In the catalog of Artzuid 2021 on page 82 a 'Gestalt' from 1999 and one from 2005, with accompanying text by Sigrid Bruijel about the creation of Armando's bronzes.
The exhibition ‘After the hunt’ in Rijksmuseum Twenthe is accompanied by a small publication with text by Josien Beltman about ten years of collecting, including the two Armando canvases Der Feldweg (The dirt road) 1-1-17 and Preussisch (Prussian) 1983-84, acquired by the museum.
(…) In Dagboek van een dader (Diary of a wrongdoer) from 1973, Armando makes the first mention of ‘the guilty landscape’. A phrase that has acquired an eminent place in Armando’s oeuvre. Armando himself defined the guilty landscape as a landscape that saw injustice, but did not intervene and imperturbably continued to grow.
Fragment from Die Schuldige Landschaft, a contribution by Sigrid Bruijel to Kroniek, March ’21, central theme: ode to the landscape.
Look, the "fantasy bird" of artist Armanduk. Very striking!
Even Armando had his ‘guilty pleasures’. He was, for example, a dedicated reader of Donald Duck comic magazine. In late June of this year, a comic with the above image appeared on the back page of the Donald Duck weekly (no. 29-2020). He would surely have appreciated this. (Thanks for the tip, Joris van Genderen Stort)
Aufzeichnungen über den Feind (English: Notes about the Enemy) by Britta Bendieck, who is the head of the German Desk at the German Institute in Amsterdam and a lecturer on the German language and culture associated with the University of Amsterdam.
Based on three prose texts of Armando, she shows which artistic strategies the artist uses to reflect the wide spectrum of the past in its conflicting diversity. Without judging or denouncing, he challenges the principle of collective memory.
Feindbeobachtung (Observation of the enemy) 1979, 226 x 176 cm (2x, diptiek), collection Hans and Cora de Vries
A richly illustrated catalogue of generous dimensions, with texts by Huub Mous, was published to accompany the exhibition Relations and Contrasts at Museum Belvédère in Heerenveen.
ISBN : 9789056156268
In November 2019, Melanie Lange graduated from Heinrich Heine University in Düsseldorf with this master’s thesis, in which she gives an account of her investigation into the relationship between Armando’s art and literature.
On 12 September 2019 Armando - Toch, a collection of poems and ultra-short stories from Armando’s legacy, was published by Uitgeverij Atlas Contact.
From the jacket blurb: Even in Toch, violence is lurking. Sternly, tensely and severely, the words stand in line. Inapproachable and inevitable, just like Armando’s visual art.
ISBN 978 90 254 56894
Vrijheid, de vijftig Nederlandse kernkunstwerken vanaf 1968 (Freedom, the fifty Dutch core artworks from 1968) by Hans den Hartog Jager.
See page 58 for Armando’s contribution.
On an invitation from Art & Museum magazine, spring issue 2019, Sigrid Bruijel contributed a piece on Armando. (pp. 70-71)
Catalogue to accompany the retrospective exhibition at Voorlinden. With textual contributions by Suzanne Swarts, Cherry Duyns, Hans den Hartog Jager, and K. Schippers. 114 pages hardcover.
Armando - Alle Beelden (All Statues)
In 1988 Armando made his first bronze sculpture, a long arm with a length of more than one metre. It marked the beginning of a series of 174 different works in bronze that enrich his oeuvre, with time in between, to this very day. The statue has a striking form. The arm is not a natural reproduction of an arm: thicker and thinner parts alternate to become a sort of archetype of an arm that thanks to the presence of fingers can be recognised as such. 'Armando, all statues' offers an overall view of sculptural art within Armando’s oeuvre, from his first art installation at the Stedelijk Museum Amsterdam in 1955 up to and including his latest work dating from 2017.
Author: Werner van den Belt
ARMANDO armando is a richly illustrated 300-page retrospective book on the artist, writer, and theatre maker Armando (1929). The book offers a multi-faceted image of this multi-talented artist. Armando has developed into what very well may be the most important Dutch artist. His versatility is accurately shown in the chapters: Zero, Work on paper, Paintings, Late work, Early work, Literature and text, Male Malaise, and The sculptures. In this book, the well-known author and art critic Hans den Hartog Jager describes Armando’s life and work in his own unique, imaginative manner. The composition was put into the trusted hands of Christian Ouwens and Armando, and the extraordinary photography was taken care of by Koos Breukel, Anton Corbijn, Hock Khoe, Wubbo de Jong, Philip Mechanicus, Victor Nieuwenhuis, Paul van Riel, Ad Windig, Clemens Boon, Peter Berch, and Conny Meslier. The typography on the cover was supplied by Armando himself, the photo by Anton Corbijn. The book is bilingual: English and Dutch.
Author: Hans den Hartog Jager
Publisher: Christian Ouwens
Between knowing and understanding
This monumental monography was devoted to one of the major post-war artists of Europe. For many decades, Armando (1929) has been working on an oeuvre in which themes such as melancholy, power (or the lack of it) and the uncomfortable merger of beauty and evil play an important part. With an extremely personal visual and literary oeuvre, he has been in the vanguard of artistic innovators as a visual artist, poet-writer and later also as a television and theatre maker, since the end of the 1950s.
With over 250 depicted works and four lavishly illustrated essays, this publication offers a multi-faceted overview of Armando's oeuvre, for the first time and to its fullest extent opening up a unique and versatile artistic practice that spans six decades.
Author: Antoon Melissen
Publisher: NAI 010
Armando – Brokstukken / Bruchstücke (Scraps)
The paintings and sculptures by the Dutch artist Armando (Amsterdam 1929), who also made a name for himself as a writer, touch the observer with their extraordinary intensity. They invoke a multitude of associations with their powerful visual language and austere figuration. As an indictment on violence, war and threats, they are more relevant than ever. A representative selection of paintings, sculptures and own texts in this publication builds a bridge between Armando’s early work and his late work.
Publisher: Klinkhardt und Biermann Verlag
“I am grateful for the opportunity I was given to photograph Armando,” Wagemakers says. “I followed him for three days, in his studio and at home in Potsdam. He has touched me with his passion, his energy, his ‘lust for work’. Armando is not for half-heartedness, ever.”
Photography: Gerard Wagemakers
Text: Marieke van der Giessen
Publisher: GWM Media