art. It's sometimes not a quality we see now, but it may be that in a hundred years what we now define as art is not what they think of those pieces later on. I don't know. For me it's jewelry, although it's difficult because jewelry is not a well-respected art form. Sharon: Right. Marie: Not at all. Every day I still have to convince people that this is a full-blown art discipline. Sharon: Because you're on the front lines, what do you see as the future of this kind of jewelry? Call it avant garde jewelry, call it art jewelry. It's different than gold and diamonds, in a sense. Marie: It's different. The jewelry that sells best is still gold, unfortunately. Not unfortunately, because I love gold, but there is all gold. A few years ago, I was invited to make an exhibition with Vicenza in Italy. Vicenza is the gold town of Italy. It's where the gold industry is, where they make all those fashion jewelry pieces, and there is a museum. The director asked me, “Will you please make an exhibition for our art jewelry department?” They have design jewelry, fashion jewelry, and art jewelry. The one who made an exhibition before me was Helen Drutt, and she also made an exhibition in the art department. I thought, “Well, O.K., I'm going to make this exhibition, and I'm going to make it only with gold because I'll show them that there is different work you can make with gold.” She told me, “This is my best exhibition ever.” It was a beautiful golden arts jewelry exhibition in their museum. The last year of the exhibition, unfortunately, the last part, was during Covid. What can you do.  Sharon: You don't often see gold in a lot of the art jewelry galleries. Was it difficult to find pieces that you felt belonged in the exhibition? Marie: No. I showed pieces from my collection.  Sharon: Your personal collection? Marie: My personal collection. I have several beautiful golden pieces of Dorothea Prühl. I have several Dutch artists who work in gold. I have enough to show a lot of work. It was 50 pieces, I think. Sharon: O.K., wow!  Marie: I have some from the students from Holland, which reminds me there were two pieces, one big color piece from a student from Holland and one big brooch. Sharon: Do you see an increase in interest with a la carte jewelry and things made of alternative materials, like plastic or wood? Marie: I think this is returning in jewelry. You can make jewelry out of all sorts of materials, and for me, it doesn't really matter. The only thing I don't like so much in jewelry is plastic, because I don't like plastic very much, but for the rest it's fine. What I don't buy anymore is rubber jewelry because it disintegrates. I have rubber pieces in my collection, and they were made of horrible material. I didn't throw them out; I put them in envelopes and kept them, but no. It's difficult to get people interested in jewelry. One of the things I did to get people interested in it, I made a series of exhibitions in museums. It's called “Jewelry, the Choice of, and I followed with the name of the town. I did 10 of those exhibitions in Dutch museums, one in the European parliament in Brussels and another one, my best one, in St. Andrews in Scotland. That exhibition was magic.  What happens normally is that in Holland, the director of the museum selects 25 women and men who they want to come to the gallery. They come by bus for a whole day, and I select pieces from the collection. It's like a Tupperware party, but I want them to get interested in jewelry. Obviously, at St. Andrews that was not possible, that people would come by bus to Scotland. So, the director asked everyone to give her a photo, and she wrote something about the work people did so I could get to know who those people were. I found it very difficult to not see someone and not try something on. So what I did, I had these photos in the gallery for three weeks, and I spread them out on my top floor on this large table. Every day I walked past those photos, looked at the photos, and thought, “Who are you? Who are you?” Then the museum came to collect the pieces I selected for those 24 people. I have to admit I was quite nervous, because what if the people didn't like those pieces and said, “I don't want to wear this,” or “I will wear it, but I don't like it”? But I went there, and we had a meeting in one of the castles. Every quarter of an hour, someone came in and I was supposed to give them the piece of jewelry I selected for them, have them put it on and tell them something about this piece, about the artist. After that, they were interviewed for a movie; there was a movie made for this exhibition. I gave a big gold brooch to the first person who came in, a student from Holland, Christine Matthias, I went to her and said, “I'm giving you the sun,” and she had—how do you say it—goose bumps. Sharon: Goose bumps, yes. Marie: She said, “How do you know?” “How do I know what?” “Yesterday I saw the sun spinning.” O.K., that was number one. The next one was a man, and I gave him a silver brooch of a lizard, a beautifully made small brooch of a lizard, and his wife said, “Last year he wrote a poetry book about lizards.” I was flabbergasted, Sharon, and this went on and on. Not everyone had this reaction, but a lot did. The British people are good talkers, and I told everyone something about the piece of jewelry. Later on, as I said, there was a movie made, and they had to tell something about this piece. They were so well-spoken about it. They looked closely at those pieces. There was an understanding of what the artist had done. It was my best exhibition to promote jewelry with people. I am friends with the director; we eat together every year when there is a Collect in London—except this year, because there is no Collect. Those experiences make my life as a gallerist so beautiful, so exciting.  With this Covid disaster we had to stay home, so we had no visitors and the gallery was closed, and I thought, “You know what? I don't know many people in Nijmegen. I'm focused abroad; I'm focused on faraway places. Who do I know here on my street, for instance?” On the old street of Nijmegen—it's a beautiful street with fantastic houses—I hardly know anyone. I thought, “I'm going to make an exhibition with 25, 30 people, and I will keep it to my street.” So, now I'm making an exhibition called “In My Street.” A few hours ago, we had the first photographs with a photographer who lives on the street of people who have lived the longest on this street, a man and wife who have lived here for 60 years. We're doing that now, and we will probably make 35 photos and have an exhibition here. At this time last year, I invited the former director of the museum of the town who lived on this street. He's a very introverted man, and I went to him and said, “I'd like you to participate in this exhibition,” and he said, “No, no.” In the end, I convinced him he had to do it, and he said, “But only if the exhibition is in your place,” because he likes beauty. Last week I heard that he died. I want the photos to be taken of people in their own houses. He had this fantastic office in the front of his home, full of books and a huge desk, that was beautiful to photograph in, but he's not there anymore, so it's just— Sharon:Yeah, it's a shame.  Marie: Yeah, it's a shame, but I think it will be a beautiful exhibition, very near home. My idea now is this “In My Street.” I want other streets to make the same exhibition and come to the gallery. Everyone can see “In My Street” and have 25 people. We have a whole grid around town with everyone. Now I'm home on my own street. The first time I went to visit people, someone said to me, “Of course you don't know anyone. You never come out of your gallery.” It's not true, but I live on top of my gallery, so I go by elevator, get out on my terrace and go in my house.  Sharon: You put the pandemic to good use with this. Marie: Yes. Sharon: Marie, I could talk to you forever. Thank you so much. This is great, because it's so hard when you're at a show to talk to anyone for more than three seconds. It's great to hear your whole story, and thank you for sharing it with us. Marie: Thank you, Sharon. There's much more.  We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

