Railway ticket.
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1970: Admitted to the BKR, the arrangement made to purchase visual art established in the post-war years by the Dutch Government, originally called Contra Performance -which proves that, in accordance with the commercial spirit of the nation, there was no intention to give good money, pro bono, to artists. The annual government supported purchase of art from included artists and allowed them sufficient support to continue working without being exposed to economic hardship. The acquired art works were used to decorate government buildings. Karel Appel was one of the first to make good use of it. By 1987, due to mounting costs, bureaucracy, and political climate, the regulation became so controversial it was abandoned by the government. > See the 1986 reviews of Kloppenburg's Fodor Exhibition.
Participates in Spring Valley Summer Symposium USA, and anthroposophical youth seminar. There K meets with Eva Arnscheidt who works as a teacher of the disabled, and is the daughter of Professor Kurt H.A. Arnscheidt of the Art Academy in Düsseldorf, painting department (he is one of the teachers who supports Beuys's appointment as a Professor) and of Amalie Hoffmann, an x-ray laboratory assistant, who since her evacuation during the war from a house in Berneburg, Sauerland, continued with her reading of the Nazi banned writings of Rudolf Steiner, and had become an anthroposophist. Some weeks later, on 28 October, Jacobus Kloppenburg and Eva Arnscheidt get married and move into a 17th century house in Düsseldorf, Neubrückstrasse 6, 1st floor. Some years later also the 2nd and 3rd floor and the attic follow. The authentic house has survived the bombardments of the war without considerable damage and is conveniently located in the hart of the old city, the 'Altstadt', and only a stone's throw away from the Art Academy in the Eiskellerstrasse where at the time the heart of Future-Art beats heavily, as time has taught; Joseph Beuys, Erweiterten Kunstbegriff, Social Sculpture.
NOTE: At that time unrest prevails in the entire Western world. Students and intellectuals have been demanding social, ecological and economical change and more autonomy for universities. In various European countries, military dictatorial regimes are in power. In South Africa Apartheid reigns, the strict separation between black and white citizens, based on the idea of a superior white race. In the USA students and civilians protest against the Vietnam war, napalm bombs and Agent Orange, and the black population fights for equal rights. It is a time of protest songs, ideals and engagement. The political situation in Germany at the time is tense. The capitalist democratic West and the Socialist East are divided by an actual wall; people who attempt to flee are shot to death. There is an imminent danger of atomic war. People are granted considerable subsidies for having a nuclear air-raid shelter built into the cellars of their houses. The dissatisfaction of students and intellectuals expresses itself through fierce demonstrations against government policy. The confidence in politics has dropped to zero and an opposition party outside of parliament has come into being (APO, Ausser Parlementarische Opposition). But most of all the terrorist activities of the RAF (Rote Armee Fraktion) and the so-called 'Bader-Meinhof Bande', who appear to be connected to other, international terrorist movements (IRA and PLO), push the German constitutional state to the edge of democracy. Political hysteria and social polarisation prevail. Kidnappings and political assassinations take place, aeroplanes are being hijacked. The SDP government responds with a "RADIKALEN ERLASS": ultra-left oriented public servants are banned from their profession. Such is the periphery of the things related here.
The new house in Neubrückstrasse, between the Palace of Justice and the Kunsthal, is affordable because it has, according to the owner, one big disadvantage: there is a Bechstein grand-piano in the room at the front side of the house, a remnant from a previous letter, but since the windows were renewed it can no longer be removed. K detunes the piano by fitting the inside with all kinds of additives: nails, marbles, loose metal springs, sheets of paper, glasses etc., whereby unexpected noises and tones are produced, and the sound becomes reminiscent of sunken ships and the deepest of jazz caves. The Psalms commending and praising God's Greatness, played on the harmonium in past years, are the first to be immersed in it, and they reappear from the resonance box completely "de- and reformed". It is the start of a series of musical experiments, amongst which an improvisation on prepared piano, 180 minutes, recorded in Düsseldorf on the 20th of December 1981, on Philips SQ C-90 cassette tape (F.I.U.archive).
