FTN-blog

In its 64th year, we commemorate the groundbreaking Rörelse i konsten (Movement in art) exhibition, first showcased at the Stedelijk Museum in Amsterdam and later at Moderna Museet and Louisiana, near Copenhagen. To honor this milestone, we have curated a small yet compelling display of artworks, documentation materials, and related texts from the exhibition.

At its core, Rörelse i konsten was defined by performances and happenings, which formed the central pillar of the exhibition. On June 18, as part of the conference “An Experimental Conference on Art and Science to Challenge the Mid-Summer Sun,” Otto Piene will recreate the monumental performance piece, “Proliferation of the Sun.”

The driving force behind the exhibition in 1961 was Pontus Hultén, Director of Moderna Museet, who collaborated closely with Daniel Spoerri and Carlo Derkert. Their vision was to showcase movement as a revolutionary force in 20th-century art, tracing its history from futurism to contemporary artists pioneering new art forms. Hultén believed that kinetic art, with its temporal aspect, represented a complete departure from the traditional, sacrosanct values of art, summed up as “definitive beauty and eternal order.” As such, motion became a powerful metaphor for ultimate freedom and anarchy.

The arrival of Rörelse i konsten in the Swedish art world and media sparked intense debate and discussion. While some critics praised it with enthusiasm, others were quick to make cynical remarks, joking that the museum had opened a branch for Gröna Lund amusement park. A few artists even publicly denounced the exhibition, with young Öyvind Fahlström voicing his admiration, while Sven Erixson expressed fury, leading to a rift between him and his once-close friend, Bror Hjorth, who passionately defended the exhibition. Regardless, one thing was undeniable – Rörelse i konsten left a lasting imprint, unlike anything before it.

More depressing is the fact that it was a very male affair. Of the exhibition’s 233 works by 83 artists, only eight were made by women. Cecilia Widenheim writes about this in “Framtiden som vi minns den” (The future as we remember it), published in the catalogue Jean Tinguely, The Future As We Remember It (Henie Onstad Art Centre 2009) and asks rhetorically “Is it the case that only male artists, with the exception of Niki de Saint Phalle, are attracted by the theme of motion? Or was the field quite simply so dominated by male theorists, technicians, critics and artists that women artists were not allowed in?”

At any rate, the idea of movement came to be central to the Pontus Hultén’s entire working life. Already before Rörelse i konsten, he was involved in the Le Mouvement exhibition at Gallerie Denise René in Paris, and, for instance, published texts about Jean Tinguely, who he also staged an exhibition with at Galerie Samlaren in Stockholm in 1955. His subsequent history is full of related projects and, in 1968, he mounted the historically encyclopaedic exhibition The Machine. As seen at the end of the mechanical age at MoMA in New York. In it he went more deeply into humankind’s relationship with technology, emphasizing the artist’s role – in an age of mass production, consumption, and depletion of the world’s resources – in taking back the initiative from the machine. The mechanically mobile Study Gallery set up at Moderna Museet when Hultén donated his collection in 2005 can be seen as a logical endpoint to his work.

Rörelse i konsten holds immense significance for the annals of art history and the collection at Moderna Museet. Not only do the showcased works reside here, but several others have also found their place in other corners of the museum. One such example is Alexander Calder’s imposing outdoor creation, The Four Elements, and the museum’s renowned replica of Marcel Duchamp’s The Large Glass, displayed in a surrealistic setting a few halls away alongside Man Ray’s dangling mobile. These pieces of art are not mere trophies put on display; rather, their concepts and ideas deserve contemplation in the context of our modern world. Rörelse i konsten elicits musings about the potential of art, the role and freedom of the artist, the criticisms of consumption and civilization, the efficacy of cooperation and collective work, and more. Further recommended reading includes Cecilia Widenheim’s writing, the contributions of Hans Hayden and Marianne Hultman in Moderna Museet’s The History Book, and the book on E.A.T and Billy Klüver, Teknologi för livet. Om Experiments in Art and Technology.

The commemorative display will continue to be on exhibit in the collection until November, after which the limelight will shift to the 50-year-old Rörelse i konsten at The National Museum of Science and Technology, where it will be juxtaposed with the work of another notable figure, Christopher Polhem. This encounter will delve into the relationship between humankind and mechanics, from absolute devotion to profound pessimism.

www.ftn-books.com is fortunate to have both publications ( STOCKHOLM and AMSTERDAM ) available.

Zwartjes’ photography played a crucial role in his artistic process, manifesting itself in his profound films. These photographs served as studies, a byproduct of cinematic moments, and at times, stand-alone depictions. The artist’s multifaceted approach aimed at satisfying his relentless need to portray his distinct interpretation of the world. As a photographer, Zwartjes stands shoulder to shoulder with pioneering individuals like Gerard Fieret and Ed van der Elsken, renowned for elevating Dutch photography to the realm of fine art. Embodying idiosyncrasies that yielded remarkable results, Zwartjes paved the way for future generations of artists like Arno Nollen, Hester Scheurwater, and Paul Kooiker, whose exploration of the human psyche often involves capturing images of the female form.

