Iconic exhibitions in the 20th century: episode 3. COBRA - minimal art

COBRA - MINIMAL ART: introduction of a new movement
Iconic exhibitions in the 20th century.
After 1945, all pre-war ‘isms’ were presented in Dutch museums as new art. But in a variety of places in Europe, young artists tried to express the real post-war feeling. They formed COBRA and shocked the indolent society with personal, expressive images that were made visibly physical and experienced as violent. But fifteen years later, the artists of COBRA had become part of the established culture and the newest movement in the art came from America: minimal art.
In this episode of the series ‘Iconic exhibitions in the 20th century’, artist Aukje Dekker explains, with the use of archive images, the power of COBRA and minimal art. As artists, you can still make the choice between personal and expressive or impassive and conceptual, yet the context has changed so much that the implications of such a choice are incomparable with those of the historic examples.
Art historian Carel Blotkamp remembers the enormous impact of the minimal exhibition in 1968 held in the Gemeentemuseum in The Hague. The exhibition marks the start of longing to break out of the walls of the museum.
The episode is supported by sources from the history of Dutch radio and television.

[@michaelstuartesson4377]

I can't believe this gem has only 17 views. After looking through crap clips with nothing but a collage of random pictures and tacky jazz background music I was so happy to come across this beauty which has had a lot of work put into it. M

[@janefeehan837]

Most definitely the Carl Appel show
How shortsighted to focus on one to the exclusion of so many gifted others.
I particularly wish they highlighted the other painters as well. Pierre Alchinsky has such mastery over composition and color. I see Matisse, Kandinsky, Cezanne as well. We are spiritually conected. Artists and the rest of humanity.

[@fondationconstant9760]

I think a better title for this video is "How we equal a collective artist movement to one painter and one painter only...." Truthfully I stopped watching after the third clip of Appel, at that point non of the other painters had been shown yet. When Eugène Brands gets an exhibition at the Stedelijk Museum Amsterdam in november 1949 he invites the other Cobra artists to join him for a large group exhibition. This is what created the influential Internationale Tentoonstelling van Experimentele Kunst. It was this mentality of collectiveniess that made CoBrA impactful. It was individual opportunisme that eventually led to the disbanding of the collective. It is exactly that opportunism that celebrated everytime the name CoBrA is mentioned and only Appel is portrayed. That public money was used to create this is a freaking shame!