Issue#14 is coming up!

PRESENTeert#14 coverTHERE IS NO I.

Several participants of the project share their experiences and conclusions. Here is what Judith Kisner says… <<Click here>>.

Soon the printed magazine will be available.

Judith Kisner_There is no I_conclusion

PRESENTeert in museumshop Boijmans van Beuningen

PRESENTeert_BoijmansAccompanying Daan den Houter’s exhibition of Het Overschilderschilderij in Museum Boijmans van Beuningen, pamphlet PRESENTeert issue#13 is available at the museumshop. Go and get the pamphlet there and check out the last layer done by Katinka Lampe and see the complete archive of participants until now. Best to see before: 01-june-2014.

“In 2002 schildert Daan den Houter de eerste laag van ‘Het Overschilderschilderij’. Sindsdien heeft Den Houter nog 99 andere kunstenaars gevraagd hun eigen laag aan het schilderij toe te voegen, waardoor het doek van 50 bij 60 cm nu bijna 10 kilo weegt.

Telkens vraagt Den Houter een andere kunstenaar, van jong talent tot bekende (olieverf)schilders uit Nederland. Denk aan Klaas Gubbels, Rob Scholte, V&B en Evi Vingerling. Het schilderij is te zien in de vitrine van de Espressobar.

Dit unieke project wordt zo’n acht keer per jaar gepresenteerd in De Aanschouw. Sinds 2001 is deze vitrine bij café De Schouw (Witte de Withstraat 80) in gebruik als de kleinste tentoonstellingsruimte van Rotterdam. In deze vitrine in de openbare ruimte wordt iedere week werk getoond van een andere kunstenaar.

Hoewel bij ‘Het Overschilderschilderij’ elke voorstelling onder een nieuwe laag verf verdwijnt, bouwen de opeenvolgende voorstellingen op elkaar voort. Dit opbouwen gebeurt letterlijk, want met elke nieuwe laag wordt het schilderij dikker en ontstaat er meer reliëf. Alle deelnemers schrijven bovendien hun naam op de achterkant van het doek. De honderdste laag is geschilderd door Katinka Lampe en werd op 10 april 2014 (de honderdste dag van het jaar) onthuld.

Deze presentatie van ‘Het Overschilderschilderij’ is onderdeel van een reeks waarin vanuit de Stadscollectie aandacht wordt geschonken aan Rotterdamse kunstinitiatieven.

In Galerie Frank Taal is van 4 april – 9 mei de solotentoonstelling SOWIESO van Daan den Houter te zien. De poster en het pamflet PRESENTeert#13 over ‘Het Overschilderschilderij’ zijn in de museumwinkel te koop.”


One hundred layers on the Overpaintpainting (overschilderschilderij).
The Overschilderschilderij – a project of Daan den Houter – is celebrated in PRESENTeert. Eight participants in the project write about their experience to paint over someone else’s work.

With contributions by: Albert Zwaan, Rob Scholte, Martijn in ‘t Veld, Jeroen Allart, Roel Klungel, Jan Barel, Olphaert den Otter, Marjolijn de Wit, Klaas Gubbels and Ctrlaltdelete.Org.


How to get the magazine or membership fee, see the website or email me!


Issue 12

Issue #12 Kunstenaars gesprekken (Artist talks)


Autumn is in the air… so time to read. The new issue of the pamphlet is coming up with a whole lot of text.

Kunstenaars gesprekken (translated: Artist talks)
- German artist Silvana Gerards writes a letter to Jonathan Meese and receives a handwritten answer. Read part 2 from the second letter here on, right under this post.
- Painter Raymond Cuijpers talks with Jacco Olivier on his painting video’s.
- with Art on the streets.
- Blogstofollow.
- Painting agenda.


The third point of the Trinity of Art, awareness, is what is different from animals and babies, which also commits the individual aware of his real identity to a certain responsibility to act according to the instructions of ART, as this conscious individual, the ‘servant of ART’ knows that he only acts in this way due the instructions of ART, so that his actions are in harmony, in the golden ratio, with the bigger picture. As a result of the fact that has been observed, that the acceptance of instructions of the adult individual is different to that of the animal or human baby, where the orders for art are received and executed without consciousness, that is to say by the means of transport which is ‘instinct’. 

I am now trying to find other expressions for the means of transport of the ORDER FOR ART in man. 

Instead of ‘instinct’:

I. Suggestion: ‘ERZ-Instinct’.


The relationship with the concept ‘instinct’ is maintained with this concept. With the ‘Erz’ prefix a distinction is, however, made and implies that this is a guide or a law which leads to the ‘Erz’ land. Indeed, a baby already lives in the ‘Erz’ land. Yet a baby cannot conceive of and call the ‘Erz’ land as such. It needs an adult intellect for this, which is used by ART as an outlet. 

Even if you, Mr. Meese, have, as a child already experienced the ‘Erz’ land (as everybody has), you too have also initially developed an ‘I persona’, and then established that this self-generated ‘I persona’ (ego) is limited and sooner or later manifests a destructive character. The experience of the ego together with its dark side must be undergone in order to recognise its dark side as such, and, finally, to be able to set in motion an inner abandonment of the state of the ego, so that the ‘Erz’-instinct can again take control.


II. Suggestion: the (edgy Kant-like) ‘Extreme Radical Instruction in the Category of Art’.

(Order 0f Art = Principle 0f Reason)

As already mentioned at the beginning, Kant was trying to develop a law for man in which he is guided as reliably as the animal is by instinct. The categorical imperative arose from this. ‘Act in such a way that the maxims of your will can always apply together as a principle of a general law.’

Thus, one should act in such a way that the subjective principles (maxims) according to which one acts, are equivalent to an objective principle (imperative) and could be illustrated by a general law. The origin of this objective principle is reason, which we can also call ART.

That is probably what you mean, Mr. Meese, when you mention ‘objectification’ and say that you are currently the ‘most objectified’. In this way, you say that the subjective individual Jonathan Meese in the state or in the function of ‘Jonathan Meese’ conveys the objective principles of the pure Dictatorship of Art (thus, reason).

The ‘Extreme Radical Instruction in the Category of Art’ can only be perceived or received in a moment of complete presence, that is, when one acts and does not react. With action, in contrast with reaction, an inner space exists, a complete focus on the present moment, as a result of which, usually, a consequential assertion, as in the method of Kant’s categorical imperative, becomes superfluous, as ART has the upper hand and silences the doubts of the intellect, as the latter is exploited by ART.

The present, the here and now, is always there. We must simply summon it time and again. Thus the ‘I persona’ can no longer stand in the way of the Dictatorship of Art.

In the meantime, be entirely focused on the here and now as often as you can. If you do so, the ‘I persona’ will gradually eliminate itself!



What do you think of that, Mr. Meese?

Or rather: What does ART dictate to the state of ‘Jonathan Meese’?  






ART = Being

ART = Nothingness (Not-being)

ART = the formless

ART = reason

ART = being entirely in the present




Issue#11 on video

Current issue #13

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