Jero

van Nieuwkoop

 

 

Work

 

// Untitled

// Fotofix

// Kassel Documenta-Stadt

// I couldn't have made this

     work without you

// Südstadt

// Kill Your Darlings

// Flowers in black and

     white photography just

     turn into a shape without

     significance

// Ampel TV

// Daniel Buren

// Polaroidmannetjes

// Border of my maps

 

 

Projects

 

// RAAMWERK

// Toast Treff

// EXAMEN-Lab

// Fenster 9

// PLUS Extracurricular

// Blooming Chongming

 

Curatorial Work

 

// VOLUME III

// If You're Happy

    Then You'll Know It

// Keys To The Kingdom

// Universality of

    Representation

// More

 

Eight artworks by six different artists were destroyed.

 

The destroyed works of art were mixed with wall paint and then applied to the white walls of the exhibition space.

Kill your darlings. One of these statements you learn about in art school. But what does it actually mean to kill your darling?

 

In 1953 the young Robert Rauschenberg created one of his most famous artworks; Erased de Kooning Drawing. As the title already confirms, something was erased to give place to something new. Instead of holding on to his creation, Willem de Kooning understood the value of killing his darling. Or better said, let his darling be killed.

 

But what makes the deconstruction of an object so interesting? And why are we suddenly so interested in something, while we are not able to see the original anymore? The interchange of interest can be found in plenty of examples: the disfigured Christ fresco in Borja, Spain. The art theft of seven paintings from the Kunsthal Rotterdam, which were found back burned in an Romanian oven. Or the earlier mentioned erased De Kooning drawing. They all have in common that the public interest of the artworks raised after the artworks had been taken, destroyed or disfigured.

 

 

The act of change causes an immense fuss, since it creates an obstinately feeling of nostalgia. The feeling that the history of art has been wronged through these events leads the collective dismay. How could you erase an masterpiece (symbolic value) and deface someone's property (economical value)?

 

It is a complicated story. And not many people see it this way, but in fact the audience is asked to see with eyes unclouded. To let go of the past and embrace the future. The audience is asked to see this act of deconstruction not as vandalism, but as poetry.

 

Title:

Kill Your Darlings

 

In collaboration with:

Bernhard Balkenhol

Joel Baumann

Mathilde ter Heijne

Christian Philipp Müller

Bernhard Prinz

Florian Slotawa

 

Location:

LAGE Kassel

 

Year:

2016