FINE ARTS Interview with Harm Kuijers
The possible is the law of weight ~ The impossible is the law of New
I create what is impossible
for the most advantageous outcome of us
all
who co-create our humankind
not only upon Earth 
An interview with Harm Kuijers
by Irénée Sikora
VOCATION
Bonjour Harm. The field in which you express your messages is Art.
You are first of all an etcher, but also a drawer, photographer and stage
designer.
When did you discover the vocation to become an artist ?
HK: I discovered that when I was a small boy. Until I was eight years old I hardly could hear and speak. My communication and contact with the surrounding world was by seeing. Whenever I was on my own I made many drawings of imaginary worlds which I saw
in myself when I was together with my family, at school, playing with other children
on the street and many other situations. In a sense I already felt very early,
that I was destined to become artist.
FAMILY
How was the influence of your family on the way you step on ?
My parents noticed I was interested into art and ordered books for me about art
and artists’ history, architecture and many other subjects linked to art. After I started
to hear after some ear operations I started to listen intensively to music and my parents bought a piano for me. My parents were certainly stimulating in this.
There were also always books in most parts in the house.
SOUND
Therefore you discovered the world of sounds since you were eight.
Therefore you discovered the world of sounds since you were eight.
Does the music have an important meaning for you ? Do you play an instrument
today ?
What kind of music do you like listening to ?
What kind of music do you like listening to ?
Music has an important meaning to me and overpasses much more than words and
crosses boundaries. Music notes are like colors with all the feelings and other dimensions which we can’t explain rationally.
Music was an intense experience after the entering the world of sound.
Hearing for the first time Bach and Mozart and in the same period Jimi
Hendrix
and other contemporary music after a world of silence is not possible to express.
It went further than hearing language.
I don’t practice any instrument today
and other contemporary music after a world of silence is not possible to express.
It went further than hearing language.
I don’t practice any instrument today
but I know that in a close
future I start playing piano again.
In my youth I loved to listen to classic music and soon after to rock. Nowadays I can
In my youth I loved to listen to classic music and soon after to rock. Nowadays I can
listen with pleasure to almost every kind of music,
medieval, renaissance, Indian ragas, modern jazz. I can also be
fascinated to
music sorts I have never heard because of
the effects of sounds and layers in noises.
the effects of sounds and layers in noises.
MUSIC
Amazing ! Please
give an example of your favorite and personally important music
you like. That can be any short piece of vocal or purely instrumental composition,
a concerto or an opera … ?
you like. That can be any short piece of vocal or purely instrumental composition,
a concerto or an opera … ?
Examples
are The Musical Offering, The Art of the Fugue and the Goldberg variations
of
Johann Sebastian Bach. Several piano concertos of Mozart are also pleasant
for me to listen. Sometimes it can be old operas from Monteverdi. A strong work
is also Idomeneo of Mozart. Or more light Les Indiennes Galantes of Rameau.
So I
have not simply one favorite of music.for me to listen. Sometimes it can be old operas from Monteverdi. A strong work
is also Idomeneo of Mozart. Or more light Les Indiennes Galantes of Rameau.
GIFT
Very interesting ! Let’s maybe mention some more details - if only
you wish of course - about the period when you were a small child and a
teenager. Your parents were perfectly conscious of the fact that your
so-called “handicap” was simply not handicap, but a gift. Concerning this very
point, what could you say about the interactions
of your social surrounding at that time ?
of your social surrounding at that time ?
The interactions of my surrounding back in time depended on the
people I met.
Some doctors, psychologists and teachers considered me as mentally handicapped and have put me in a corner. Other people communicated with me and were more open
to intuitive interactions.
Some doctors, psychologists and teachers considered me as mentally handicapped and have put me in a corner. Other people communicated with me and were more open
to intuitive interactions.
Far the most of the children I had contact with accepted me the way
I was.
I’ve been bitter about this but I realize now that a lot of
chances and freedom have been given to me. We all live in a system and simply
can’t judge people,
who have “harmed” us.
who have “harmed” us.
An important person for me deals with gifted children who don’t fit
in the educational system on an international school. His stories and
experiences help me to be not self centered.
TRIGGER
What was the trigger that made you explore the world of etching ?
When I was about 17 years old I was making pencil drawings in
black and white and
somehow not able to use colors. I was searching what I could do in life after secondary school and thinking about going to an art academy.
In this period I was visiting several artists to explore how life can be when you decide
to commit to art. So I met artists who created oil paintings, ceramic and bronze artists and other artists creating with other disciplines.
somehow not able to use colors. I was searching what I could do in life after secondary school and thinking about going to an art academy.
In this period I was visiting several artists to explore how life can be when you decide
to commit to art. So I met artists who created oil paintings, ceramic and bronze artists and other artists creating with other disciplines.
One day I went to a small village close to my town to visit an
artist who was a painter
and an etcher too. I was fascinated since I didn’t
know at all what the process is
to create an etching. He created big paintings bur his etchings, very small sized,
were much more impressive … like musical
jewel pieces. I was very intrigued how
you can use a metal plate for creating very
delicate, refined prints with beautiful black,
grey and white tones. For me
this went further than making pencil drawings.
