For the first time in the Netherlands in 50 years the Stedelijk Museum Schiedam presents an extensive retrospective of his work under the title Manzoni in Holland. Not only does the exhibition – from 16 February to 2 June 2019 – examine his artistic development, but Manzoni’s collaboration with artists in the Netherlands (Henk Peeters, Jan Schoonhoven) and other countries (Yves Klein, Otto Piene) also receives ample treatment. The book Manzoni in Holland, which accompanies the exhibition, discusses in detail the cooperation of Manzoni with Hans Sonnenberg, the Dutch Zero artists, the international Zero movement and the impact of his views on the artists of Zero and others after that.
Artist in the exhibition: Marina Abramovic/Ulay, Armando, Marinus Boezem, Kees van Bohemen, Agostino Bonalumi, stanley brouwn, Enrico Castellani, Karl Fred Dahmen, Ger van Elk, Lucio Fontana, Jan Henderikse, Oskar Holweck, Yves Klein, Heinz Mack, Piero Manzoni, Wim Motz, Henk Peeters, Otto Piene, Ian J. Pieters, Gust Romijn, Joop Sanders, Emil Schumacher, Wim T. Schippers, Jan Schoonhoven, herman de vries, Jaap Wagemaker.
Henk Peeters (°1925, The Hague) was considered one of the most active members of the Dutch NUL movement. Together with other Dutch artists such as Jan Schoonhoven, Armando and Jan Henderikse, he formed NUL in the 1960’s, which later joined the international movement ZERO. As a result of growing international contacts, Peeters initiated ‘Zero on Sea’, an art manifestation in the summer of 1965 on a pier in Scheveningen, including about 50 likeminded artists from over ten countries.
Peeters’ work is closely inspired by daily life and natural phenomena. By using mass-produced clinical materials such as nylon and plastic and assimilating them through processes like fire, ice, snow and mist, he aims to reinitiate the viewer’s consciousness towards his environment.
The artistic practice of Henk Peeters was known for its diversity in material and technique, going from burned canvasses to readymades bought in chainstores. Often these objects show a strong duality between being both tactile and untouchable. As the artist once said: “with my work, I have always wanted it to look just as fresh as if it was in the HEMA (the Dutch chain store). It must not be artified... I had no need for artistic cotton wool.”
The physical Henk Peeters Archive is at the Netherlands Institute for Art History (RKD) in The Hague (NL).