Page 33 - Studio International - December 1972

To begin with I refuse any pre-ordained theme;
everyone must put his own theme forward.
Then the conversation about how this fits in
with theoretical principles begins. I encourage
the students to keep a diary themselves where
they can note down all the concepts, so that tied up with the idea of art as a craft, with the begin with speech and to let the materializatioi
they build up a repertoire. work-bench and the drawing-table. The need follow as a composite of thought and action.
Gj: Some of your colleagues and the ministry for that is only now felt by a few — and those The most important thing to me is that man,
say that you couldn't possibly educate so many who want a place to work can still have it — by virtue of his products, has experience of
pupils — for one thing because there aren't because the majority is striving for movement how he can contribute to the whole and
enough places for them to work. Your view, and and sees the school as a meeting-point. not only produce articles but become a
your practice, is very different. Could you Discussions can arise spontaneously there, sculptor or architect of the whole social
explain this? JB though some are also announced beforehand, organism. The future social order will take its
: Out of 330 pupils about half attend every on questions the students themselves have shape from compatibility with the theoretical
day. But these 150 aren't in the school the brought up, for example the question of space, principles of art. Just as a relief must be
whole day; they show me their work, they want or the difference between concrete plastic art unravelled and must come to life — because
advice or sometimes, when they are bogged and sculpture. plasticity feels ill, as I say to my pupils in
down, they want to be given a task and I Gj: What does that distinction mean? such cases — so must the organization of
recommend literature for them to read or JB: It is often maintained that in my class society. My concept of organization is an
particular pictures to look at in a museum — everything is conceptual or political. But I put artistic one insofar as it must come to fruition
particularly when faults in the handling of great value on something coming out of it that according to the laws of organisms and in
colour are involved. At its lowest, experience is sensuously accessible according to the organic form. And that is what concrete plastic
consists in handling one's materials — that broad principles of the theory of recognition. art does. Sculpture is more abstract,
applies from 'happenings' right across to For instance today I said to a student, geometrical, a matter of assembly; concrete
acoustic things, and I also have musicians and 'Everything you say about your picture is plastic art fulfils itself in elemental organic
optical writers as well as sculptors in the classic intellectual, I can reverse your picture, which ways, like animals developing, like blood
sense in my class, and many people begin with you claim is so splendid, and turn it inside out'. working its way through the veins or the moving
portraits. There is correcting and revising, Then I reversed it and made it clear to him water of a river.
which lasts one and a half hours so that one can that unless you put your force into the j: What students do you decide to accept?
deal with the philosophical aspects as well, and representation, not into the concept, your JB : I have always rejected the business of looking
sometimes correcting broadens out into a picture is only an excuse, a justification, and at people's portfolios. But the intake of students
general discussion. I don't believe that an art your beautiful thoughts don't come out in the used not to be so great. The artistic faculty
school,which should stress new artistic painting. Thought and speech should be seen had always winnowed them and only 12 out of
concepts, should lay emphasis on fixed places as plastic in the same way that a sculptor sees too would be accepted. Then there was a
to work in the school. That sort of thinking is a plastic object.' My main interest here is to shortage of art teachers; from 1965 onwards

Photo: Bernd Nanninga
227