Demonstrating spatial understanding of the globe, Normandy 1996

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1997, Feb: PPP, Paleo Psycho Pop No. 2, with Kloppenburg.

1997, 20th of Feb: Kloppenburg receives a grant from the Fonds v.d. Beeldende Kunst in Amsterdam, for the preparation of the transport of the ARTCHIVE FOR THE FUTURE to Museum Schloss Moyland.

1997, March: PPP, Paleo Psycho Pop No. 3, with Kloppenburg.

1997, 31st of March - 27th of April: Gallery De Zaal Delft; DRAWINGS (Bien, Hoekstra, v. Keulen and Kloppenburg)

1997, 16th of April: HET PAROOL, "Art without a Frame" by Leonoor Wagenaar: full page with photo, in connection with the Max Reneman Price: "ON THE 21sT OF APRIL JACOBUS KLOPPENBURG (67) RECEIVES THE MAX RENEMAN PRIZE FOR HIS COMPLETE OEUVRE, CONSISTING OF DRAWINGS, WATERCOLOURS AND THE ARCHIVE FOR THE TWENTIETH CENTURY". …K: "of course it is all rubbish. But it has thoroughly been preceded by a sifting. For example I brought up thirty perforated ceiling panels. For a long time I was doubting: is this something or not? I got rid of those. But over there, that enormous rubber doormat, I took from a container in Düsseldorf. A magnificent prototype of post-war utility construction. I brought that thing to Amsterdam by train, it absolutely cannot go. ...There is some talk that Hans van der Grinten, an important German Art collector... wants to house a large part of my Archive in a Museum. Together with fifteen thousand drawings, they belong to it inextricably".

1997, 21st of April: Official presentation of the Max Reneman Prize to Kloppenburg for his complete oeuvre.

1997, May: ELSEVIER; ARCHIVE FOR THE FUTURE, by Sabine Gibbon; "K, seismograph of the unconscious and passionate collector annex careful arranger of objets troupes. Article with picture of K with marrow bone glasses (FIUWAC) and picture atelier. ..."When everyone is sleeping, he goes out on the streets and searches for objects to which society attaches no importance. That may range from a plastic bottle cap to a part of a stove or a postcard. Preferably things that have something industrial as well as organic about them. Over the years K has collected enough to pack his three floors at an Amsterdam canal, six hundred square meters, up to the roof with these objets trouvés or ready-mades, everything carefully arranged. The objects, signals from our culture, together form a GESAMTKUNSTWERK; the ARCHIVE FOR THE FUTURE. ...In Africa he counts the leaves on a eucalyptus tree, collects snippets of leather from a shoemaker. K has a sense of beauty that elevates  our civilisation... The landlord RUSKA, who keeps a garage downstairs, is planning to convert the building into luxurious apartments. To do so he built an elevator shaft. The construction workers had to break right through the Archive for the Future in order to build it. They thought it was a pile of trash and threw the "rubbish" aside in order to build a flawless brick column. The judge stated that the real estate developer had to abandon his activities temporarily. Meanwhile the construction workers changed the objets trouvés into "objets jetés". Because of the holes that are made in the roof it is leaking on top of the plastic that has been hastily stretched out by Kloppenburg. Lovingly he picks up a seemingly Chinese oval frame with rock landscape. At closer inspection it appears to be a piece of cement, squeezed together by one of the bricklayers that ruined the Archive." (FIUWAC)

1997, 7-10 July Houston TX: Work-discussion about the ARTCHIVE FOR THE FUTURE with Walter Hopps, WB, Deborah en Virgil Grotfeldt. > This is also the right spot in the text to thank the wife of Walter Hopps, the artist and former Diverse Works Director Caroline Huber, for her friendship and hospitality. < On July 9 Hopps dictates, during lunch in his favourite Mexican Restaurant, La Jaliencie, his urgent support request to the international Art community (below) to protect and safeguard "THIS EXCEPTIONAL WORK OF ART'. Furthermore: Recorded interview with Hopps on July 10th, again in a restaurant but this time Italian. Transcription by PH  (F.I.U.archief).

1997, July 9: THE MENIL COLLECTION 1511 BRANARD HOUSTON TEXAS 77006

Re: Kloppenburg  ARTCHIVE FOR THE FUTURE

I write this letter in the summer of 1997 for the purpose of declaring my support for the preservation of the Kloppenburg ARCHIVE FOR THE FUTURE. Over the past several years, I have been informed of the developments regarding this important work by Houston artist, Virgil Grotfeldt, as well as Waldo Bien of Amsterdam on his frequent visits since 1988.

Kloppenburg has been engaged for 35 years in the careful accumulation and assimilation of objects accruing a megasculpture of significant value. It must be understood as an Gesamtkunstwerk in which even the slightest change of order can destroy the artist's concept and cause great damage or even total destruction. The importance of the ARTCHlVE FOR THE FUTURE can be regarded in the same light as Kurt Schwitters Merz archive in Hanover or the Yves Klein archive, both lost to humanity by war or lack of consciousness. Experiences of the past give reason to be on the alert.

During my own career, I have been involved in archival works on several occasions. At the Smithsonian Institute, I served as collector/interviewing advisor to the Smithsonian Archive of the Arts where I was also able to establish the Joseph and Robert Cornell archive. Additionally, I presented the first Kurt Schwitters Retrospective in the United States including the Merz Archive which was reconstructed photographically to the best of our ability.

The ARTCHIVE FOR THE FUTURE has its own significance as well as functions as backbone of the complete oeuvre of Kloppenburg; one enables the decoding of the drawings, (pastels, etc.) and vice versa. The Archive could be compared to the function of decoding Kloppenburg's work and thoughts in the manner of a Rosetta Stone.

This exceptional work of art should be protected and safely guarded into the future where it belongs- in the hands of the as yet unborn. I would urge all serious art scholars to research every aspect of his artistic activity as well as request the international art community to provide all possible support to preserve this important art work.

Sincerely, (signed) WaIter Hopps, Founding Director & Consulting Curator. WH/dg

NOTE: Document 202441 F.I.U.archief

1997, Aug: PPP, Paleo Psycho Pop No 4, with Kloppenburg.

1997, 2nd of Sept: Letter from Gemeente Amsterdam, Dienst Binnenstad, to Jacobus Kloppenburg, with the order to "REMOVE INFLAMMABLE OBJECTS AND FABRICS WITHIN 7 DAYS FROM THE 5TH AND 6TH FLOOR" of the ARTCHIVE FOR THE FUTURE, and threatening with FULL ENFORCEMENT when this demand is not fulfilled. NOTE; The municipal demand is accompanied by a fire safety report that has been conducted 'at the request of the Building Department of the City of Amsterdam'. Also: Fire Brigade report

NOTE: On request of the judge, the fire brigade later declared (Council of State Court Sitting) that the research was conducted in order to safeguard the renovation grant (Hfl. 540.000,-) for the landlord, as the grant is endangered by the exceeding of the given construction period. The provider of the grant later denied this so called hazard (on FlU inquiry)... "on present reasonable grounds, as had undoubtedly been the case here."

