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ERIC DE NIE
Périodes
tribute to Gérard Grisey

periodes

video registration in atelier - winter 2011

To watch 'Périodes' use password: MarVidPer

 


 


 
DE RIJP KUNST OP KAMERS 2008

10th Biennale at De Rijp Noord-Holland

 

Video 'ORIZZONTALE'

part of my installation 'WATERPAS' in the attic of the Walhuis, De Rijp NL

 



 

Live painting performance (continuing)

during the biennale 'Kunst op Kamers' at the Walhuis

 

 De Rijp Kunst op Kamers 2008


www.kunstopkamers.nl

kunstopkamers-Het Walhuis

 


 


MORTON FELDMAN SESSION

- music on canvas 2003 -

a live video performance

Eric de Nie: ”I want to transform my perception of the music into an autonomous
sound image next to the music and within the world of abstract painting”




In the Dutch recording studio Grasland pianist Kees Wieringa performed the Morton Feldman composition ‘For Bunita Marcus’ in 2003. Performing artist Eric de Nie was inspired by the music to simultaneously make a painting. This creation process was followed closely by nine video cameras. The images were mixed by VJ-Stalker according to a concept by Marja Sonneveld. The DVD contains the adaptation of this public live performance in which the tension between the musical performance and the creation process of making a painting keeps after the viewer.

Eric de Nie: “I put myself in a condition whereby the length of Feldman’s composition becomes a paradigm for the space of the canvas”In the complex simplicity of Morton Feldman very subtle time experience is involved. In America Kees Wieringa was recently acclaimed one of the top performers of the music of Morton Feldman. For the painter Eric de Nie time and the visual imaginary of music plays an important role in his work. Marja Sonneveld, the director of the visual concept of this project, also works as a photographer and a video documentary maker. Through his video- and sound-art-installations and performances VJ-Stalker has acquired national and international fame in the world of music and fine arts.

Publication: Do Records info@dofoundation.com | | Distribution: Codaex n.l@codaex.com | | | More info DVD



DE SCHEPPING / THE CREATION 2001

Paintingpractical
concept Kees Wieringga, interactive design Ruud Lanfermeijer, video Luis H.Yudo,

Theater Zeebelt, Den Haag, 2001

eric de nie, de schepping, zeebelt theater, den haag

Pars pro toto

In Theatre Zeebelt, in The Hague, Eric de Nie staged a similar performance (2001). "The Creation": a painters workshop, part of a series of performances where the public witnessed the creation of a work of art. "The Creation" was organized by Kees Wieringa. During the production of the painting, the artist´s brain was visualized for the public in the auditorium by means of certain colour settings. Hesitation was red; action green and contemplation blue. At the close of the evening, the painting was divided into 56 pieces and everyone received a piece to take home. Literally a "pars pro toto", a part of the whole: a tiny frame of that infinitely branched out frame which is a painting.

Renée Borgonjen, 2001 Linea Recta


 

CANTO OSTINATO - 2000

Live Painting
during concert "Canto Ostinato" for 4 keybords by Simeon ten Holt

Ellen Dijkhuizen, Polo de Haas, Arielle Vernède, Kees Wieringa
2 videotracks on 10 monitors by Marja Sonneveld and Luiz H. Yudo

2000 march 18, Yakultzaal, Beurs van Berlage, Amsterdam.

 

Music and chromatics

The rhythm of the work is emphasized by music. In the performance "Ostinato" in the Beurs van Berlage (2000) the experimental classic "Canto Ostinato" by Simeon ten Holt was performed by four pianists. Simultaneously Eric de Nie painted his work "Ostinato" live. It seemed as if de Nie were conducting with tubes of paint and hair dryers. He dried the paint intermittently with the hair dryers. The waiting time was therefore shortened so he could maintain the rhythm without the colours running.

"Canto Ostinato" suits the work of Eric de Nie wonderfully well. The chromatic and rhythmic connect very handsomely together. The vein of the composer leaves much room for performance by the musicians. This is, on the one hand, comparable to improvisation in jazz music, which de Nie enjoys listening to as well. In both cases it has to do with music which presents position to the moment, to intuition and the casual dialogue of the instruments. Precisely within this framework his painting also offers a place for the unexpected which may turn up. The horizontal musical lines are divided into the vertical measures of the rhythm.

Renée Borgonjen, 2001 Linea Recta

 


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