Friendship with Lothar Baumgarten (who lives on the same address at the back of the house) and acquaintance with the Beuys class at the Art Academy (Beuys scene). Participates in the summer exhibition in museum Fodor, Amsterdam, in January (drawing purchased by Stedelijk Museum, reg.no. A-29315). The admittance to the BKR relieves Kloppenburg from the daily financial concerns and allows him to concentrate completely on his art. Over the following 15 years (until 1985) he creates a series of large geometric artworks, especially for the BKR for which he has to hand in work twice a year. The geometrical A4 series made in the past form the starting point for these larger works. This working cycle runs parallel to what K describes as his 'free' work, the adventures with the 'freely' drawing hand. The geometrical works are the result of thinking, ratio, and he has no problem to show them to the outside world. But the free work is first and foremost an experiment devoid of pretensions and not a product. Thus, this is made in nocturnal 'illegality', hidden away from the eyes of the world. Eventually, they will of course meet and blend together. Because of the changed financial situation, the image-segments of The ARCHIVE, now in full development, no longer only have to come from the streets (for free). A period begins in which large quantities of goods are bought at auction house De Eland, and also on Waterlooplein and the Noordermarkt (Eland dossier, F.I.U.archief). When searching the city for ingredients, K sometimes loads his bicycle unimaginably heavy with boxes and goods that are fastened with electricity cords, ties, nylon stockings, tubes and ropes. In some very successful cases the bike is not unloaded at home but hoisted as it is and placed in The Archive as a sculpture. Another consequence of the recent developments is that K now lives and works in multiple places simultaneously and thus, apart from the exact date, hour and minute of creation, now also adds the coded place of creation to his work: L(Lauriergracht), N (Neubrückstrasse), M (Merowingerstrasse), T (Ternaard). Because of pragmatic reasons, from that time on K no longer works on separate pieces of paper but preferably on 'noteblocs', A4, A3, cash register books etc. As a result the geometrical and the free drawings now come together within the connected unity of the notebloc and flow over into each other. The paper which is used preferably has a certain transparency which allows the drawings to be seen in optical connection to each other, something artists usually try to avoid. As such it also becomes possible to include elements of a previous drawing into a new one and so to be further developed. Sometimes this logic is also intentionally reversed, for example by skipping a dozen pages and then working backwards. Only the noted exact date and time give closer insight into this complicated and intentionally confusing game. On his own account, he does not mention the game of confusion, the blending of opposite categories. It is after all not produced as a consumer article. But when the spectator himself discovers something and informs about it, immediately all the rules of the game are explained in detail with great pleasure. Also the use of the pencil changes dramatically; in the geometrical drawings it is used for drawing constant and steady lines. Here, the pressure applied on the pencil remains constant. It is a different case in the 'free' drawings however. The drawings in pen were more or less constant, a characteristic of the pens used (although one can see attempts to manipulate this). But with a suitable pencil, K prefers PENTEL propelling pencils hb, it is possible through subtle differences in pressure, to draw a pulsating line which, so to speak, lashes through and in space as a whip. The drawing pencil in fact has to be an extremely subtle instrument which can be operated with minimal energy in the hand of a human being 'virtually' asleep. The drawing is thought as 3-dimensional, as linear sculpture in space, as logos and universe. The sketchbooks can easily be brought along on the constant journeys between Amsterdam, Düsseldorf and Friesland, so that the Lorelei Express train compartment also becomes atelier, production site, photo studio, coulisse and dining room. The notes and texts now become multilingual; Dutch, German, English. Kloppenburg always travels with large quantities of luggage, suitcases and bags he splays around him in order to create a familiar working environment. It is not about the creation of a place but rather the demarcation of a space. The sketchbook production can be seen as a signature of his oeuvre, and the working script for the ARTCHIVE FOR THE FUTURE. A series of interior design sketches follow which are directly related to his new addresses in Düsseldorf and Friesland.
At the same time as Jacobus, Waldo Bien (1949) arrived in Düsseldorf, Oberkassel but in a very different way. He had left home to take a long trip to India, but is robbed of his travel money in Düsseldorf, just around the corner from where Beuys lives and becomes a student in his class, Raum 20, in the Art Academy. Bien marries the book-seller Betina Helf, and they have two children, Sebastiaan and Hendrik.
NOTE: Raum 20 Klasse Beuys (The Beuys Class). Beuys is Professor at the Staatliche Kunstakademie Düsseldorf from 1961 until 10-10 1972, the day on which he is discharged by the Education Minister Johannes Rau, for political reasons. Together with his students Beuys occupies the secretary's office of the Art Academy to contest the decision about the enrolment of students who have been refused admittance. He refers to a previous Senate decision which states that every teacher has the right to admit as many students to his, or, her, class as he, or she, sees fit. The sacking of Beuys is the beginning of a long legal and ideological dispute which is finally settled in favour of Beuys, with a judgement handed down at the highest legal level. The Beuys class is a site of transformation for a whole generation of outstanding artists - Sigmar Polke, Tadeus, Blinky Palermo, Katharina Sieverding, Reiner Ruthenbeck, Jörg Immendorf, Lothar Baumgarten, Immi Knoebel, Michael Rutkowsky, Anatol, Walter Dahn, Felix Droese, Johannes Stüttgen, Anselm Kiefer, and so on. The Beuys Klasse has several classrooms or working spaces at its disposal. Classroom 20 is one of the largest and becomes a central meeting place. The weekly 'group discussions' in which everyone is seated in a circle and accessible to everyone attracts a very diverse audience, especially on Friday, they are eagerly awaited meetings that no one likes to miss, and everyone is asked to make an active contribution, either in the form of an art-work, by commentary, suggestions or participating in the discourse.
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Love at first sight; Jacobus Kloppenburg and Eva Arnscheidt, 1970.
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