1997, 4th of Sep - 5th of Oct: exhibition in Gallery De Zaal, Delft, NL: RHEINGOLD.

For the first time, K displays a complete series of lightstudies from 1990 named RHEINGOLD, recorded in a sequence of 36 photographs (Kodak) in 24 hours, the course of a day and a night, made in a room especially prepared for this purpose in Neubrückstrasse Düsseldorf in which he visualises in a very refined play of light variation the Golden rules and the sounding board he has developed for the construction of the ARTCHlVE FOR THE FUTURE. Furthermore: a large constructivist work from the seventies based on the golden measure, some table sculptures from the Archive and drawings.

In the accompanying press release by Waldo Bien, the relation between the theatre depot from the Wagner Association and the ARTCHlVE FOR THE FUTURE is illustrated. No articles from the press.

NOTE: The invitationcard for the exhibit is made up of a photo montage, by Bien, with the cryptic title “Siametric portrait of the artbishop of Siam (K).’ The exhibition takes place under the enormous psychological pressure resulting from the threat of the compulsory eviction and the continuing construction terror. K seemingly remains resigned, but the sketchbooks of that same year show a hyperactivity in which he works night and day in order to complete his intellectual text concept for the ARTCHIVE FOR THE FUTURE before the compulsory eviction at hand, in the hope it would be able to open up deaf ears as if it were a magical spell and to turn the threatening spring tide even at this late stage. At that time there were already various developed versions of the concept, executed in Kloppenburg's own reduction alphabet, but in order to visualise the musical rhythmical element, the lines of text still have to be turned into a sonnet (Petrachan Sonnet).

NOTE: At the opening of the RHEINGOLD exhibition the work "THE ARTIST EXPLAINING HIS WORK" (FIUWAC) is created: Three leaps for the art historian Liesbeth van Abbe, as an answer to her request to explain his work (photo's WB).

1997, 11th of September: Magistrate's Court Case Amsterdam; "Stichting tot behoud van De Pelikaan" versus Kloppenburg (assisted by Mr. Joop Seegers) in connection with the termination of the lease of Lauriergracht 109 (Artchive for the Future). NOTE: Hans van der Grinten has announced that the work on the take-over of the Kloppenburg Archive cannot be continued until autumn, in October.

The Court again prolongs the lease contract for another 4 months, till the 1st of Jan. 1998 at the latest.

1997, 22nd of September: Telefax from Hans van Grinten, Moyland, to Waldo Bien in which he confirms that: "We are negotiating the take-over of the Kloppenburg Archive." NOTE: This repeated confirmation is necessary in order to dispel the contradictory rumours that are spread by the  representatives of insurance company Nationale Nederlanden, which is liable for the damage done (F.I.U.archive). The insurance company apparently tries to create doubt and to form the impression in Court that the announced take-over by Moyland of the Gesamtkunstwerk ARTCHIVE FOR THE FUTURE by Jacobus Kloppenburg is a fairy-tale. Nationale Nederlanden would benefit if the object of damage, the ARTCHIVE FOR THE FUTURE, could be eliminated by means of a compulsory eviction.

1997, 23rd of September: District Court Case, Amsterdam, representation of the appeal objection by Mr. Joop Seegers against the threat of compulsory eviction of The Archive, by the city of Amsterdam, Building Department. NOTE: Court Case recorded on video (F.I.U.archive). Present for F.I.U.: Waldo Bien, Patrick Healy, Mathijs Gomperts, Babeth Mondini VanLoo, Oeke Hogendijk. Now that it becomes clear that the city of Amsterdam, in spite of all the warnings and urgent requests for a few weeks' grace, still wants to continue the eviction, a 12 page long S.O.S message is put together by WB that same evening. (Documents concerning the threatened eviction, expertise of Walter Hopps, Hans v.d. Grinten and others). In the F.I.U. office, Lauriergracht 123, the fax machine is rattling all through the night. The cry of distress >>>"NETHERLANDERS, EXTREMELY URGENT"<<< is sent to cultural organisations, museums, institutions, authorities and politicians with an urgent request for support (fax register F.l.U.archive). No reactions follow.

ART MUST GO ON ART MUST GO ON ART MUST GO ON ART MUST GO ON ART MUST

26 9 97 L 123 V 06

NOTE: This is the note on a portrait that was made on: 26th of September - 1997 - Lauriergracht - 123 - 5th floor - 6 0' clock in the morning. The trigger for this portrait was a photo portrait found by Bien in the Hazenstraat the day before, which he took home because of the frame. The photo, a portrait of an old lady in an oval passe-partout is given to Kloppenburg, because he is working with egg shapes and ellipses and can possibly use the passe-partout for something. K lives and works with B during these months, because house owner Arie Ruska, after tricks and force has now also started to convert Kloppenburg's private house Lauriergracht 111 into apartments. Kloppenburg now has it coming from three sides. Serious psychological pressure results. Terror, destruction and the threat of eviction, precisely at the moment when everything should be prepared with the utmost calmness and focus for Hans van der Grinten, Moyland. Bien appeals to the Amsterdam Alderman of Culture Eric Bakker with an urgent request to intervene (unanswered). ...The threat of the eviction and destruction of a life's work, the legal correspondence and the lawsuits to put this complete madness to a halt... in short, an exhausting battle. The following morning, upon entering the atelier, Bien finds a devastated Kloppenburg sleeping, in his hands the photo portrait of the old lady, now transformed with white and black ink into a realistic portrait of the owner of the house, his neighbour for over half a century, who causes all this misery. The portrait has hybrid characteristics and Ahriman's eyes. It also contains the atmosphere of the earlier described (1987) painting of the emotionless execution. The portrait lacks even the slightest trace of caricature. It is also immediately apparent that this is not the obvious revenge of an artist on his tormentor; the portrait displays a moment of higher insight and recognition; not the portrait of an evil person, but of an evil spirit: Ahriman, Persia, in the religion of Zarathustra the Power of Darkness and the Spirit of Evil. His antagonist is Ahura Masda (or Orm'uzd), the Power of Light, The Creator and shepherd of the world and its people (FIUWAC).

Trashthetical Lecture material. Photo taken during the building of the Paleo Psycho Pop Exhibit, Vlissingen 1999

Polaroid object registration

Polaroid object registration

K in Hatstore NYC

Polaroid object registration

Walter Hopps Home Office

ARTCHIVE FOR THE FUTURE, section Grand Corridor, seen from the back towards the front of the building, 1990. (Photomontage)

K in Grotfeldt studio NYC

K explaining his work jumping

Rheingold

K Siametric Portrait Rheingold

Contact sheet with RHEINGOLD series, F.I.U.tures collection

K bodybuilding

Portrait of Ahriman, 26.9.97.L.123.V.06. FIUWAC

Portrait of Ahriman, 26.9.97.L.123.V.06. FIUWAC

(Moyland fax, Oct 9th, 1997)

1997, 30th of Sept: HET PAROOL, Coos van de Wetering: INGLORIOUS END ON REFUSE DUMP MENACES ARTIST'S ARCHIVE: "eviction within fourteen days, as the city demands, would mean the end of his life's work... The chances are therefore great that the archive will end on the rubbish dump. According to the American art historian WaIter Hopps from Houston the work of Kloppenburg surely is a MEGASCULPTURE OF SIGNIFICANT VALUE. It could be compared to the Merz archive by Kurt Schwitters and the archive of Yves Klein, who also took as a starting point the beauty of consumer goods. Works that were lost as well ... Also in Germany the true value of the Archive is discerned. The German art collector and museum director Hans van der Grinten considers sheltering it in the German museum castle Moyland. This museum also houses works of Joseph Beuys, an artist to whom Kloppenburg feels akin. ("B") ...The archive has been there for thirty years already. Previously the attic was the depot store for the Wagner Association. The attic has contained inflammable things for many a year and day therefore, but that does not mean that there is a fire hazard. There are ten thousands of attics in Amsterdam with old rubbish: is the city going to evict them all?