It was not less than playing
with a big gamma of colors.
This triggered me to explore etching.
STUDENT
Would you like to add some significant details concerning your
artistic education ?
My art education was at an academy in Amsterdam which was a very free, pleasant place.
The first two years were filled with lessons of many two and three dimensional
arts.
The third year you made your choice how to continue. I have chosen graphic techniques like woodcut, lithograph and of course etching. I also followed for a short while illustration but stepped out of this.
The third year you made your choice how to continue. I have chosen graphic techniques like woodcut, lithograph and of course etching. I also followed for a short while illustration but stepped out of this.
The graphic studio was a free haven where you could create when
you felt.
I usually went to the school early in the afternoon and continued till 10 in the evening. Especially in the evenings and even better often during the weekends there were only
a few students and you could experiment as much as you wanted.
I usually went to the school early in the afternoon and continued till 10 in the evening. Especially in the evenings and even better often during the weekends there were only
a few students and you could experiment as much as you wanted.
The Gerrit Rietveld Academie has a very good name, also nowadays.
In my time you had a lot of freedom as a student. At the same time the teachers supported the best they could. It was an interesting laboratory just as Amsterdam,
back at the end of the seventies and the beginning of the eighties in the last century.
In my time you had a lot of freedom as a student. At the same time the teachers supported the best they could. It was an interesting laboratory just as Amsterdam,
back at the end of the seventies and the beginning of the eighties in the last century.
WORLD
Let’s talk about your travels across the world. You like this kind
of experience. Why ? Could you give some examples of these journeys ? Which one
of them
was particularly worthy for you ?
was particularly worthy for you ?
Travels, especially organized and scheduled as less as possible
and being completely
on your own without any reference to where you come from, make people discover
their inner selves away from the daily life with the normal obligations to your family, relationships, jobs and function in society. You are literally confronted to yourself
in an unknown world. It is refreshing and gives you much energy, also for solving issues
in your daily life when you come back home, often stronger.
on your own without any reference to where you come from, make people discover
their inner selves away from the daily life with the normal obligations to your family, relationships, jobs and function in society. You are literally confronted to yourself
in an unknown world. It is refreshing and gives you much energy, also for solving issues
in your daily life when you come back home, often stronger.
Very strong were travels in Turkey
and Egypt and the
hospitality you could experience
in a culture less materialistic and wealthy than in Europe. For example an excursion
to the pyramid of Maydun (at least thirty years ago not easily accessible to the tourists)
in the Sahara, was a breath taking experience. The sounds, images, colors, the smells
and landscapes in different climates are different. And don’t forget the value
this offers for conceiving and producing new creative oeuvres, not only as an artist.
in a culture less materialistic and wealthy than in Europe. For example an excursion
to the pyramid of Maydun (at least thirty years ago not easily accessible to the tourists)
in the Sahara, was a breath taking experience. The sounds, images, colors, the smells
and landscapes in different climates are different. And don’t forget the value
this offers for conceiving and producing new creative oeuvres, not only as an artist.
READING
And what about your travels through the books ?
Do you like reading ?
I do like reading, nowadays not so extreme as for example I used
to do in bed till
far after midnight. I also didn’t buy books the last years after I donated most of the novels to one school. Maybe I made too many physical, geographical travels …
That’s why reading is their perfect compensation. Anyway, I can stay more at home now. But nevertheless I still like reading.
far after midnight. I also didn’t buy books the last years after I donated most of the novels to one school. Maybe I made too many physical, geographical travels …
That’s why reading is their perfect compensation. Anyway, I can stay more at home now. But nevertheless I still like reading.
LANGUAGE
In how many languages do you usually read ?
Can you give an example or some examples of books you particularly like ?
Can you give an example or some examples of books you particularly like ?
Nowadays
I often read French written books ; these are often non
fiction books
about scientific discoveries recently published, often translated from English.
Another French book I’ve read was about the French king Louis XIV which was interesting about his warfare in the United Provinces, today a part of the Netherlands, and previously Flemish spoken areas which are presently French like a city as Lille.
During Dutch history classes at secondary school you didn’t get the impression,
that this was total warfare and raging all over Europe …
about scientific discoveries recently published, often translated from English.
Another French book I’ve read was about the French king Louis XIV which was interesting about his warfare in the United Provinces, today a part of the Netherlands, and previously Flemish spoken areas which are presently French like a city as Lille.
During Dutch history classes at secondary school you didn’t get the impression,
that this was total warfare and raging all over Europe …
Some times I read also English books, some spiritual recently
published works.
I’ve read German a lot in the past, recently not so much. Two
examples are an interesting biography about Thomas Mann and a reasonable new
novel about families living in former East Germany and experiencing the
fall of communism with the iron curtain
and the unification of the two German states with all the big changes.
and the unification of the two German states with all the big changes.
FILM
What about the cinema ? Which one would be the most important movie
for you ?
Solaris, a science
fiction movie made by the Russian film director Tarkowski
is still great for me.