Hoeveel invloed mogen mensen krijgen die geld doneren aan kunstinstellingen? Museumdirecteur Sjarel Ex werd bij de verbouwing van “zijn” Boijmans van Beunigen met die vraag geconfronteerd.  Duitse veiligheidsdiensten gaan de rechts-nationalistische partij Alternative für Deutschland nóg beter in de gaten houden. We spreken erover met politicoloog en Duitslandkenner Kemal Rijken.  In het Mediaforum zitten Jan-Kees Emmer en Elger van der Wel.

The weekend of 25th September 2020 was the Silver Opening of THE DEPOT, the new storage facility of the Boijmans Van Beuningen Museum in Rotterdam when the press and the public were allowed in for three days to see the work in progress. Michael Hasted has a look round and talks to the Boijmans director SJAREL EX. The Depot will be fully up and running and open to the public in September 2021. We are also at the MAURITSHUIS in The Hague where SOUWIE BUIS talks to art historian WENDY FOSSEN about a new exhibition on Johan Maurits himself

Autor: Schweighöfer, Kerstin Sendung: Fazit Hören bis: 19.01.2038 04:14

Ter gelegenheid van de zilveren opening is Kunststof te gast in het nieuwe depotgebouw van museum Boijmans van Beuningen in Rotterdam. Het nu nog lege collectiegebouw zal in september 2021 met al zijn collecties openen. Te gast zijn museumdirecteur en kunsthistoricus Sjarel Ex en architect Winy Maas. Presentatie: Jellie Brouwer

Tweede aflevering van de RTM XL podcast, met als hoofdonderwerp Dichtheid en de Stadswijken. Verder gaat het over investeren in groen, de plannen voor Boijmans van Beuningen en het Schiekadeblok. Hosted on Acast. See acast.com/privacy for more information.