1997, 3rd of October: News item about the threat of compulsory eviction of the ARCHIVE FOR THE FUTURE, AT5, broadcast on television (F.I.U.archive).

1997, 3rd of October: Letter from Stedelijk Museum Amsterdam to broadcasting network SBS6 in which the Museum stresses the importance of The Archive and points to the fact that, during the eighties, it was even exhibited in Museum Fodor (part of the Stedelijk Museum), which is subsidised by the city of Amsterdam (F.I.U.archive).

1997, 7th of October: The OBJECTION against the eviction of the ARTCHlVE FOR THE FUTURE is not sustained by the Court of Justice Amsterdam, department Administrative Law.

(Reg.No. A WB 97/10293 GEMWT)

1997, 9th of October: TELEFAX, sent 10.58h by; Stiftung Museum Schloss Moyland Sammlung van der Grinten, Hans van der Grinten (Museum director) to; THE MAYOR (SCHELTO PATIJN, Red.) AND TOWN COUNCIL OF THE CITY OF AMSTERDAM, to the attention of the ALDERMAN for CULTURAL AFFAIRS, Mr. E.C. BAKKER, 0031 20 5522380 URGENT ..."Concerning threat of eviction of atelier Kloppenburg; ...Dear Council, dear Mr. Bakker, It came to our attention that the city of Amsterdam plans to evict, because of a fire hazard, on very short notice the atelier of the artist Kloppenburg. We are aware that, on basis of a legal judgement, the lease contract between mister Kloppenburg and the owner of the building that houses his atelier, will be terminated as of January the 1st of next year. For our museum, that was reason to search with the greatest speed for a possibility to house the most important part of the content of the atelier Kloppenburg somewhere else".

An Important consideration in this respect is, that we are dealing with an artwork, the so called "Archive for the Future", which according to our positive conviction possesses an important art-historical value. The loss of this "Archive", unless carefully and expertly transported would be unavoidable, and mean the loss of important valuable cultural heritage, a loss impossible to restore. In the meantime we have found a possibility to house the "Archive" of Kloppenburg. The organisational details and the co-ordination with current affairs of a large museum institute as ours, do not allow us to carry out the packaging and transportation from one day to the next. We assume though, that we are capable of handling this before the date on which above mentioned lease contract comes to an end, that is to say, before the end of this calendar year. WE STRONGLY REQUEST YOU, TO AVOID THE WORK OF KLOPPENBURG BEING IRREPARABLY DESTROYED > THE FACT THAT ONLY A FEW MORE WEEKS SEPARATE US FROM A REGULAR AND PROFESSIONAL EVICTION MAY BE REASON FOR YOU TO ABANDON THE PLAN OF A DISASTROUS IMMEDIATE EVICTION. With Regard, Hans van der Grinten, director.

1997, 9th of October: TELEFAX,, sent by J.G. van Leeuwen (Head External Services A’dam Muniscip.) to Ron Manheim Museum Schloss Moyland, URGENT : Dear Sir. Today we communicated about the clearance of the fifth and sixth floor of Lauriergracht 109. I HAVE REPORTED TO YOU THAT IN CASE OF A MUNICIPLE CLEARENCE WE WILL ACT WITH UTMOST CARE AND ATTENTION as always. I have given you the opportunity to be present during the clearence. The clearence is planned for Tuesday October 14^th. 9 a.m. We agreed that you will let us know cn Monday if you will be present, also that the starting time of the operation can be changed to 10 a.m., if you so request in connection with your traveling chedule. Waiting to hear from you, Respectfully yours, Signed: J.G. van Leeuwen.

1997, 10th of October: TELEFAX, sent 09.51h, by Ron Manheim, Adjunct Director Museum Schloss Moyland, to the city of Amsterdam, Dienst Binnenstad, J.G. van Leeuwen;... "Unfortunately we are unable on such short notice to send one of our own specialists to be present on October the 14th to professionally supervise the eviction commanded by you. ... We hereby grand permission though, to mister Patrick Healy, Professor at the Free International University, who resides in Amsterdam this year as a guest and is doing extensive research on the life and work of Kloppenburg, as a pre-eminent expert on his oeuvre, to see to an eviction and packing which are art-historically as responsible as possible. Self evidently, the authority of the Artist will remain unhampered if he would be present at the eviction. A complication though is that Prof. Healy is currently in Oxford to give lectures and we have so far been unable to contact him. After a temporary storage under your care we will provide storage in our museum in December, as we await a museum presentation. We once more bring to your attention the fact that the "Archive for the Future" is a coherent artwork, which does not allow its parts to be judged separately. This fact also means that EVEN IF GREAT CARE IS TAKEN BY A COMPANY THAT HAS NO DAILY EXPERIENCE WITH ART TRANSPORTATION, SERIOUS DAMAGE IS TO BE FEARED. Therefore I have to stress once more that, in our opinion packaging and transportation should be postponed, carefully prepared and carried out by experts in the field of art. We hope and trust the Amsterdam Municipality will be assigned a worthy place in the annals of art history, also with regard to her conduct in the Kloppenburg case! This concerns a work of which people in the future will say that something eminently important has unfortunately been lost .. or .. they will honour the municipality of Amsterdam for saving a remarkable specimen of national and international cultural heritage from perdition. Meanwhile we have been informed that judicial steps have been undertaken in order to attempt to postpone the eviction for a little longer, which would enable us to organise professional art transport and storage"… (F.I.U.archive).