A completely different story and quite new is the English movie Shame about
a New Yorker dealing with his sex addiction.
Again, I don’t know what is the most important work for me.
is still great for me.
A completely different story and quite new is the English movie Shame about
a New Yorker dealing with his sex addiction.
Again, I don’t know what is the most important work for me.
EXTENSION
Therefore you like traveling through books and movies of your
choice.
Do you also travel by any other means ?
I am not sure if I understand correctly this question … but … let
me see … yes,
I can also travel when, without any kind of toxic agents (I never take any toxins),
I enter consciously a different state of awareness leading me to the extension
of the spectrum of my perceptions and allowing to seize specific,
not necessarily verbalized messages.
I am able to practice a kind of mastered by myself journeys based on what could be technically termed as astral bi-location. But here I will not develop this point.
Maybe another time.
Etching is my main language. Diversity is important too for
artists. Since etching is
I can also travel when, without any kind of toxic agents (I never take any toxins),
I enter consciously a different state of awareness leading me to the extension
of the spectrum of my perceptions and allowing to seize specific,
not necessarily verbalized messages.
I am able to practice a kind of mastered by myself journeys based on what could be technically termed as astral bi-location. But here I will not develop this point.
Maybe another time.
INTENSITY
So intriguing ! … yes, of course, that can be another time. It’s up
to you.
Now … you partly answered this following question, yet, it would undoubtedly
be interesting to talk more about it : The world of etching is monochromatic on
its technical basis.
As so many etchers in the history - and the Netherlands are a culturally powerful land
of reference especially in this domain – you seem not to be in need of colors. Why is it so ? What does honestly matter for you while engraving ?
As so many etchers in the history - and the Netherlands are a culturally powerful land
of reference especially in this domain – you seem not to be in need of colors. Why is it so ? What does honestly matter for you while engraving ?
When you create with colors in etchings it is necessary to set up
a technical process
which takes time and planning ahead is required. There are enough artists, who create
the most astonishing color etchings. When I do this, I loose my spontaneity and freedom. Somehow I feel that I’m making a concept. And the colors usually turn out
very flat and dull.
which takes time and planning ahead is required. There are enough artists, who create
the most astonishing color etchings. When I do this, I loose my spontaneity and freedom. Somehow I feel that I’m making a concept. And the colors usually turn out
very flat and dull.
Essential in my etchings are the structures as if I created these on
the paper right away instead of printing the inked plate on the paper.
Another reason is that I don’t have a plan when I start working on
a new plate.
Even with figurative images I only use a scarce number of lines. I love to find out
how the metal interacts when I scratch with needles, cut out with engraving tools,
scrape surfaces. The result often is that the tones can be very intense black,
even black upon black, very delicate light grey to almost white
or an almost endless variation of grey tones.
Even with figurative images I only use a scarce number of lines. I love to find out
how the metal interacts when I scratch with needles, cut out with engraving tools,
scrape surfaces. The result often is that the tones can be very intense black,
even black upon black, very delicate light grey to almost white
or an almost endless variation of grey tones.
When I print an edition, each individual print is slightly
different. When I would use
the same creative process, a color etching would change dramatically every time
with very messy results.
I don’t reach the same intensity with colors as with black and white.
the same creative process, a color etching would change dramatically every time
with very messy results.
I don’t reach the same intensity with colors as with black and white.
DIVERSITY
You work, as mentioned above, also in other branches of art where
it is obviously possible to explore the colors. What is your feeling about
these other creations ?, the ones which are manifested in their particular
artistic languages such as drawing, photography
or stage design ?
or stage design ?
a technical process, a balance with other disciplines
(in my case drawing, photography and stage design) is important. With drawings
and photography I can explore colors.
And I can see the creative result more quickly
than with etchings.
I consider my drawings and photographs as good as my
etchings.
When you create with several disciplines, they influence each other
and you remain
in a movement. In the most positive situation the process of
creation is
like a perpetuate mobile.
When I started the two series, 16 oeuvres mainly drawings and photographs
for the theater play A Song for the Stars, I was in a serious impasse concerning etching. Changes are
necessary to breath freely again. In what way I will develop etching further
I
don’t know but creativity, it usually comes out of not knowing and abundance.
STARTING
You have partly explained how you do, but maybe you will agree to
response
to this following quite often asked question : Where do your inspirations come from ?
Do you foresee a topic ? or for example do you have a vision of something ?
perhaps just an impulse ? How your logical mind is involved in the process
of your artistic functioning ?
to this following quite often asked question : Where do your inspirations come from ?
Do you foresee a topic ? or for example do you have a vision of something ?
perhaps just an impulse ? How your logical mind is involved in the process
of your artistic functioning ?
My inspiration sometimes comes from a vision, an impulse or some
where between
a vision and an impulse. It also can come from a dream I remember. Or something I see when I’m out of the house, like a reflection of the light on water or a movement of reflections in windows of buildings when I pass by on my bicycle.
When a vision, impulse or dream repeats, I make an inner photo and start a new oeuvre.