Annemieke Bosman spreekt conservator van Museum Boijmans Van Beuningen Saskia van Kampen over de tentoonstelling This is Surrealism! The Boijmans Masterpieces van het Cobra Museum. Zonder mee-kijkers over de schouder, zijn veertig topstukken uit Boijmans’ surrealismecollectie vier maanden lang te bezoeken in het Cobra Museum in Amstelveen voordat ze op wereldreis gaan. Een uitzonderlijke samenwerking die in deze bevreemdende realiteit resulteert in een gedenkwaardige ontmoeting met Dalí, Magritte, Man Ray en Agar.

Michael Hasted talks to Brazilian dancer and choreographer SAMIR CALIXTO about his work at the Korzo Theatre in The Hague and there is a song from Canadian singer and performance artist RONLEY TEPER. With most Dutch museums re-opening for business we talk to one that won’t – the Boijmans Van Beuningen in Rotterdam, because of its on-going major refurbishment. We talk to the Boijmans director SJAREL EX about The Depot, an annex to the museum which will be opening next year.

Precies een jaar geleden sloot Museum Boijmans van Beuningen in Rotterdam. De renovatie moet nog beginnen, intussen is het nieuwe Depot alweer bijna klaar. Het is een van de grote bouwprojecten die ook in coronatijd gewoon doorgaat.

Michael Hasted has an exclusive interview with international comedy mime artist TAPE FACE and (at 9.30)visits the KUNSTHAL in Rotterdam to talk to SAREL EX of the BOIJMANS VAN BEUINGEN in exile. Souwie Buis was at the WINTERNACHTEN FESTIVAL in The Hague (at 21.10)and spoke to Palestinian poet ASMAA AZAIZEH.

We have chosen the highlights from the first year of ArtsTalk Radio. There are interviews with author Nicci French, Elske van Holk of STET The English Theatre in The Hague, Sjarel Ex of Boijmans van Beuningen Museum in Rotterdam, the Cirque du Soleil, QETC, baritone Thomas Oliemans and much much more.

Michael Hasted meets Sjarel Ex, Director of the Boijmans van Beuningen Museum in Rotterdam which is closing for major renovation at the end of May 2019. They talk about the work involved and about the new Depot building next door which opens next year and will house the museum's entire collection.

February 2019. An interview with MIENKE SIMON THOMAS, curator of the NEDERLAND-BAUHAUS exhibition at Boijmans Van Beuningen Museum and with FRISO LAMMERTSE curator of Old Masters at Boijmans, prior to the museum's closure for refurbishment

Martha Lap bezocht aan het begin van de oorlog Museum Boymans en werd daar haast verliefd op Titus van Rembrandt. Ze deelt haar herinneringen aan dat bezoek. Interview en montage: Verhalenhuis Belvédère Foto’s: Joop Reijngoud en privécollectie Muziek: The Traveler, Marlies du Mosch & André Heuvelman

Hoe is het om kunstenaar te zijn in een oorlog? Mosab Asab werd in 1973 geboren in Aleppo en vluchtte naar Nederland vanwege de oorlog. Interview en montage: Verhalenhuis Belvédère Foto’s: Joop Reijngoud en privécollectie Muziek: The Traveler, Marlies du Mosch & André Heuvelman

Gezina Sas werd geboren in 1972. Zij is de kleindochter van Henk van de Pol, medewerker van museum Boijmans, die onder meer tentoonstellingen inrichtte. Tijdens het bombardement op Rotterdam in mei 1940 schuilde het gezin Van der Pol, onder wie de moeder van Gezina in de kelder van Boijmans. Interview en montage: Verhalenhuis Belvédère Foto’s: Joop Reijngoud en privécollectie Muziek: The Traveler, Marlies du Mosch & André Heuvelman