ART MUST GO ON ART MUST GO ON ART MUST GO ON ART MUST GO ON ART MUST

NOTE: During the weeks preceding the eviction everything is working at full speed. One can read it all in Kloppenburg's sketchbooks or 'scripts'. The main problem is solved: the TRASHTHETICAL LITTERARTURE concept is finished. Kloppenburg has been working on it day and night, having read his way through all the books of Rudolf Steiner once again. He has even managed to make a sonnet out of it, 14 lines in total. At the bicycle maker he has picked up some broken tubes, black, a full bundle at once. The hermetic circles are opened, circumference becomes line. These become the lines of text on which the completed concept in his own alphabet, the Kloppenburg REDUCTION ALPHABET, is applied line for line in white letters, exactly as it started in the forties, somewhere at the beginning of this text. He works on it with the strongest dedication imaginable. It 'has to' be finished. Kloppenburg's lifework, his sculpture ARTCHIVE FOR THE FUTURE, cannot possibly be moved without the author having stated and explained with the utmost precision his concept, his rules and the rights following from them, a final signature. It works: at the very last moment, in the night before the eviction, the initiation text lines are spread out over the archive parts. The Gesamtkunstwerk ARTCHlVE FOR THE FUTURE has been 'sealed'. The explanatory text is back 'on the beams' of the lightoracle, exactly as it was in 1943, at his first acquaintance with the Wagner depot. The initiationcabin. VISIBLE LANGUAGE OF A CULTURE ... ARTSCIOUSNESS QUOTIENT UPGRADING... After 56 years of research, The Kloppenburg oracle speaks, just in time, and in unmistakable language and imagery. In The Archive that same evening, he gives a detailed explanation about affairs during a completely relaxed interview with Geert Jan Berkhof which is recorded on video. It is the same KIoppenburg who, as a boy, would enter the school at the very last moment and reach out his hand at sunbeams, and who would catch the train when it had actually already left (F.l.U.archive).

1997, 10th of Oct: Request for temporal provision presented to the President of the Court of Justice Amsterdam. NOTE: A last attempt to escape from immediate eviction by means of a legal judgement. Court case on Monday the 13th of October. Bien is abroad until Thursday the 18th of Oct. and can not attend the court case. Patrick Healy, ditto, is giving lectures in Oxford.

1997, 13th of Oct (Monday): Court case. Present; Jacobus Kloppenburg, his lawyer Mr Joop Seegers, various representatives of the city of Amsterdam (video registration by Oeke Hogendijk). Pronounced Judgement: "The President dismisses the request." In the verdict it is stated explicitly; >>> "...That the defence (City of Amsterdam) has announced that "ALL POSSIBLE CARE WILL BE TAKEN AT THE EVICTION and... "MOREOVER IT HAS BECOME PLAUSIBLE THAT THE DEFENDANT (City of Amsterdam) WILL CARRY OUT THE EVICTION WITH THE NECESSARY METICULOUSNESS' <<<

NOTE: When the City of Amsterdam makes the twice mentioned 'promise of uttermost care' to the Court of Justice, the EVICTION ORDER has already been given to DEMOLITION COMPANY SCHMIDT.

1997, 14th of Oct (Tuesday) 07.00h: Start of eviction by the firm Schmidt, specialising in demolition and laying down ground works, with the help of the firm Saan (Royal). Official Eviction Report. NOTE: The Report was written on the 12th of April 2000. During the eviction itself, no report was written.

Citing from: liability claim directed at the City of Amsterdam, of April the 18th 2002 ... by Mr. DOLF RUEB, Kloppenburg's lawyer:

>>>THE EVICTION: This turned out to be assigned to the firm A.H.H. Schmidt, specialised in demolition and laying down ground works (official Chamber of Commerce Registration), assisted by 6 or 7 people of the removal firm Saan, which also supplied the containers. As promised Kloppenburg was allowed to be present during the eviction, but he was not allowed any possibility to give instructions or advice. Other interested people were also told that they should not interfere with anything; they were even forbidden to take photographs or to film the proceedings. The eviction squad would only listen to the municipal inspector of the Bouwtoezicht on duty. In the notification as well as in the written order of the 23rd of October 1997, there is only mention of the removal of inflammable objects and fabrics from the floors. In reality though both floors were completely emptied without any distinction between inflammable and non-inflammable materials. Together with mentioned artworks therefore, large quantities of non-inflammable materials, such as printing presses, machines, car doors, glass, rocks, and other construction material, were have been jammed into the containers. The mentioned artworks, that are not meant to be carelessly stacked in containers, were already damaged due to the storage in the containers and, as appeared to be the case, they were even further damaged during transport and storage. Despite the prohibition on filming ordered by the city, the affairs concerning the transferral of the content of both floors to the containers is sufficiently documented to illustrate that the manner in which the artworks are "carried off" did not take place according to the care promised by the municipality and certainly not with the care that would suit the artworks at stake." End of quotation.

KLOPPENBURG HAS PERSONALLY PHOTOGRAPHlCALLY RECORDED THE EVICTION IN MULTIPLE FINAL PHOTO SEQUENCES AND DOUBLE EXPOSURES (F.I.U.archive).

ART MUST GO ON ART MUST GO ON ART MUST GO ON ART MUST GO ON ART MUST

The work on the eviction concludes on Friday the 17th of Oct. 15.47h; Weekend. One minute later Pelikaan construction workers, now completely unhindered, start continuing the further realisation of the luxurious apartments. Against all regulations the civil servants did not make an official report of the eviction. Recordings of the eviction are broadcast by AT5 TV.

1997, 18th of October: HET PAROOL, "ATELIER KLOPPENBURG EVICTED ON ORDERS OF THE CITY DUE TO FIRE HAZARD"  "...his thousands of objects, known as the Archive for the Future, are stored in boxes and will be moved to Moyland in December... K had lost the second lawsuit he had instituted against the eviction".

1997, 19th of October: Letter from Bien/Healy/Hofstede, FlU, to the Mayor and Alderman of Amsterdam, with the suggestion to remove the words HELDHAFTIG (Heroic) and BARMHARTIG (Charitable) from the city-arms (unanswered). NOTE: the city-arms of Amsterdam consist of three vertically placed Andreas crosses and the text; Heldhaftig, Barmhartig and Volhardend (Persistent).

ART IS GOING ON ART IS GOING ON ART IS GOING ON ART IS ART GOING ON ART IS

1997 November: Visit with Bien to the USA, Grotfeldt's exhibition at Jason Mc Coy Gallery, NY, Nov 4th. At the request of Kloppenburg, director Steven Cadwalader has taken a series of Brancusi photographs from the depot so that they can be looked at more closely. Furthermore: FlU meetings and visits to Grotfeldt's studio. In NY, Kloppenburg, Bien, Virgil and Deborah Grotfeldt are the guests of Luk and Barbara Darras (Consul General of Belgium). Afterwards they go to HOUSTON TX, for meetings with WaIter Hopps and a visit to the PROJECT ROW HOUSE which Deborah Grotfeldt and Rick Lowe have erected; the transformation of last row of ‘Free Man’ barracks from the post slavery days, ready for demolition, into an internationally appraised social cultural centre for the black society, a prototype of SOCIAL SCULPTURE IN THE USA. Grotfeldt is exhausted by the production, exhibition and opening, something one would also expect of Kloppenburg after what has happened in Amsterdam over the last few months. But he is full of energy and, while eating, he immediately starts working. The eating itself is an integral part of the artwork: ART MUST GO ON. At the kitchen sink of Grotfeldt's studio, Heights Blvd 1226, Kloppenburg creates ARTVOCADORUNEN (see note 1990), on the pages of a Houston telephone book that was found on the streets, while Hopps and the Grotfeldts are watching (F.I.U.archive). He collects and dries plants. Within the framework of annual work meetings that have been going on since 1994 between Bien and Grotfeldt, or meetings in which collaborate artworks originate, some 200 or more already, so-called 'collaborations in open framework', Kloppenburg participates in this work session in Houston (Meeting 6, 17-28 November, the Heights); It is an important moment within this Bien-Grotfeldt series and a spiritual crash-test for the FlU open framework idea: All paintings that have been made so far, have as a common denominator an 'open' frame, a frame with 3 sides in stead of the usual 4, in order to visualise that one is not dealing here with a closed private meeting between two artists, but with an 'open conversation' in which others are also able to participate. For the first time this can now be put in practise and examined. In this manner, by way of an F.I.U. test case, a collaborate work emerges, a 'triptych with equal parts', every part of which is put together from three unequal parts. The tripartite context is possibly a reference to the SOCIAL TRIPARTITION of Rudolf Steiner. The motto of his Social Ethic being: THE HEALTHY SOCIAL LIFE IS FOUND WHEN IN THE MIRROR OF EACH HUMAN SOUL THE WHOLE COMMUNITY FINDS ITS REFLECTION, AND WHEN IN THE COMMUNITY THE VIRTUE OF EACH ONE IS LIVING. (See: Waldo Bien, by Patrick Healy, Wienand Verlag, Köln, 2000, or the book about Virgil Grotfeldt, also Wienand.) Meetings with Terrell James, Meredith M. Jack, Richard Stout, Charles Stagg, Jeff Nixon,  Weihong (all FIUWAC ) and others. (F.I.U.archive).