I don’t rationalize and simply follow the movement of my hand.
a vision and an impulse. It also can come from a dream I remember. Or something I see when I’m out of the house, like a reflection of the light on water or a movement of reflections in windows of buildings when I pass by on my bicycle.
When a vision, impulse or dream repeats, I make an inner photo and start a new oeuvre.
I don’t rationalize and simply follow the movement of my hand.
TECHNIQUE
If somebody, while looking at one of your works of art asks you
“what technique
did you apply here ?”, what are you used to response ? Does the indication of a technique help the visitors to understand better, to perceive wider, to feel deeper and to recognize the value of an artistic creation ?
did you apply here ?”, what are you used to response ? Does the indication of a technique help the visitors to understand better, to perceive wider, to feel deeper and to recognize the value of an artistic creation ?
I think the indication of a technique doesn’t help to understand
the value or
the messages of an artistic creation. For example indicating the technique
of Picasso’s Guernica doesn’t explain that war is repulsive and barbaric.
the messages of an artistic creation. For example indicating the technique
of Picasso’s Guernica doesn’t explain that war is repulsive and barbaric.
TIMING
Of course people are free to ask all possible questions. When you are asked :
“How much time did you put to make this etching, or that portrait ?”, what
are you used to say ? From your point of view, is it important to know it ?
Let’s ask in the similar way as just before : Does the indication of ‘creating time'
help the visitors to understand better, to perceive wider, to feel deeper
and to recognize the value of an artistic creation ?
“How much time did you put to make this etching, or that portrait ?”, what
are you used to say ? From your point of view, is it important to know it ?
Let’s ask in the similar way as just before : Does the indication of ‘creating time'
help the visitors to understand better, to perceive wider, to feel deeper
and to recognize the value of an artistic creation ?
Definitely no, just as I answered to your previous question. Here,
I would add that
during the act of creation, we are connected to other
dimensions of life in which
time is not what we are used to understand in the
word ‘time’.
STUDIO
Do you easily show your studio ?
No, only to my closest friends, colleagues or people who are
honestly interested.
ENTANGLEMENT
Let’s talk about your feeling concerning the global situation of
art at a planetary scale. What is the
condition of artists ? What does being an
artist mean today ?
We are living in the last days of the capitalist “free” market
economy and conservatism. Absolute monarchies disappeared after the first
world war, fascism and national-socialism after the second world war (except
some states in Europe and South America which
have become more or less democracies) and communism for a big part in 1989.
Under the global free market economy every thing is considered as a product of which
you can give a price in money. The more profit a product generates, the more valuable
it is according the economic system. If you can’t say how valuable a product is and
how much profit in money it will bring, then it is not taken seriously by this system.
Most of the art is considered as worthless according the economic system because
it is impossible to say, how much value an art oeuvre has and how much profit it will bring. So the position of artists is not easy nowadays but it has never been easy during
any possible system, including the systems I just mentioned.
Now, the crucial question is : when capitalism falls because of the unprecedented worldwide financial crisis, how can we as artists be totally independent
without any censorship and neglect. Especially with the internet and social media
we can really explore and experiment in a scale never seen before in human history
with connections all over the globe. So the positive thing is that in contrary
to other difficult periods, we are not alone thanks to these media.
Being an artist today means, that we have to re-create ourselves.
I am an example. My works of art are another complementary example.
The Salon FlorRaison is another complementary example. My works and the Salon are
of course the extensions of who I am.
The possible is the law of weight. The impossible is the law of New.
I create what is impossible for the most advantageous outcome of us all
who co-create our humankind not only upon Earth.
Under the global free market economy every thing is considered as a product of which
you can give a price in money. The more profit a product generates, the more valuable
it is according the economic system. If you can’t say how valuable a product is and
how much profit in money it will bring, then it is not taken seriously by this system.
Most of the art is considered as worthless according the economic system because
it is impossible to say, how much value an art oeuvre has and how much profit it will bring. So the position of artists is not easy nowadays but it has never been easy during
any possible system, including the systems I just mentioned.
Now, the crucial question is : when capitalism falls because of the unprecedented worldwide financial crisis, how can we as artists be totally independent
without any censorship and neglect. Especially with the internet and social media
we can really explore and experiment in a scale never seen before in human history
with connections all over the globe. So the positive thing is that in contrary
to other difficult periods, we are not alone thanks to these media.
Being an artist today means, that we have to re-create ourselves.
I am an example. My works of art are another complementary example.
The Salon FlorRaison is another complementary example. My works and the Salon are
of course the extensions of who I am.
The possible is the law of weight. The impossible is the law of New.
I create what is impossible for the most advantageous outcome of us all
who co-create our humankind not only upon Earth.
MEDIA
Did you give any interview for the media ?
Do you have any contacts with the journalists ?
I never gave serious interviews for the media, certainly not about
my art.
And I don’t have any contacts with journalists.
And I don’t have any contacts with journalists.
EDUCATION
What do you think of the role and the place of arts in our
educational systems ?
What is the situation in the Netherlands in this chapter ?
What is the situation in the Netherlands in this chapter ?
