(b. 1934, Leerdam, lives and works in Middelburg)

Marinus Boezem was from the mid-1960s onwards (along with Jan Dibbets and Ger van Elk) one of the major proponents of approches that in the Netherlands moved artistic practice obstinately away from classical materials and processes. Boezem participated in ground breaking exhibitions such as When Attitudes Become Form (1969) and Op Losse Schroeven (1969). Early works of Boezem comprise only an idea, or they existed in the form of proposals to be realized. He undermined the uniqueness and durability of the artwork unhinging it from traditional values. From the mid 1970s, Boezem started to work out his conceptual ideas in sculpture where the environment began to play an important role. Themes such as air, light, sound and movement remained leading motives in his sculptures. In the 1970s teaching also became an important part of Boezem’s activities. Out of an idealistic belief that art is for everyone, and skepticism about the art world, he devoted himself to what was then called “non-formal education.”

“Cordially hope the weather will be mild during the exhibition with wind -force 3 m/sec. so there will be a moderate breeze: then leaves and twigs are in constant motion, small branches begin to move. Dust and paper will whirl round above the ground.” Marinus Boezem (1969)

In Temperature/Humidity Drawings (1970) Boezem used ordinary temperature drawings to appeal to the normal functioning of human senses. The work Weerkaart, donderdag 26 september 1968 [Weather Map, Thursday, September 26, 1968] (1968) is a weather map of the exact day. The map covers Europe and the Atlantic Ocean, the sea is blue and the land green. The isobars and other internationally used meteorological “nomenclature” could describe wind flows, or propose questions about the impact of accelerating flows of communication worldwide and the beginning of globalization.