1997, 25th of Nov: Kloppenburg receives a BILL of Hfl. 71.245,74 from the City of Amsterdam for "THE REMOVAL OF THE INFLAMMABLE FABRICS AND OBJECTS" from The Archive, to be paid within 8 days, 1st threat of  DESTRUCTION  if the bill is not paid.

1997, 4th of Dec: Visit of Hans van der Grinten and Ron Manheim to Lauriergracht 123, F.I.U. Amsterdam. Work discussion about the further course of affairs. Recordings: Babeth Mondini VanLoo and Oeke Hogendijk (F.I.U.archive).

The laureate

The City of Amsterdam giving Museum Moyland the guarantee that THE EVACUATION WILL BE EXECUTED WITH UTMOST CARE

K working on text concept

Museum Moyland’s repeated warning that serious damage is to be feared if the transport is not handled by a company with daily experience in handling and transportation of artworks.

Bicycle tires concept text

FIUWAC 131-2000

The Eviction of the Artchive

K during the last night in the studio, securing bits and pieces.

The Eviction of the Artchive

ARTVOCADO RUNEN in Houston phonebook, F.I.U.tures Collection

Visiting Virgil Grotfeldt’s exhibit at Jason Mc Coy Gallery NY, Nov 1997

Discussion with Walter Hopps (at left) about the current situation of The Artchive for the Future, Studio Heights, Nov. 1997

Preparations for XXX work, studio Heights BLVD

Bien, Kloppenburg Grotfeldt working session in open FIU framework

Meeting with Hans van der Grinten (at left) and Ron Manheim, Lauriergracht 123 Amsterdam, Dec 1997

Adrian Dannat, NY, visiting The Artchive in preparation for The Independent Article, Sept. 1997

1998, 11th of Jan: PPP (Paleo Psycho Pop); Public Letter by Patrick Healy: "The Case of Kloppenburg" "… little did the fire-brigade realise that the bomb they have left in the containers by the harbour could explode in many and more directions, than a simple incense in the attic of an old building. PPP hears a loud ticking."

1998, 12th of Feb: The usher visits Kloppenburg, IN THE NAME OF HER MAJESTY THE QUEEN, with an enforcement order for the payment of Hfl 71.245,74 eviction costs.

NOTE: This demand is not obeyed, for reasons mentioned earlier, after which the city of Amsterdam shamelessly presents the bill to Museum Schloss Moyland, precisely those who did their utmost best to rescue the oeuvre of the Amsterdam Artist Jacobus Kloppenburg, his sculpture ARTCHIVE FOR THE FUTURE and to give it an honourable place within the public domain, abroad. Strong indignation is the result.

1998, 25th of Feb: TELEFAX of Drs. Ron Manheim, Moyland, to K's lawyer Mr. Joop Seegers, Amsterdam, who, in the name of Hans v.d. Grinten, announces he cannot acquire the works packed in containers during the eviction, due to a lack of financial means (F.l.U.archive).

NOTE: During the discussion of the situation in Amsterdam, 4 December 97, it has become clear that, due to the disastrous method of eviction, of which not even the slightest notes could be taken, nor any systematic photo registration could be made (or rather, it was forbidden to do so), the reconstruction of the Archive parts is made impossible, and moreover that insight into the strata (the different layers from which the Archive was built) has been lost irreparably. Everything has been jumbled together during the eviction. The resultant puzzle leads to exploding costs, not even to mention the damage and restoration of the countless artworks. To form an idea of the costs, the report of the ICN, Instituut Collectie Nederland, is a useful document (see 14 Feb 2002). The fact that the City of Amsterdam, on top of that, 'blackmails' Museum Schloss Moyland with the bill and demands a 'ransom' for the Archive they keep hostage, can only have added to this.

1998, 5th of March: THE INDEPENDENT, by Adrian Dannatt, NY, "THE COLLECTED WORKS OF JACOBUS KLOPPENBURG"

NOTE: double page article with two photos. Starting: “Ever since Vincent vanished the Dutch have entertained a mordant fear of letting another artistic genius slip by unrecognised., K started working in earnest as an artist at an age of eighteen, and since then has literally not stopped, producing drawings, paintings, photographs, assemblages and everything in between at an awesome daily rate, an oeuvre incalculable in its sheer profusion. Without doubt the Kloppenburg warehouse is one of the masterpieces of 20th century creative individualism, comparable to Schwitters Merzbau, Facteur Cheval's domain or the Fondation Corbusier, a place where so much stuff has gathered that one can no longer imagine any human able to inhabit its corners".

1998, 19th of March: On request Mr. Dolf Rueb, who has been looking after the legal interests of the FlU Amsterdam since 1980, takes over the defence and in a letter of the 19th of March declares to hold liable the City of Amsterdam for the damage caused (Ref;13.7048 asr/cf), on the following grounds;

• a) The eviction was continued at a time when Moyland was willing to pick up the ARCHIVE within a very short period of time.
• b) The eviction was not confined to the removal of inflammable objects, but both floors were completely emptied, while it should have confined itself to reducing the fire hazard  to an acceptable level, and …moreover, large quantities of construction debris that were the landlord's have been loaded into the containers as well.

NOTE: At that time it still remains unknown that the eviction 'with utmost care' promised by the city of Amsterdam had been assigned to and carried out by the demolition company Schmidt. This becomes clear only three years later, in 2001, when the City of Amsterdam, Dienst Binnenstad, wants to proceed carrying out the DESTRUCTION of the ARTCHIVE FOR THE FUTURE and in order to do so needs an official report of the eviction, which it drafts up after all on the 12th of April 2000 (Reg.No. 32-97 0824). It also mentions... "All objects have been removed manually in thirteen sea containers which were placed in front of the gable on the 5th floor and subsequently carried off… Due to the diversity and amount of the encountered objects it appeared to be impossible to describe them and register them on an inventory. For that reason a part of the encountered objects have been photographed for visualisation (see certified photos). At the time, no official report had been made of the transport and storage... Due to the planned termination of the storage it has as yet been decided to make an official report to avoid misunderstandings" (F.I.U.archive).