The most recent news was that the Secretary of Education suggested
ending education
of arts during the last 2 years of the higher secondary schools in the Netherlands.
Schools have to decide without influence of the state what, how or if they will give
or sustain this education. Since the schools have cut downs due to the financial crisis, there is a big chance that education of arts can disappear of most of the schools.
When this decision is accepted, the risk is that serious education of arts will only be
given on expensive private schools or schools attended by the children of the happy few.
Nowadays the state donates children of the secondary school museum passes, so they will have easier access to art. The secretary also proposed ending this state funding.
My impression is that in other countries the educational systems do not unfortunately
have enough or have very little place for art teaching. I cannot understand it. You don’t need to be an artist to realize that the arts are nourishment for the soul, just like healthy agriculture nourishes our bodies. I think that high time has come to reconnect to art
and nature. Any school is the most appropriate place to educate in this direction.
of arts during the last 2 years of the higher secondary schools in the Netherlands.
Schools have to decide without influence of the state what, how or if they will give
or sustain this education. Since the schools have cut downs due to the financial crisis, there is a big chance that education of arts can disappear of most of the schools.
When this decision is accepted, the risk is that serious education of arts will only be
given on expensive private schools or schools attended by the children of the happy few.
Nowadays the state donates children of the secondary school museum passes, so they will have easier access to art. The secretary also proposed ending this state funding.
My impression is that in other countries the educational systems do not unfortunately
have enough or have very little place for art teaching. I cannot understand it. You don’t need to be an artist to realize that the arts are nourishment for the soul, just like healthy agriculture nourishes our bodies. I think that high time has come to reconnect to art
and nature. Any school is the most appropriate place to educate in this direction.
LACK
In your direct present social surrounding: friends, colleagues,
relatives, visitors,
neighbors, how do you feel ? how are all those people concerned by the arts ?
Is there any characteristic, somehow common attitude among them ?
neighbors, how do you feel ? how are all those people concerned by the arts ?
Is there any characteristic, somehow common attitude among them ?
They are good, honest people. The Salon FlorRaison was open last
year, I mean in 2011. Till now we had very few visitors from Spangen. I try to understand
why. I think because
a lot of people have no artistic sensitivity. They need to be in contact with art
but they don’t know how to establish this contact, how to do. When at schools
there is no artistic education, let’s create artistic places in our neighborhood !
a lot of people have no artistic sensitivity. They need to be in contact with art
but they don’t know how to establish this contact, how to do. When at schools
there is no artistic education, let’s create artistic places in our neighborhood !
LABORATORY
At the same time, Rotterdam
where you live is a very important cultural place.
What can you say about this city in its artistic and maybe simply human dimension ?
What can you say about this city in its artistic and maybe simply human dimension ?
Here was born Erasmus – the emblematic brilliant philosopher and
humanist of the Dutch and European Renaissance. Today this city is considered
as the capital of photography, dance and modern music. Each year we have the
North Sea Jazz Festival. Musicians come from all over the world. Next time this
festival will take place … let me check … yes,
during three days on the 12th, 13th and 14th of July 2013.
during three days on the 12th, 13th and 14th of July 2013.
Let’s underline that here, there is the unprecedented interesting
Boijmans Van Beuningen Museum with wonderful art collections. For example since
… let me see ......... yes,
since the 13th of October 2012 till the 10th of February 2013, there is a very important exhibition “De Weg naar Van Eyck / The road to Van Eyck”. The section of
contemporary art in this museum is also amazing.
[ http://florraison.blogspot.nl/2012/11/syndrom-culture-and-more-nlengfr-6.html ]
since the 13th of October 2012 till the 10th of February 2013, there is a very important exhibition “De Weg naar Van Eyck / The road to Van Eyck”. The section of
contemporary art in this museum is also amazing.
[ http://florraison.blogspot.nl/2012/11/syndrom-culture-and-more-nlengfr-6.html ]
Unlike other Dutch cities, in Rotterdam you can feel less compartmentalized, so socially more … cool, fluent,
yes that is a good term: here you feel fluent. For example I live
in Spangen which is a particularly international area. In our neighborhood there are people from practically all the continents.
in Spangen which is a particularly international area. In our neighborhood there are people from practically all the continents.
Thus, socially talking, this is a real merge of diverse
mentalities, cultures, religions, philosophies, languages, colors, professions,
culinary tastes, dances, musics …
For a couple of years I was here in Spangen actively involved as a social worker, a volunteer, alongside L. Chris Blake. It was in the context of Spiekman and Utopia associations.
We all helped quite a lot of people, especially in materialistically difficult situations,
also psychologically. 15 years ago, Spangen had rather negative reputation,
but the situation has totally changed. Presently this is a wonderful district of Rotterdam with the huge human potential. The daily life is not inevitably easy for all of us, but here,
there are no tensions.
For a couple of years I was here in Spangen actively involved as a social worker, a volunteer, alongside L. Chris Blake. It was in the context of Spiekman and Utopia associations.
We all helped quite a lot of people, especially in materialistically difficult situations,
also psychologically. 15 years ago, Spangen had rather negative reputation,
but the situation has totally changed. Presently this is a wonderful district of Rotterdam with the huge human potential. The daily life is not inevitably easy for all of us, but here,
there are no tensions.
