Ton Schuttelaar

site Ga naar de persoonlijke site

Disciplines: Installatiekunstenaar

Omschrijving werk

In a world that is culturally becoming infinitely fragmented and the aesthetic tradition does not provide for artistic commanding power or authority, the urgency to be able to recharge the ‘things’ becomes evident. The world continues to make itself known, after all. ‘Modern’ art loses the forms by which it was communicated. The museum that previously selected and shaped the cultural body, is overtaken and overhauled by the media landscape which is better equipped to serve the individual citizens’ desire and want ‘for the exceptional and the new’. This citizen is no longer looking for the binding factor of a shared history, society or vision for the future. The communal is ever more dissolved. The museum, the artefacts within its walls and the value the things represent to us through reflection, lose out against this as the entity defining the cultural. There is an ‘infinity’ of subjects, and together with that an ‘infinity’ of willed ideological forms to which we can commit. In this endless sea the communal, historically signified (or even recognizable} ‘object’ has been lost. Memory, inextricably connected to this object, is becoming erased. This is the course that art itself has prompted. Reductionistic questioning the validity of the means of expression and object, it is confronted with the limits of expression as such. The failing synthesis of life and art, eluding each other as two just missing parabolas. Simultaneously opening up the wish to reach the space beyond this imagined closed futurity. In the meantime in the practise of the arts, the agenda of emancipation and Equality are undiminished held upright, as communal doxa. That is the field of tension where Ton Schuttelaar positions himself. It is this problematic: the loss of the artistic object that is addressed ambitiously.

Werk

Titel
Jaartal
Omschrijving ultra thing
Techniek technische documentatie
Formaat variabel
Titel
Jaartal
Omschrijving ultra thing
Techniek technische documentatie
Formaat variabel
Titel
Jaartal
Omschrijving ultra thing
Techniek technische documentatie
Formaat variabel
Titel
Jaartal
Omschrijving ultra thing
Techniek technische documentatie
Formaat variabel
Titel
Jaartal
Omschrijving ultra thing
Techniek technische documentatie
Formaat variabel
Titel
Jaartal
Omschrijving ultra thing
Techniek technische documentatie
Formaat variabel

Omschrijving werk

In a world that is culturally becoming infinitely fragmented and the aesthetic tradition does not provide for artistic commanding power or authority, the urgency to be able to recharge the ‘things’ becomes evident. The world continues to make itself known, after all. ‘Modern’ art loses the forms by which it was communicated. The museum that previously selected and shaped the cultural body, is overtaken and overhauled by the media landscape which is better equipped to serve the individual citizens’ desire and want ‘for the exceptional and the new’. This citizen is no longer looking for the binding factor of a shared history, society or vision for the future. The communal is ever more dissolved. The museum, the artefacts within its walls and the value the things represent to us through reflection, lose out against this as the entity defining the cultural. There is an ‘infinity’ of subjects, and together with that an ‘infinity’ of willed ideological forms to which we can commit. In this endless sea the communal, historically signified (or even recognizable} ‘object’ has been lost. Memory, inextricably connected to this object, is becoming erased. This is the course that art itself has prompted. Reductionistic questioning the validity of the means of expression and object, it is confronted with the limits of expression as such. The failing synthesis of life and art, eluding each other as two just missing parabolas. Simultaneously opening up the wish to reach the space beyond this imagined closed futurity. In the meantime in the practise of the arts, the agenda of emancipation and Equality are undiminished held upright, as communal doxa. That is the field of tension where Ton Schuttelaar positions himself. It is this problematic: the loss of the artistic object that is addressed ambitiously.

Persoonsgegevens

Voorletters
Kunstenaarsnaam/alias
Samenwerkingsverband
Website www.tonschuttelaar.com

Opleidingsgegevens

Erkende vakopleiding

Academie / instituut & plaats studierichting / specialisatie periode van / tot diploma
Den Haag, Koninklijke Academie van Beeldende Kunsten 93/97 J

Andere opleiding

Instituut / docent & plaats (studie)richting periode van / tot
Staatliche Akademie der Bildenden Künste Karlsruhe 96

Cursussen, workshops

Naam instituut & plaats onderwerp periode van / tot
Kunstakademie Düsseldorf masterclass jannis kounellis 97

Overige gegevens

Lid van Beroeps / Kunstenaarsvereniging
Deelnemer van Kunstenaarsinitiatief

Curriculum vitae

Tentoonstellingen

jaartal naam tentoonstellingsruimte korte omschrijving solo / duo / groep
2015 Pictura Radical Weakness DUO
2014 Heden Ultra Thing SOLO
2014 Nest The Occidental Accident GROEP
2014 The Naked in Marrakech Ultra Thing GROEP
2013 Pompgemaal Den Helder Recent Changes SOLO
2012 Malieveld Every Week GROEP
2011 Lia Leipzig Excecutions DUO
2010 Brak, Duende Rotterdam 1 New minimalism DUO
2009 1646 The Old Examples SOLO
2006 Stroom Den Haag For this great fire SOLO

Internationale uitwisseling

jaartal instelling
2013 Pompgemaal Den Helder Mondriaanfonds
2009 Projectstudio Berlijn Fonds BKVB

Publicaties

jaartal titel publicatie uitgever / samensteller, plaats typering
2010 Toegepaste Werkelijkheid Heden Den Haag
2010 In het oog van de kijker De nieuwe kunstmagazine
2010 Radical Autonomy Flash Art

Prijzen en stipendia

jaartal instantie, plaats omschrijving
2013 Mondriaanfonds Binnenland atelier
2011 Mondriaanfonds Basisbeurs

Artistieke nevenactiviteiten

nevenactiviteit van tot
Atelier als Supermedium 2005 2011