Peter Giele – Salon d’Amitié in Arti, Amsterdam
On the occasion of the tenth anniversary of the demise of Peter Giele (1954-1999) ..<=[Amsterdam post-punk artist, designer, activist and entrepreneur, who – pretty much single handedly – founded and built (just to name two) the seminal AORTA art gallery (early 1980s in the then NRC-Handelsblad squat), and – some years later – the legendary Roxy disco that went up in flames in the aftermath of the party following Peter’s grand & extravagant burial on the Amsterdam Zorgvlied cemetery, june 21st, 1999]=>.. the Giele Trust set up a Salon de l’amitié in Arti et Amicitiae, from june 20th till july 26th.
87 artists contributed works; most of them presented a pair, consisting in a work from the days they contributed to or were active within one of Giele’s initiatives, next to a recent one.
Here’s some pictures I shot at the opening on friday june 19th, and some made a few days later.
In one of the expo’s corners stood a Reciva, streaming Raudio, 24/7 … It was there as a contemporary counterpart to £pcM‘s ‘Het Glaswerk’ (1983), that you see him looking at in picture to the left, above.
The early 1980s Amsterdam of squats, DIY-ers, young post-punkers and emerging artists, was anarchic, fast-paced, influential and rich in ideas. Thirty years onwards this relatively short period still/again is discussed at large. It also is a period ‘claimed’ by many, which maybe is a reason why its documentation remains curiously sparse and fragmentary, presenting several often contradictory and mostly myopic views. Let me therefore jump at the occasion, and indulge in the means of a now blog to bring back to (some sort of) life even some of the most obscure among the obscure of back then 🙂 …
In the black-and-white picture to the right (click to enlarge) you see ‘Silent Music (sound/no-sound)’, a minimalistic and wobbly 3-part sculpture that I made in the spring of 1983 with some odd bits and ends of wood lying around, in Peter Giele’s Aorta. The thing was part of a group show that included pretty much tout le monde, initiated and organized by Erik Hobijn, Maarten Ploeg and Rob Scholte. It was shortly after Ronald Heiloo and myself had released the Commuters album with Dagmar Krause, and the silent ‘wooden trio’ was obviously related to that, though the conceptual details by now have disappeared in the mists of time …
Tens of friends ‘n’ artists worked and schemed for one month; with, but – let there be no doubt about it – also against, one another, in the cold Aorta space. Then there was an opening, on the evening of saturday april 10th 1983. £PcM‘s contribution was a participation as ‘Publiek’; and Peter Giele covered his eyes, laid himself down and went to sleep, in the very middle of the spacious and dark Aorta, where the crowd had to crawl its way through a lot of wet and fresh creation with the help of red dyno torches (knijpkatten) that were distributed at the entrance.
The big ‘R’ on the floor next to the sculpture is from a poster of Mike von Bibikov’s “De Reagering”, a po(et)(lit)ical ‘movement’ striving for – of course – world governance. “Ik wil niet op iemand stemmen, ik wil het zelf doen!” was one of Bibikov’s better slogans. (“I do not want to vote for someone, I want to do it myself!”)
‘Silent Music (sound/no-sound)’ probably shortly after was de-composed and put to use to momentarily warm up part of the pretty much un-heatable Aorta space.
amsterdam was the perfect place tohold such an exhibition from this ‘anarchist’. great work that lack frills and all that’s left is its rebelious soul, expetc chaos anf fast paced mind blowing images and rooms crowed decorated with what the punk attitude has always had…….chaos from a chatic mind……the uglyness of beauty is artless