On the contrary, we periodically organize barbecues, meetings and
other outdoor festivities. It’s only a pity that on a macro-city scale, people
do not necessarily know
what happens here in Spangen, maybe apart from football matches and some
other festivities that sometimes take place in Sparta Stadium.
what happens here in Spangen, maybe apart from football matches and some
other festivities that sometimes take place in Sparta Stadium.
The official state media are not interested in what happens here. The
official media
are focused on competition, conflicts, tensions and wars, on mainly what lowers
our vibrations. There are no journalists … paradoxically even from so-called New Age side, or simply independent, free journalists.
I tried several times to contact some one. In vain. No answer. We can see no one from this profession because … let me ask myself … because we are peaceful, intensively creative, rising in vibrations our at least local world and because we are
not sufficiently known ?
Well, I simply stopped waiting. You know, when you wait, the entire world is waiting. When you move, the world is moving …… Spangen …
are focused on competition, conflicts, tensions and wars, on mainly what lowers
our vibrations. There are no journalists … paradoxically even from so-called New Age side, or simply independent, free journalists.
I tried several times to contact some one. In vain. No answer. We can see no one from this profession because … let me ask myself … because we are peaceful, intensively creative, rising in vibrations our at least local world and because we are
not sufficiently known ?
Well, I simply stopped waiting. You know, when you wait, the entire world is waiting. When you move, the world is moving …… Spangen …
Oh yes, I could add that people interested in nature can also
spread their wings if only
they wish to do so … Therefore in such a context, you can better understand why
I decided, together with Chris Blake and Irénée Sikora, to open an independent
artistic space, independent from any state structures.
they wish to do so … Therefore in such a context, you can better understand why
I decided, together with Chris Blake and Irénée Sikora, to open an independent
artistic space, independent from any state structures.
You know, the Netherlands
as a country of unprecedented humanistic explorations
can be and is, without exaggeration, considered as California of Europe.
can be and is, without exaggeration, considered as California of Europe.
STREET
On the 23rd of September 2012, after a long
architectural renovation, took place
the reopening of the Stedelijk Museum of Modern Art in Amsterdam. According to what you say, there are at least presently some quite spectacular cultural events occurring
in the Netherlands. And what about, as one could say, the daily art life ?
What is the access to the arts for so-called ordinary people from the streets ?
For example, what is the situation of all kind of art galleries in Rotterdam
and on a national scale in your country ?
the reopening of the Stedelijk Museum of Modern Art in Amsterdam. According to what you say, there are at least presently some quite spectacular cultural events occurring
in the Netherlands. And what about, as one could say, the daily art life ?
What is the access to the arts for so-called ordinary people from the streets ?
For example, what is the situation of all kind of art galleries in Rotterdam
and on a national scale in your country ?
A lot of art galleries are not very accessible for the so called
ordinary people.
At the same time many galleries are closing due to the crisis.
At the same time many galleries are closing due to the crisis.
At the other hand there are entries to the major museums like
Boijmans for free
every Wednesday afternoon when the children are free from school.
There are in general still a lot of art events, open air festivals and chances
to see art by initiatives of people with a good spirit.
However, concerning the art galleries, the owners operate in an old pattern of thinking which is based upon creation of elite customers. They depend on them and await.
When we look through gallery windows, there is nobody inside. In many countries,
the situation of art galleries is similar ...
every Wednesday afternoon when the children are free from school.
There are in general still a lot of art events, open air festivals and chances
to see art by initiatives of people with a good spirit.
However, concerning the art galleries, the owners operate in an old pattern of thinking which is based upon creation of elite customers. They depend on them and await.
When we look through gallery windows, there is nobody inside. In many countries,
the situation of art galleries is similar ...
FlorRaison
Fortunately, not everything is traumatizing in this reality.
What can you say about the salon artistique FlorRaison ? Let’s smile in our hearts !
Why is it called like this ? What does this place offer ? and to whom ?
What can you say about the salon artistique FlorRaison ? Let’s smile in our hearts !
Why is it called like this ? What does this place offer ? and to whom ?
I knew I will be asked this question ! OK … I have here … yes, I have it
… well, a paper
with a short explanation written by Irénée. This term is his invention with my total approval. He gives this following explanation … Let me read it aloud … so :
with a short explanation written by Irénée. This term is his invention with my total approval. He gives this following explanation … Let me read it aloud … so :
“ The term FlorRaison
comes from Flor and Raison. The word Flor’ is in fact
the tronked Latin word Flora meaning goddess of flowers and later vegetation,
the kingdom or simply the world of plants.
the tronked Latin word Flora meaning goddess of flowers and later vegetation,
the kingdom or simply the world of plants.
The term Raison can be considered as composed of
two French words Rai and Son which mean respectively Lightbeam and Sound. Raison as a single
term means Reason and Intelligence or Ratio, mathematical Proportion.
