Paul Panhuysen: Difference between revisions
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Panhuysen’s production is greatly multifaceted though the goal remains contributing to improve the daily life of people. Marked by this social motivation, he organised several events such as the “Road Block” in Veendam (1970) to allow children to play safely at the street. In addition to this, he became Director of the Art School Vredeman de Vries, Leeuwarden (1962-1964) with a focus on raising the quality of education. The social recognition of his work was manifested with the prizes Mention of Honnor, Prix Europe de peinture, Oostende (1962) and Frisiana Award, Leeuwarden (1963), as well as with the job appointments at the [[Municipal Museum]] [[The Hague]] as member of educational staff (1966) and at the [[Van Abbemuseum]] [[Eindhoven]] in charge of the Educational and Public Relations Department (1966-1967).<ref>”My task at the Van Abbe was to do the PR and organize education. At the same time there was also developing in the Social Democratic party, in the group of the younger members. They had two names, one was for the political wing and one for the more cultural wing. The latter had a big kind of symposium, meeting, and they asked me to prepare what then I called “situatii” (situations). That is how I named them – which were events, happenings, installations. It was bringing all those new art forms together.” in ”[http://www.artpool.hu/harmas/panhuysen/apollohuis2_en.html Judit Bodor: Interview with Paul Panhuysen]”, by Judit Bodor at Art Pool, 2003. </ref> |
Panhuysen’s production is greatly multifaceted though the goal remains contributing to improve the daily life of people. Marked by this social motivation, he organised several events such as the “Road Block” in Veendam (1970) to allow children to play safely at the street. In addition to this, he became Director of the Art School Vredeman de Vries, Leeuwarden (1962-1964) with a focus on raising the quality of education. The social recognition of his work was manifested with the prizes Mention of Honnor, Prix Europe de peinture, Oostende (1962) and Frisiana Award, Leeuwarden (1963), as well as with the job appointments at the [[Municipal Museum]] [[The Hague]] as member of educational staff (1966) and at the [[Van Abbemuseum]] [[Eindhoven]] in charge of the Educational and Public Relations Department (1966-1967).<ref>”My task at the Van Abbe was to do the PR and organize education. At the same time there was also developing in the Social Democratic party, in the group of the younger members. They had two names, one was for the political wing and one for the more cultural wing. The latter had a big kind of symposium, meeting, and they asked me to prepare what then I called “situatii” (situations). That is how I named them – which were events, happenings, installations. It was bringing all those new art forms together.” in ”[http://www.artpool.hu/harmas/panhuysen/apollohuis2_en.html Judit Bodor: Interview with Paul Panhuysen]”, by Judit Bodor at Art Pool, 2003. </ref> |
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Social engagement and experimental art were developed under several ways. Panhuysen founded the ''Band of the Blue Hand'' (''De Bende van de Blauwe Hand'')<ref>“With the best of the students and with the best of the professors I had, we decided to make a kind of group of collaborating artists. And that was the ''Band of the Blue Hand''. We organized exhibitions in Friesland and outside Friesland, elsewhere in the country and it became quite well known also because of its background. We had about ten people who were regular members. We worked very often in projects together, we used also the opportunities of having exhibitions to develop teaching and to develop new work and several things that changed by then. Because almost nobody had a studio any more we had no place to develop it. We had contact with a gallery which was named the Gallery of the Blue Hand. That is how the name came.” in ”[http://www.artpool.hu/harmas/panhuysen/apollohuis2_en.html%20 Judit Bodor: Interview with Paul Panhuysen]”, by Judit Bodor at Art Pool, 2003.</ref> (from 1965), |
Social engagement and experimental art were developed under several ways. Panhuysen founded the ''Band of the Blue Hand'' (''De Bende van de Blauwe Hand'')<ref>“With the best of the students and with the best of the professors I had, we decided to make a kind of group of collaborating artists. And that was the ''Band of the Blue Hand''. We organized exhibitions in Friesland and outside Friesland, elsewhere in the country and it became quite well known also because of its background. We had about ten people who were regular members. We worked very often in projects together, we used also the opportunities of having exhibitions to develop teaching and to develop new work and several things that changed by then. Because almost nobody had a studio any more we had no place to develop it. We had contact with a gallery which was named the Gallery of the Blue Hand. That is how the name came.” in ”[http://www.artpool.hu/harmas/panhuysen/apollohuis2_en.html%20 Judit Bodor: Interview with Paul Panhuysen]”, by Judit Bodor at Art Pool, 2003.</ref> (from 1965), and organized the ''[http://bkrkunst.nl/nieuws/experimental-exhibitions-by-bkr-eindhoven-artists-3-museumfeest Museumfeest]'' (''Museumparty'', 1967) at the [[Van Abbemuseum]] with a record of 1.200 visitors. Then he set up the “Free Community of the Global City of Peace and Pleasure” (1967-8), and the “Maciunas Ensemble” (1968-), and from 1980 until 2001 he founded and directed the aforementioned [http://www.paulpanhuysen.com/apollohuis/apollohuis.htm Het Apollohuis], Eindhoven |
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The most known sound installations of this artist were made with strings, crossing the spaces in different ways, and later played by the artist putting rosing in his fingers and using them as a sort of violin bow. |
The most known sound installations of this artist were made with strings, crossing the spaces in different ways, and later played by the artist putting rosing in his fingers and using them as a sort of violin bow. |
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Revision as of 20:51, 2 November 2010
Paul Panhuysen | |
|---|---|
| Nationality | Dutch |
| Education | Monumental and Autonomous Art, Jan van Eyck Academy, Maastricht (1954-1959), Sociology of Art, University of Utrecht (1957-1961 |
| Known for | Music, Visual Art |
Paul Panhuysen (born 21 August 1934, Borgharen) is a Dutch composer, visual and sound artist. He founded and directed Het Apollohuis, and art space that functioned during the 80's and 90's having artists doing sound installations, sound sculptures, and concerts about free improvisation, experimental music, and electronic music.
