2 - Cracking Painting
Published online by Cambridge University Press: 16 July 2022
Summary
Abstract
This chapter addresses artist-squatters in the Netherlands, particularly the group of neo-expressionist painters known as De Nieuwe Wilden (The New Wild Ones). Although art schools around the country became important meeting places for artists during the late ‘70s and early ‘80s, rebellious young artists often dropped out or broke off from the more traditional curricula offered at these institutions in favor of pursuing collective DIY projects, such as starting their own bands and developing their own music/art venues in squatted spaces. Squatter venues like W139, Aorta, and V2_ focused on media art, performances, and anarchic exhibitions. At the time, artists in the Netherlands benefited from generous state subsidies and social benefits.
Keywords: Nieuwe Wilden, art school, squatting, neo-expressionism, social benefits, Netherlands
The Netherlands was not ready for it and New York wasn't either actually. The new art belief was a belief in non-new-art. We would make art that was not real art. Fake Art. Society and the authorities did not deserve any respect and neither did art history. No Future!
− Peter KlashorstIn 1971 the teenage Peter Klashorst, together with a childhood friend, rode his motorized bicycle into the center of Amsterdam from nearby Haarlem, where he grew up. Telling his parents that he would stay with a cousin, Klashorst instead went straight to the Vondelpark, the central park of Amsterdam that had become a hippie campground in the late ‘60s and early ‘70s. The two teens wanted to get a taste of the counterculture life by sleeping out in the park among the young people who had flocked there from all over the world. Thanks to the Provo movement of the 1960s, Amsterdam had earned a reputation for liberalism and tolerance, as a center for youthful playfulness and hedonism. The romanticism of the time left its mark on the next generation; the punk era kept the hedonistic playfulness while discarding much of the idealism of their predecessors. Klashorst, who dubbed himself a “New Dutch Master”, would go on to become one of the most infamous celebrity artists of the Netherlands. He was part of the Nieuwe Wilden painters (“new wild,” after the German Neue Wilden), a short-lived neo-expressionist movement in the Netherlands from approximately 1980 to 1983.
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- From City Space to CyberspaceArt, Squatting, and Internet Culture in the Netherlands, pp. 73 - 126Publisher: Amsterdam University PressPrint publication year: 2021