The French term Floraison (with 1 R
which mathematically equals 180°:π [pi]) finds
its English synonyms in the words Blossoming, Flowering, Opening. In
our term Florraison we have 2 R, what
can suggest somewhere the presence of a perfect circle … The 2 R are not
really very same, because the first one is minuscule, while the second
one is capital = rR. Our eyes read from left to right. This is
progression, expansion, opening …
Since at the same time
the Flor’, Rai and Son are together and since phonetically
we can always hear and
understand Flowering and Opening, we are in an open garden
that
spreads its invigorating messages beyond the horizon of the well-known.
But is it important to know
? I don’t think so. Let’s feel … ”
Our salon offers the evenings to taste the arts of the stage,
exhibitions, edifying talk, gratitude to Nature and delicious banquet tables.
Each one can come and for example have a cup of tea.
You don’t need to be a connoisseur.
Just come and enjoy the time we can share in serenity and joy.
You can come with a bottle of fruit juice or of wine or with a cake or cheese or just
a loaf of bread. Our salon has no subsidies. But of course you can come without anything. You pay nothing for entry.
You are welcome alone and with your friends. I’d like to say to all the interested persons that your coming is very important not only for us, the co-creators of this place, but also, we hope, for you. That will raise you in vibrations. You will feel better.
When one day you are interested in the purchase of a work of art,
just suggest your price and let’s talk without any pressure.
You don’t need to be a connoisseur.
Just come and enjoy the time we can share in serenity and joy.
You can come with a bottle of fruit juice or of wine or with a cake or cheese or just
a loaf of bread. Our salon has no subsidies. But of course you can come without anything. You pay nothing for entry.
You are welcome alone and with your friends. I’d like to say to all the interested persons that your coming is very important not only for us, the co-creators of this place, but also, we hope, for you. That will raise you in vibrations. You will feel better.
When one day you are interested in the purchase of a work of art,
just suggest your price and let’s talk without any pressure.
Our salon artistique opens its doors to every one without
exception.
YOU ARE WELCOME !
http://florraison.blogspot.nl/2012/07/blog-post_22.html
YOU ARE WELCOME !
http://florraison.blogspot.nl/2012/07/blog-post_22.html
PARTNERS
The world of plants, flowers, gardens … and what about the animals ?
What
is their place in your life ?
I love the
animals.
I am convinced
that the respectful, unconditionally friendly contact with the animals, whoever
they are, is one of the most noble and the most effective ways for us humans
to
be reconnected to the intelligence of our Intuition. So many people have lost
the basic reflex to simply … watch the trees, birds around them, the sky …
Instead of that, in the streets and often in the public parks … they talk with their mobiles … So many people
simply don’t know what means listening to their own intuition.
They doubt … and
don’t know how to do.
I love the
animals. You can’t hide your feelings for animals and certainly not fool them.
They have a very, very strong intuition and they are entirely honest.
They are not less than humans and they are real partners to us.
They are not less than humans and they are real partners to us.
I can give two
examples about my contact with animals ...
The first was
in Yugoslavia in the forests
near Zagreb in
1983. I was sleeping in the open air. Suddenly I saw a group of wild dogs. They
must have been 15.
The leader came to me. I reached out my hand which he licked. I stroke his head.
He licked my hand again, left me and joined the other dogs again.
They disappeared in the woods.
The leader came to me. I reached out my hand which he licked. I stroke his head.
He licked my hand again, left me and joined the other dogs again.
They disappeared in the woods.
Another contact was with a python in a snake
farm in Bangkok.
One of the persons
working there has put the animal around my shoulders and the head on both my hands,
a beautiful creature. I felt totally on my ease and the snake too, because the guard,
who was standing next to me, said that it was unique that the snake stayed
10 minutes relaxed with a strange person.
working there has put the animal around my shoulders and the head on both my hands,
a beautiful creature. I felt totally on my ease and the snake too, because the guard,
who was standing next to me, said that it was unique that the snake stayed
10 minutes relaxed with a strange person.
TOMORROW
Do you have any plans for the future ? If yes, could you reveal at
least some of them ?
My plans for the close future are creating etchings again, now in environmental
friendly techniques. I also will combine them with digital techniques.
I will illustrate the book Le
Miroir Enchanté (The Magic Mirror)
written by Irénée Sikora, with twelve or thirteen visions in the spectrum of blue colors.
written by Irénée Sikora, with twelve or thirteen visions in the spectrum of blue colors.
I also started a series of portrait drawings.
A few will be shown on the first coming exhibition in Salon FlorRaison
entitled Portraits and Memories from Yesterday and Tomorrow,
on Saturday 27 and on Sunday 28 October from 14.00 to 20.00 o’clock.
A few will be shown on the first coming exhibition in Salon FlorRaison
entitled Portraits and Memories from Yesterday and Tomorrow,
on Saturday 27 and on Sunday 28 October from 14.00 to 20.00 o’clock.
Most
of all, we offer to every one who is interested in discoveries and cultural unpretentious relaxation, a warm, open-hearted space.
So ... You are welcome in a friendly place called Salon
FlorRaison, a place for creating, sharing a cup of tea or a good (often French, mniummmy !) dinner
and simply enjoying
life.