Ware kunst beschouwen we als tijdloos; als iets wat zijn waarde behoudt door de eeuwen heen. Maar klopt dat? Is er een objectief verschil tussen peperdure kunst en waardeloze troep? MakersRadio vond twee werken in Nederlandse musea die radicaal van status veranderden: van kunst tot troep en weer terug naar kunst. Over bedriegers die kunstenaars blijken en kunstliefhebbers die bedrogen willen worden.Word onze Patreon vanaf 1 dollar per maand! Meer info: www.makersradio.nl Support the show (https://www.patreon.com/MakersRadio)

Pat Donnez praat met architect Paul Robbrecht. Robbrecht en Daem, het is één van die household names, die je altijd in één adem uitspreekt. Ze ontwierpen het Concertgebouw in Brugge, het museum Boijmans van Beuningen in Rotterdam tot het nieuwe VRT-gebouw. ‘Van ons moet je geen gebouw verwachten als een sculptuur waar mensen doorheen worden gejaagd,’ zegt Paul Robbrecht, één helft van het duo. ‘Wij vertrekken – en eigenlijk het is het belachelijk dat een architect dat moet zeggen – van de mensen.’

Gast: Bert Jansen, kunsthistoricus Robert van Altena spreekt in deze uitzending met Bert Jansen over kunstenaar Marcel Duchamp (1887-1968). Zo'n vijfentwintig, dertig jaar geleden begon Bert Jansen, die zich tot dan voornamelijk met hedendaagse kunst bezighield, te schrijven aan wat een uitgebreide reeks artikelen zou worden over Marcel Duchamp. Marcel Duchamp, één van die kunstenaars waar boekenkasten vol over zijn geschreven. Bert Jansen voegde er moedig het zijne aan toe met ‘Chacun son Marcel. Meerduidigheid in het werk van Marcel Duchamp', zijn proefschrift uit 2015. “Ik probeer te reconstrueren wat tussen ca. 1914 en 1917 de oorspronkelijk beweegredenen waren van Duchamp.” De elusieve gentleman-kunstenaar Marcel Duchamp die wij kennen is veelal een creatie uit de jaren zestig. Bert Jansen probeert om die mercuriale figuur enigszins vaste vorm te geven door Duchamp (zijn taalspel, zijn werk) te verbinden met zijn tijd. “Ik probeer te reconstrueren wat tussen ca. 1914 en 1917 de oorspronkelijk beweegredenen waren van Duchamp.” Bert Jansen dompelde zich hiertoe onder in de Franse cultuur van die periode. Sporen van ‘zijn' Duchamp vond hij niet alleen in de kunstwereld van die tijd, maar ook, de kunstenaar achterna reizend, op rommelmarkten in bijv. de Jura, in o.a. populaire deuntjes en satirische tijdschriften. Met zijn vondsten laat Bert Jansen het werk van Marcel Duchamp op een verrassende manier spreken. James Joyce schrijft in zijn Ulysses: « Alles spreekt op zijn eigen manier ». Bij Duchamp, zo stelt Jansen, is alles meerstemmig. Afbeelding: La boîte-en-valise, 1952 Marcel Duchamp (coll. Boijmans van Beuningen) SPRINGVOSSEN Redactie + presentatie: Robert van Altena contact: springvossen@gmail.com www.facebook.com/springvossen www.amsterdamfm.nl/tag/springvossen/ Uitzendtechniek: Oscar van Oorschot

Wim Noordhoek doet verslag van Minimal Myth, de tentoonstelling in museum Boijmans van Beuningen in Rotterdam met werk van Minimal Art kunstenaars uit de jaren ‘60 en ‘70. In het boek Het geschenk bezoekt een jongeman zijn vader, die nog maar kort te leven heeft. De vader doet zijn zoon het dringende verzoek diens nooit [...]