244:. In his early work Marc Bijl reacted to global themes and to popular fascination with symbols of political power, globalization of the economy, religion and nationalism. This resulted in interventions in public space, videos, sculptures and installations that underscored or undermined world views. Bijl endeavours to expose superficialities and myths via his work. Bijl switches in his work between political activity and street culture as he does between the media of image, text and music. He exposes the superficialities, icons and myths of popular culture in his work to stimulate the spectator to contemplate about moral and ethical issues. The symbol, the logo and the label are his potential targets and his artistic tools. He likes to upset, relocate and re-connote their superficial image and their mythmaking – always aiming at a critical analysis of the social conditions of the society. Bijl employs visual elements borrowed from punk and Gothic subcultures and from anarchism. His early works are representational, cartoon-like and often textual. His recent work is more abstract and minimalistic, exemplifying a shift in approach, by which he pares down different perspectives and methodologies to a new essence. The crux is no longer the 'symbolism' but what that symbolism represents and signifies. In these most recent works Bijl makes clear references to modernist art-historical icons such as
327:. The very next morning all the letters were gone and the audience – still shocked from September 11, 2001 – could visit the exhibition without worrying. In January 2009 he sprayed the words MODERN CRISIS on the same entrance to the Fridericianum. Bijl also posted his name on the hoardings of prominent building sites, mimicking the corporate identity of the hoardings concerned, he was following the strategy of the corporate players who appropriate the realm. He surfed on their strategies and demanded his place within the economic and urban-planning establishment.
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In recent works Bijl refers to
Rietveld's famous zigzag chair, but unlike Rietveld's colored chair Bijl makes the chair unattractive, covering it with a thick layer of tar. He also relates to the geometrical language of shapes of Piet Mondrian. When abstraction was supposed to lead Mondrian to the
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Bijl undermines systems but at the same time he is depended on these systems. Bijl's work is often rebellious and tends to the illegality. His work is clearly rooted in street culture and possesses elements of graffiti, performance and installation art.
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Bijl's textual installations take an important place in his oeuvre. In these installations he sprays with graffiti short messages on places in the public space. In 2002 he sprayed RESIST on the entrance to the exhibition space
228:. His works are based upon social issues and their use of symbols and rules. This can result in interventions in the public space, sculptures or installations that undermine or underline this perception of the world.
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As said earlier the symbols and logos are often the
Leitmotiv in Bijls work. In 2000 when the European Football Championship was hosted by the Netherlands and Belgium, Bijl set up a gallery/shop in
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The nation had been flirting with forms of götterdämmerung, with extremes of vocabulary and behavior and an appetite for violent resolutions, Casco, Utrecht, The
Netherlands
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for the "potentially violent hooligan" to bring the championship into discredit with the help of the official sponsor.
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The world won’t listen, Bergman
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Solo Booth Armory Show, New York under auspicien of
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A passion play, curated by Anouk van Heesch, Museum
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Afterhours, curated by Roel
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The simple complexity of it all, Kunsthalle
Fridericianum, Kassel, Germany curated by
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From 1992 until 1997 Marc Bijl studied at the Royal
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New sites for personal structures, Upstream
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Towards our new construction, Rental Gallery with The Breeder, Cologne, Germany
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Black Planet, Magazin 4, Bregenz, Austria curated by Judith Reichart
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Get the balance right, Upstream gallery, Amsterdam, the Netherlands
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Urban Gothic, Groninger Museum, Groningen, The Netherlands (cat.)
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In times like these, Grafisch Atelier, Utrecht, The Netherlands
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9/11 666 777, Upstream Gallery, Amsterdam, the Netherlands&
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Never trust a rebel, Galerie Reinhard Hauff, Stuttgart, Germany
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Light and Shadow, Gallery, Upstream Amsterdam, the Netherlands
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from the article and its talk page, especially if potentially
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224:, 7 July 1970) is a Dutch artist who lives and works in
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Marc Bijl, Giorgio De Chirico Art Center, Volos, Greece
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In 2002 Bijl made a fake edition of the art magazine
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Bite The Beef, Kunstverein Artitude, Berlin, Germany
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Exhibition in Kunsthalle Fridericianum Kassel (2009
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Indy Structures, The Breeder, Athens, Greece (Cat.)
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Royal Academy of Arts and Design ('s-Hertogenbosch)
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759:website Mark Bijl's Rotterdam gothic band
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58:about living persons that is unsourced or
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129:Learn how and when to remove this message
680:In case you didn't feel like showing up
664:In case you didn't feel like showing up
653:, 2009 NAi Publishers, Rotterdam, blurb
651:In case you didn't feel like showing up
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625:"Kunsthalle Fridericianum: Marc Bijl"
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682:. Rotterdam: NAI Publishers, 2009.
468:Blurry Conflicts, Buro Groningen, NL
307:is a prominent icon in Bijl's work.
240:. In 1996 he studied for a year at
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708:Flash Art / "Forever" Statement
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301:La revoluzione siamo noi
293:La revoluzione siamo noi
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735:representing Marc Bijl
431:Charlotte Köhler Prize
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744:Galeries.nl
527:Rein Wolfs
372:Netherlands
344:Collections
305:Tomb Raider
246:Mark Rothko
179:Nationality
172:Netherlands
161:7 July 1970
78:"Marc Bijl"
771:Categories
706:Marc Bijl
694:Afterhours
692:Marc Bijl
635:2 December
595:References
297:Lara Croft
286:Just do it
157:1970-07-07
89:newspapers
607:Marc Bijl
333:Flash Art
291:The work
278:Rotterdam
250:Mondriaan
232:Biography
218:Marc Bijl
206:Sculpture
187:Education
145:Marc Bijl
41:citations
389:Rabobank
313:Portikus
254:De Stijl
67:libelous
354:Germany
284:slogan
222:Leerdam
168:Leerdam
103:scholar
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282:Nike
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