Panhuysen first followed Monumental and Autonomous Art Studies at the Jan van Eyck Academy in Maastricht (1954-1959), and then followed Sociology of Art Studies at the University of Utrecht (1957-1961). Defined as artist, musician, curator, art sociologist and art theoretician, his artistic interests were first inclined towards Abstract Expressionism (until 1964), Minimal art (until 1966) and then Performance art (until nowadays).
Panhuysen’s production is greatly multifaceted though the goal remains contributing to improve the daily life of people. Marked by this social motivation, he organised several events such as the “Road Block” in Veendam (1970) to allow children to play safely at the street. In addition to this, he became Director of the Art School Vredeman de Vries, Leeuwarden (1962-1964) with a focus on raising the quality of education. The social recognition of his work was manifested with the prizes Mention of Honnor, Prix Europe de peinture, Oostende (1962) and Frisiana Award, Leeuwarden (1963), as well as with the job appointments at the Municipal Museum The Hague as member of educational staff (1966) and at the Van Abbemuseum Eindhoven in charge of the Educational and Public Relations Department (1966-1967).[1]
Social engagement and experimental art were developed under several ways. Panhuysen founded the Band of the Blue Hand (De Bende van de Blauwe Hand)[2] (from 1965), and organized the Museumfeest (Museumparty, 1967) at the Van Abbemuseum with a record of 1.200 visitors. Then he set up the “Free Community of the Global City of Peace and Pleasure” (1967-8), and the “Maciunas Ensemble” (1968-), and from 1980 until 2001 he founded and directed the aforementioned Het Apollohuis, Eindhoven
The most known sound installations of this artist were made with strings, crossing the spaces in different ways, and later played by the artist putting rosing in his fingers and using them as a sort of violin bow.
He has released several albums, including:
- Paul Panhuysen and the Galvanos: Lost for Words, in which various recordings are input into several galvanometers, attached to which are metal springs which vibrate more readily at some frequencies over others, and these frequencies are then reamplified.
- Paul Panhuysen: Partitas for Long Strings, which is from the long string installations which Panhuysen has been doing for quite a while.
He is also a member of the Maciunas Ensemble, named after George Maciunas of Fluxus fame, and has worked with Arnold Dreyblatt and Ellen Fullman. Panhuysen also collaborated with Remko Scha.
Bibliography
- Paul Panhuysen - The Game & the Rules, Dijon, Les presses du réel, 2009.
External links
- Paul Panhuysen
- Paul Panhuysen at Play BKR Eindhoven
- Het Apollohuis
- Notes for Paul Panhuysen's "The Galvanos" by Paul DeMarinis 1998
 | This article about a Dutch composer is a stub. You can help Wikipedia by expanding it. |
- ^ ”My task at the Van Abbe was to do the PR and organize education. At the same time there was also developing in the Social Democratic party, in the group of the younger members. They had two names, one was for the political wing and one for the more cultural wing. The latter had a big kind of symposium, meeting, and they asked me to prepare what then I called “situatii” (situations). That is how I named them – which were events, happenings, installations. It was bringing all those new art forms together.” in ”Judit Bodor: Interview with Paul Panhuysen”, by Judit Bodor at Art Pool, 2003.
- ^ “With the best of the students and with the best of the professors I had, we decided to make a kind of group of collaborating artists. And that was the Band of the Blue Hand. We organized exhibitions in Friesland and outside Friesland, elsewhere in the country and it became quite well known also because of its background. We had about ten people who were regular members. We worked very often in projects together, we used also the opportunities of having exhibitions to develop teaching and to develop new work and several things that changed by then. Because almost nobody had a studio any more we had no place to develop it. We had contact with a gallery which was named the Gallery of the Blue Hand. That is how the name came.” in ”Judit Bodor: Interview with Paul Panhuysen”, by Judit Bodor at Art Pool, 2003.