1998, April, ESQUIRE no 2: by Riki Simons; COLLAGES OF AVOCADOS, 2 page article with three pictures, one picture of Schloss Moyland: "Next to the Beuys collection, also Kloppenburg's Archive For the Future will soon be in possession" ... "Kloppenburg grew up in the house next to the warehouse, both once the 'property' of Multatuli's fictive character Batavus Droogstoppel... Kloppenburg's weakness for avocados has enriched the world with hundreds of beautiful collages of peels, cut and dried, in black shapes on white blotting paper which, when put together, again form an avocado... K jumps on his hands with his legs straight up in the air, as if he is twenty-five instead of sixty-eight, and light-heartedly demonstrates a new object; spectacles with glasses on which he glued two hollow pieces of marrow bone, in order to have a quiet look 'through marrow and bone'..." KIoppenburg's beautiful photo series RHEINGOLD is being shown and sold in Delft. Thirty-six colour pictures in a frame with gold leaf, images from a room in the Düsseldorf atelier of Kloppenburg, photographed from different corners in the changing light of a period of 24 hours...."

1998, 17th of April: Letter from Waldo Bien, FlU, to the City of Amsterdam, Alderman of Culture Miss J. v.d. Giessen.

NOTE: Given the threat of DESTRUCTION of The Archive by the City of Amsterdam, B urgently asks for an interview concerning The Archive. This letter is answered three months later, July 15th, (doc. 900245) with the announcement; "you can buy back the stored materials against reimbursement."

1998, 24th of April: Letter from Prof. Lothar Baumgarten, Hochschule der Kunsten Berlin, to Mayor Schelto Patijn and Alderman of Amsterdam (doc. 901540, F.l.U.archive): "The work of Jacobus Kloppenburg is of great importance for 'all of us' and in particular as a citizen of the city of Amsterdam, it's a critical reflection for the Netherlands. His mathematical investigations and his playful artistic ideas are outstanding and challenging. His legacy will be in its entirety a source for following generations. It is tragic to see this large body of artwork in danger to be destroyed instead of being taken care of in adequate manner. A community like Amsterdam should be proud to give shelter to such spirit and oeuvre."

NOTE: The letter was left unanswered.

1998, Sept. VILLA d'art no 1: "Work under construction", by Riki Simons. Article describes collaboration Bien-Kloppenburg-Grotfeldt-Rutkowsky etc., with many images of works and atelier Lauriergracht 123...; "K does not work and produce in the usual meaning of the word. His life is an ongoing study... and more coincidentally than intentionally results in objects that are always evenly light-hearted and bizarre, just as playful as they are heavy. They only remain when Bien manages to save them from the hands of Kloppenburg before the parts disappear again into new experiments within the framework of a new study. Other works only exist in pictures, because the idea was immovably bound to a landscape or the coincidental furniture of a hotel room, or because it was made with transient material. 'Not a banana peel leaves the house without being studied and worked', Kloppenburg says... "

1998, l0th of Sept: General Director Peter Blom and Thomas Steiner of the visit F.I.U. Amsterdam, the atelier of Waldo Bien at Lauriergracht 123. The visit takes place on suggestion of geomorphologist Michel Damen. Damen, Bien and Kloppenburg have been friends ever since their first acquaintance in 1980 and co-operate in F.I.U. Amsterdam study-groups. Ever since their student days, Michel Damen has also been friends with Peter Blom. They also shared mutual interests and collaborated intensively in study-groups, especially the social triune meetings that were annually held in Achberg, BRD; a spiritual think-tank, where socio-economical alternatives were sought and where Joseph Beuys introduced his ideas for a 'humane' and environmentally friendly economy and Social Sculpture (publications: F.I.U.-verlag). The meeting in Amsterdam has to do with the upcoming opening of the new Triodos Bank headquarters in Zeist. The bankers are in search of a new and creative idea with spiritual value. Bien gives an overview of the F.I.U. Amsterdam activities of the past years and the international networks, the people who participate and the common ideals. Then the "F.I.U. study collection" founded on January the 7th 1997 pops into his mind, The Social Sculpture Model, patiently waiting for further development in the corner of the studio. He introduces the idea of this art collection which is the collective property of the world population. Especially the idea of an art collection of "collective property", away from traditional property, evokes sympathy and interest. Moreover, the fundaments have already been laid. Triodos requests that the idea be elaborated in writing. Internal conversations and consultations with artists and other kindred spirits follow, with Senior Counsel Frank Callanan in Dublin, with F.I.U. counsellor Dolf Rueb, Amsterdam, and with the F.l.U lawyer Jürgen Binder in Essen, who worked for Beuys in the past and co-founded 'Unternemen F.I.U.' with him. In the eighties, Binder conducted the legendary "FETTECKE" process against the Government of Nordrhein-Westfalen for Johannes Stüttgen, concerning the destroyed fatcorner of Beuys in F.I.U. office Raum 3, at the Kunstakademie Düsseldorf and nov 1988, NRW had to pay DM 40.000 damage compensation.. Conversations with Babeth Mondini VanLoo and Louwrien Wijers, who worked with Beuys in F.I.U. context; and of course with Walter Hopps in Houston, because of his great experience. All these ideas and suggestions result in a series of drafted concepts, the "letters from the founding fathers" (F.I.U.archive). The 'FlU study collection' is adapted by Kloppenburg to fit the new global scale and renamed into: FREE INTERNATIONAL UNIVERSITY 'WORLD ART COLLECTION', FIUWAC. For further development: see 1st of April 1999.

NY, 1997

Michiel Damen trying the marrowbone spectacles

Daily rituals

Sometimes one has to turn everything up side down to see what’s going on, F.I.U.tures

Lothar Baumgarten’s secret homage to K, Stedelijk Museum Amsterdam, 1996

F.I.U. pedestal, origin RAUM 20, now FIUWAC Foundation

The founding of the Pineapple Order, performance with Hilarius Hofstede,1999.

Portrait of Dutch Masters at work at the end of the 20th century: Both, B and K, were looking straight into the camera when Bien took the pictures. The portraits were installed onto the wall at a slight angle to each other. Standing in front of this work at the Exhibit, Bien showed the Triodos Bankers that on the spot where the focusing eyes of the two portraits cross, an invisible sculpture is located; the idea for a social sculpture model, the first real “modern” art collection, collective property of the world population: the Free International University World Art Collection, FIUWAC, and Bien invited Triodos to help to make it visible to the world.

1999, 19th of Feb: Triodos Fund provides a subsidy grant for the writer's honorarium of Patrick Healy's monograph on Kloppenburg and the Artchive for the Future.

