Frans Zwartjes (Alkmaar, 1927) is a filmmaker, musician, violin maker, draughtsman, painter and sculptor. In the late sixties he causes a furor with artistic black-and-white films in which heavily made up and over-dressed actors (such as the performance artist Moniek Toebosch) are caught in a web of sexually loaded power games; hysteria, psychosis and cruelty are among his regular themes. The oeuvre of Zwartjes, once called “the most important experimental filmmaker of his time” by the American essayist Susan Sontag, includes over fifty films.
In 1968 Zwartjes was one of the first Dutch visual artists to make use of film: initially as a record of his performances, but quite soon after as an independent medium, perfectly suited to his way of creating visual art. Zwartjes did everything himself: camera, sound, editing and even the developing in the laboratory. He would work with non-professional actors among his friends, and filmed in and around his own house. What he really preferred… read more
Frans Zwartjes (Alkmaar, 1927) is a filmmaker, musician, violin maker, draughtsman, painter and sculptor. In the late sixties he causes a furor with artistic black-and-white films in which heavily made up and over-dressed actors (such as the performance artist Moniek Toebosch) are caught in a web of sexually loaded power games; hysteria, psychosis and cruelty are among his regular themes. The oeuvre of Zwartjes, once called “the most important experimental filmmaker of his time” by the American essayist Susan Sontag, includes over fifty films.
In 1968 Zwartjes was one of the first Dutch visual artists to make use of film: initially as a record of his performances, but quite soon after as an independent medium, perfectly suited to his way of creating visual art. Zwartjes did everything himself: camera, sound, editing and even the developing in the laboratory. He would work with non-professional actors among his friends, and filmed in and around his own house. What he really preferred was editing his film “in the camera,” by switching the camera on and off while shooting. “My own motor system determined the film style,” Zwartjes stated in an interview. “It never occurred to me to wonder: can this shot follow on after this one? If you start wondering about that you should be looking for another job straight away.” At the Vrije Academie in The Hague, where he started teaching in 1971, and at the Rietveld Academie in Amsterdam, Zwartjes wa regarded as an extremely liberal teacher who seldom prescribed his students exactly what to do. Almost without exception his ex-students call him a major influence on their development.”—Simona Monizza (http://mikehoolboom.com/r2/section_item.php?artist=111)