ROOTS
What is the current direction that our societies take while
opening wider and wider
the horizons of our collective consciousness ?
the horizons of our collective consciousness ?
We see that many societies are in a serious crisis which isn’t
only financial.
Governments represent banks and corporations, not the individual citizens who have
only a chance to vote once in a few years. We see in the established media like
the newspapers and the television nothing than wars, hunger, pollution, disasters and vulgar power games.
I voted for the last time in my life because I feel that I have never been represented.
The parties I voted for promised not to support war missions to other countries but practically did the opposite. So I feel cheated and manipulated because I’m absolutely against war and all forms, even subtle ones of violence.
In a sense it felt like selling my soul.
Governments represent banks and corporations, not the individual citizens who have
only a chance to vote once in a few years. We see in the established media like
the newspapers and the television nothing than wars, hunger, pollution, disasters and vulgar power games.
I voted for the last time in my life because I feel that I have never been represented.
The parties I voted for promised not to support war missions to other countries but practically did the opposite. So I feel cheated and manipulated because I’m absolutely against war and all forms, even subtle ones of violence.
In a sense it felt like selling my soul.
We also see that governments control us more by tapping our phone
lines,
reading our e-mails and spying us with cameras in the name of “safety” and “security”.
reading our e-mails and spying us with cameras in the name of “safety” and “security”.
Another absurd thing is that honest, hard working people have to
bleed for the financial crisis while the people, who caused this, are not
persecuted.
It is a disgrace that in a rich country like the Netherlands, there
are lots of people
who can’t pay medical insurance, who are homeless and have to go to “voedselbanken”, places where people, who can’t pay decent nourishment, can get food for free
once a week. We become more and more in a serious identity crisis
when we keep on following these old patterns. It’s a dead end.
who can’t pay medical insurance, who are homeless and have to go to “voedselbanken”, places where people, who can’t pay decent nourishment, can get food for free
once a week. We become more and more in a serious identity crisis
when we keep on following these old patterns. It’s a dead end.
Now some persons say that I’m an anarchist or a nihilist. This
statement, this judgment
is false. Those persons don’t ask me a lot of questions. Well, I am non-violent.
I am first of all peaceful.
I believe and consider that killing is really primitive, anti-civilized and regressive.
Bloody revolutions and wars cause and sustain a descending spiral of murder and death.
is false. Those persons don’t ask me a lot of questions. Well, I am non-violent.
I am first of all peaceful.
I believe and consider that killing is really primitive, anti-civilized and regressive.
Bloody revolutions and wars cause and sustain a descending spiral of murder and death.
We
have to be much more responsible for ourselves and create our own world.
I
don’t mean neo-conservatism and neo-liberalism which only predicates in
collecting stuff and products with a greediness over the backs of the majority
of humanity.
I mean by this,
simply not following any dogmatic system with closed eyes,
be it of religious, political or economical faction.
It is time to
go back to humanism and cooperation in a healthy and loving way
with the nature
and Earth ...
OPENING
In order to close our conversation, let's find some advices.
What kind of encouragement could you address to all of us, to humanity ?
In and close to our neighborhood, people start together growing
food without pesticides and creating communal gardens. People who participate
in these events come from
all parts of the world.These activities are not big but changes always come from idealism and actions of a few individuals. More people are interested in alternative energies
and decide not to have a car any more. I find these very positive actions.
We don’t need to be afraid of the crisis.
A crisis can always open doors and gates to other directions.
Instead of sitting with fear in a corner, we can act independently and enjoy life.
all parts of the world.These activities are not big but changes always come from idealism and actions of a few individuals. More people are interested in alternative energies
and decide not to have a car any more. I find these very positive actions.
We don’t need to be afraid of the crisis.
A crisis can always open doors and gates to other directions.
Instead of sitting with fear in a corner, we can act independently and enjoy life.
We have to go back to smaller communities where we have more
social contacts
instead of hiding in our houses and getting hypnotized by staring to the television screen. This is what I mean by being responsible for yourself and create your own
and therefore our own world.
So
I see many positive things and consider this period as a good opportunity to
transform the globe to a peaceful, green and spiritual place with unconditional
Love where instead of hiding in our houses and getting hypnotized by staring to the television screen. This is what I mean by being responsible for yourself and create your own
and therefore our own world.
we cooperate together, experience wonderful adventures together, live in the present, follow our intuition, give noble nourishment to our passions, dance, create
and are One with All-That-Is.
This is not naïvety, not a cliché.
This is the new emerging reality which we cannot ignore.
I wish every one who
has read this interview Happiness, Love and Fulfillment
of the most genuine, noble in flowering and
pure passions.
Maybe we’ll meet one day.
Thank You Harm so much for this very interesting interview. Merci beaucoup.
Je vous en prie. You are welcome
An interview with Harm Kuijers by Irénée Sikora FlorRaison, October 2012
FINE ARTS ---- Interview with Harm Kuijers ...
A fascinating look at one of the major artistic forces in the world today. Excellently written. the art is awesome. Thanks!
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