1999, 1st of April 14.00h: Planned visit from Peter Blom, General Director of Triodos Bank and Thomas Steiner to Bien's exhibition "A HUNGER TO BE LESS SERIOUS", Paviljoens, Almere NL. First personal acquaintance of the Triodos bankers with Jacobus Kloppenburg.  NOTE: Bien and Kloppenburg give a tour through the exhibition and during a consecutive elaborate meeting, for which director Lia Gieling cordially offers her desk, the idea of a FREE INTERNATIONAL UNIVERSITY WORLD ART COLLECTION, FIUWAC, is further discussed. Bien invites TRIODOS BANK as 'HOST' and 'PARTNER' to help make this Social Sculpture Model visible to the world population together with F.I.U. Amsterdam (MAKING THE INVISIBLE VISIBLE). The double portrait "Dutch Masters at work at the end of the 20th century", a reference to an (as yet) invisible (social) sculpture, appears to have contributed fundamentally to the positive decision of the bankers, as they have confirmed personally. Bien and Kloppenburg are invited to visit the new Triodos head office to form an impression of the spatial possibilities and are requested to elaborate the FIUWAC concept. The opening of the new head office is scheduled for October the 1st.

Citing from existing text:

Bien estimated that the realisation of this idea within the three months left before the opening date would require an estimated budget of $100.000. In the following weeks all this was taken into consideration and then, in a meeting at studio Lauriergracht 123, June 7th, in the presence of Waldo Bien, Patrick Healy, Jacobus Kloppenburg and Marietta de Bruïne, Thomas Steiner delivered a written note with the happy news that TRIODOS was accepting the proposed idea and offered its assistance to realise it: The walls in their new building would be available to host artworks, costs for the photographic recording, framing and installation of the artworks would be paid and web presentations created. The construction of a legal framework would be worked out along the road. TRIODOS also offered to open up their network for further support and help to find funding. But, the required budget to get this FIUWAC plane in the air, could not be supplied. Bien requested TRIODOS to give the F.l.U. A'dam a $100.000 loan and so supply the embraced initiative with the needed "take off' economy. But this request could not be fulfilled because the demanded guarantees for a regular bank loan were not available. Bien then, in return, changed (in order to find a possible opening for this dilemma) the roles and said that, "if the bank wasn't able to give a loan to create the needed start-up budget, he would offer TRIODOS an F.l.U. loan for this sum of $100.000. This FlU loan to TRIODOS BANK would be running over a period of 25 years against 10% annual interest, to connect TRIODOS with the FIUWAC network and let this most inspiring and spiritual river of artworks flow through their building. The interest of such a loan would deliver a bottom line annual economy of $10.000, far less than what would be needed, but it would create at least the needed spark to start the FIUWAC motor and get up in the air. From this new position as "artist-banker", Bien applied common banking demands to the proposed F.l.U. loan to TRIODOS, like; What guarantee could be given that TRIODOS would be able to pay back this loan in 25 years? A question like this from an artist to a bank might raise laughter, but the reality is, that banks sometimes go bankrupt and art never does. Bien suggested that the artists would be willing to, as a social gesture towards Triodos, even supply the demanded guarantee for this F.I.U. loan to TRIODOS by creating a "savings account" but then in the form of artworks, photographs, documents etc, that would all be closely relating to the ongoing FIUWAC collection, and would be named Triodos-"F.I.U.tures". These F.l.U.tures would then be handled as official value representing documents; stamped, numbered, registered, then framed and hung on the TRIODOS walls. If, in twenty-five years, the purpose of the F.I.U.tures as guarantee against the original $100.000 F.l.U. loan to TRIODOS would be fulfilled and the loan paid back, the F.I.U.tures could be sold on the market and so generate new economy for future projects. All these proposals were taken back to Zeist to be discussed and ultimately to be accepted by TRIODOS with great enthusiasm; On June 10th, 3.46 p.m., the first $10.000 interest was paid and from that very moment on it was constantly rush hour for all those involved.

In 2001, following an initial meeting in Brussels, May 3rd 2001, and following correspondence between Waldo Bien, F.I.U. Amsterdam, and Triodos Brussels Director Pierre Aeby, a second F.I.U. loan to Triodos Bank, was established at Oct. 11^th of 2001, for the sum of $50.000 over a period of 25 years, and, on request of Triodos, the first year with six percent interest, the second year eight percent and from the third year on ten percent. It was agreed that the loan would be covered with hundred-twenty-five Triodos Belgium F.I.U.tures.

In Amsterdam Jacobus Kloppenburg, Patrick Healy and Hilarius Hofstede work on the FlU Project. Babeth Mondini vanLoo is asked to sit in on the Board. Kloppenburg makes the visual and conceptual designs, layout and logo, including the usual puns: FUTURES becomes F.l.U.tures, and, because they serve as a guarantee for an FlU loan to the Triodos Bank: Triodos F.l.U.tures. A part of Kloppenburg's first designs and drafts of ideas are part of this F.l.U.tures collection and they give a good insight into how the FIUWAC and F.l.U.tures concept originated and relate to one another: 'interlocked', or, to speak with Kloppenburg's own concept: "the connection of different categories". Bien travels to Houston to consult WaIter Hopps and the Grotfeldt's, and to invite other American colleagues to the FIUWAC project. On suggestion of Grotfeldt he first visits Charles Stagg in Vidor, TX: "he'll give us some artworks". That appears to be true and others follow this gesture. (F.I.U.archive) WaIter Hopps offers to sit in on the FIUWAC Advisory Board and on the 25th of June 1999 dictates a 'letter of recommendation' for the FIUWAC: WWH/dg

THE  MENIL COLLECTION  1511 BRANARD HOUSTON TEXAS 77006.

June 25, 1999

I am writing to support with my highest recommendation the creation of the Free International University World Art Collection. The purpose of this initiative, undertaken by Waldo Bien and other members of the Free International University Amsterdam, is to establish an ongoing art collection, which represents cultural unity and the notion that cultural expression is mankind's most common and fertile ground. It is designed to unveil the secret energies which are hidden in cultural expression. In this century, western-dominated art history has divided creative expression into hierarchical levels. The Free International University World Art Collection is designed to break down these artificial cultural barriers and build world-wide consensus which, to date, politics and governments have failed to achieve. The first step in restoring bilateral relations among divided nations has always been the establishing of cultural relations/exchanges. The collection is analogous with the planting of a tree in which shade mankind can meet and pay respect to a common future interest. In this regard, it is especially propitious that the Dutch Triodos Bank, known for its ethical approach toward banking and investments, is lending their auspices and assistance that together, we might set a new trend for the future. The fact that this collection will be the declared property of the world's population as the only benefactor probably makes it the first real 'modem' art collection in the world. The moment of introduction is unique: On the eve of a new millennium, an open future space. It is my privilege to serve as a member of the Advisory Board of the Free International University World Art Collection. As such, I urgently request that all artists, individuals, multinationals, institutions, and governments support this initiative and contribute to its realisation. The global content of this united population collection should ultimately be placed under the protection of the United Nations. Future generations will be thankful to us for giving such tool into their hands. Sincerely, (signed) WaIter Hopps, Founding Director & Senior Curator

1999, 18th of July - 5th of Sept: Exhibition "PALEO PSYCHO POP and the LIGHT FACTORY", Watertoren AK, Vlissingen, NL (Kloppenburg, Healy, Bien, Hofstede).

K's participation consists of objects from the ARTCHlVE FOR THE FUTURE, ARTVOCADO RUNEN, pastels, car doors, and new TRASHTHETICAL LITTERARTURE productions. In the cellar space of the watertower he makes complex paleo drawings on all walls. Video registration by Oeke Hogendijk and WB (F.I.U.archive). With the exhibition appears a catalogue: PPP, Paleo Psycho Pop Nr 9, circulation 10.000. Kloppenburg, Healy, Bien, Hofstede, O'Byrne, Falk, Hoekstra, Damn, Grotfeldt, Raphael (Max), Rutkowsky. WELCOME TO THE TOWER - WELCOME TO THE LIGHTFACTORY: ..."The journey begins in the Rein-water cellar, were the handwriting of Kloppenburg paleotises the chalk grey walls with cave drawings and central in this room six living alligators. Going up, symbolically following the path of the light, where the image transforms into script, 560 boards with texts by Healy and Hofstede. Filled with thoughts and rich in imagery one ascends further towards the round water reservoir, to the core of "the lightfactory", an installation by Bien and Hofstede. At the opening Patrick Healy from Dublin will read in an eight hour non-stop performance the "Markies van Water" by Hilarius Hofstede (recorded F.I.U.archive). This "sound sculpture" is the crown on top of the 15 years that Hofstede worked with the theme of water.

1999, 17th of July: PZC, Provinciaals Zeeuwse Courant, by RJ. Rozendaal: "Freedom for everyone and a spark of hope for the future", with picture of the artists. Kloppenburg is holding up a text panel in the picture: ART = TAKING CARE  ART = TAKING OVER

NOTE: After the exhibition Kloppenburg's artworks are stored in one of the two containers that have been parked in the tram depot at Bellamieplein since the eviction, under the supervision of city district Oud West, City of Amsterdam. Late 2003, during an F.I.U. inspection, the containers where found forced open and plundered. Kloppenburg’s PPP artworks have been destroyed by the 'treasure hunters' and 'iconoclasts' (F.I.U.archive).

1999, 1st of Oct: Festive opening of the new Triodos headquarters in Zeist, NL, and the first public presentation of the FIUWAC, the 'Free International University Art Collection'. The opening will be performed by HRH Prins Claus. Walter Hopps, Director of the FIUWAC advisory board unfortunately cannot make it; he is working on the Rauschenberg retrospective show. Charles Stagg and Deborah and Virgil Grotfeldt have come from Houston. Due to the enormous interest among bank officials it proves to be impossible to invite all participating artists. The FIUWAC is represented by 7 persons. The artworks have been installed with great care by Kloppenburg and Bien.

But for Kloppenburg and Bien there is also another important success:

In a letter to Triodos Gen. Director Peter Blom of 27 October 1998, Bien has proposed to visualise, by way of "public commitment", the policy towards positive world development and environmental awareness of companies such as Triodos, by giving a voice to Flora and Fauna at the conference table, and indeed to consult animal, plant and earth, in spirit, when making decisions. A spiritual education for members of the board. Triodos has responded positively to this proposal and requests to have the Flora and Fauna chairs installed in the new conference room. The next step is an artistic problem: how, and in what shape?

In a way, the solution already exists. Kloppenburg has been working on these things for years. The red blood of animals, haemoglobin, and the green blood of plants, chlorophyll. Hence, a green chair and a red chair, minimal. To communicate the message to the blind, the arms of the chairs are also provided with an inlay in braille, reading the words flora and fauna. During the exchange of thoughts on the subject, it becomes clear that more is needed, more "thinking"-tools on the middle of the conference tables. In Kloppenburg's hundreds of A4 sketchbooks, one can see how these ideas were developed, how they are chiselled from the mass as images, or plastically built up by subtle modelling. Bien and Kloppenburg give expression to the great pleasure produced by their co-operation. It results in the:

F.I.U. BOARD AND CONFERENCE TABLE TOOL KIT,

For all FUTURE oriented Board and Conference Rooms in the WORLD. (If interested, contact F.I.U. A'dam).

TRIODOS BANK, WHERE FLORA AND FAUNA ARE BOARDMEMBERS.

To this Hilarius Hofstede subsequently adds his predicate: SPONSORED BY NATURE.

NOTE: Special Publication: FIUWAC manifesto, published by Triodos, with the 'Letter of Recommendation' by Walter Hopps, Advisory Board Director, and an F.I.U. statement by Waldo Bien, FIUWAC Founding Director. Boardmembers: Jacobus Kloppenburg, Hilarius Hofstede, Patrick Healy, Babeth Mondini vanLoo, Marietta de Bruïne, and Deborah Grotfeldt.

On show: the first 150 FIUWAC artworks and 100 F.I.U.tures. The F.I.U.tures have been installed in the archive room of Triodos. A group of Kloppenburg artworks from the W.B. archive, initially meant for Moyland, are added to the FIUWAC over the coming years: www.fiuwac.com. 

NOTE: In 2000 Kloppenburg develops the concept of a next generation of sculptures: SHRINK-WRAPPED 100% hand selected PRESENT-AGE REALITY PRO-FILE / OCCIDENT ETHNIC RELICS COCOON (16-10-2000 L 123 08:1Oh). The concept cannot be developed any further because the city of Amsterdam is holding the ARTCHIVE FOR THE FUTURE hostage. But enough other work remains to be done: In the same year the F.l.U.tures series is expanded to a total of almost 500 works, amongst which a complete historical overview of the FlU activities of the past years that visualises the historical background and fundament of the FlU Amsterdam. As a result a complete overview of Kloppenburg's work can be found in the F.l.U.tures collection and in the FIUWAC, all categories as from 1949 up to 2000 have been amalgamated into a new Social Sculpture context and stored in a safe place which is inaccessible to vandals, the Triodos Bank. The production of F.I.U.tures is a highly creative process, probably even the most pleasant and spontaneous aspect, because of the continues creation of unexpected artworks and the interconnection between them. But a great deal of attention is also spent on the further development of the FIUWAC. Douwe Former photographs all the works for documentation as well as for future publications.

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Triodos Headquarters Zeist NL

K with Marrowbone Spectacles

Designs for Triodos F.I.U.tures logo, 1999

Triodos General Director Peter Blom

Walter Hopps

Steiner Drawing

Donations to the FIUWAC onto the studio wall, 1999

Installing with Sebastiaan Bien

PPP No 9

Hilarius Hofstede

Leon Riekwel and the PPP, FIU, and FIUWAC crew at the Light Factory

Discussing work with Director Leon Riekwel

Patrick Healy Reading

Triodos Headquarters opening and first FIUWAC presentation, from the left: Hilarius Hofstede, Virgil Grotfeldt, Patrick Healy and Triodos Gen. Dir. Peter Blom in splendid conversation with Jacobus Kloppenburg.

The first 100 Triodos F.I.U.tures installed

Triodos conference room with the F.I.U. TOOLKIT installed: permanent seats for flora and fauna, Kloppenburg’s approved marrow bone spectacles on the table (EYEDEAL), securing the best possible outlook and insight for the board in all matters and to the benefit of all.