In 1968, Zwartjes became one of the trailblazers in the Dutch art scene, utilizing film as a medium. Initially, he used it to document his performances, but eventually, it became an independent form of expression. He single-handedly managed everything, from the camera work and sound to editing and film development. Working with an editing technique that involved manipulating the camera to determine the sequence of shots, the artist expertly crafted the narrative of his films. His actresses, including the likes of Willeke van Ammelrooy, Moniek Toebosch, and his wife Trix Zwartjes, are often portrayed as being caught in a web of sexually-charged power dynamics. Hysteria, psychosis, and cruelty act as recurring but subtle themes in his work, merely serving as the impetus for the stunning images he produces.

Frans Zwartjes paid little heed to traditional film-making conventions such as linear storytelling or coherent plotlines. Yet, each of his scenes alludes to the possibility of a narrative. His cinematic universe is a bizarre, yet undeniably convincing one. Form takes precedence over substance, evoking a surreal effect that is both captivating and disorienting. Fascinated by the powerful, non-verbal potential of images, Zwartjes’ films leave a lasting impact on all those who encounter them.

The art of photography has taken Eddy Posthuma de Boer to over 85 countries: he has been witness to historical events and come face to face with the greats of the world. Throughout his career, he has predominantly been on the road for his work as a photojournalist. Alongside his journalistic photography, he has also always produced personal work, which he has compiled into dozens of photo books.

The humanist photography movement, which emerged in Europe shortly after World War II, has had a significant impact on Posthuma de Boer’s work. This socially documentary movement was characterized by capturing the human experience, documenting the traditions and customs that connect us as humans, and having a sincere belief in societal progress. Eva Besnyö (1910-2003) – a major source of inspiration and a ‘photography mother’ to Postuma de Boer – is considered part of this movement, along with Henri Cartier-Bresson (1908-2004) and Robert Doisneau (1912-1994).

But Eddy Posthuma de Boer also displays another side of the post-war period: the rise of youth culture with jazz and rock ‘n’ roll music, and the widespread social unrest of the late 1960s and 1970s. In this regard, the photographer aligns himself with illustrious contemporaries and fellow professionals such as Ed van der Elsken (1925-1990) and Johan van der Keuken (1938-2001): the generation of existentialism that placed their individual view of the world at the heart of their work and no longer believed in the myth of progress. As such, Posthuma de Boer’s optimistic worldview does have a raw edge to it.

www.ftn-books.com has several publications on Posthuma de Boer available.

Since his student days, Brinkmann has been working with found objects and constantly tinkering with old things. Initially, he remained invisible in his work, but this changed when he had to move various objects for an exhibition a few years ago.


He became exhausted and momentarily lost his sense of why he created art. In a state of disarray, he decided to photograph himself with as many objects as he could carry. “In hindsight, this photo was the starting point for all the works you see here. The overarching theme is the relationship between the human body and objects,” says the German artist.

The pronounced work of German artist Thorsten Brinkmann encompasses photography, sculpture, performance, and installation. Through his art, Brinkmann shows us how humans relate to the objects around them. He playfully selects and combines objects – and the stories that come with them – in his studio. The results of this process take on various forms, including photography, sculpture, three-dimensional installations, and video art.

Since his student days, Brinkmann has been working with found objects and constantly tinkering with old things. Initially, he remained invisible in his work, but this changed when he had to move various objects for an exhibition a few years ago.

www.ftn-books.com has the invitation for GEM exhibition now available.

Pierre Gilliard photographed the last days in the lives of the Romanovs.

On March 8, 1917, during the Russian Revolution, the communist army forced Tsar Nicholas II Romanov to abdicate his throne. Years of war and famine had led to protests and strikes, and with the army joining the rebels, the days of the Romanov imperial family were numbered. After a few months of house arrest and a move to a “safer place,” Nicholas II, his wife Alexandra, and their five children – Olga, Tatjana, Maria, Anastasia, and Alexey – were executed by the Bolshevik army. Their gruesome deaths, the rare blood disease of Crown Prince Alexey, and the involvement of faith healer Rasputin continue to captivate the imagination, ensuring that the Romanov family remains a subject of fascination. Countless books and films have been made about the life of Anastasia and the mystery surrounding her death alone.

Around 1911, Pierre Gilliard began photographing the family and remained involved until shortly before their death. During these years, he captured both official events and home scenes, went on holidays with the family, and followed the children in their free time, such as playing “war.” The exhibition features over seventy modern enlargements of his original negatives.

www.ftn-books.com has the invitation for the exhibition at the Fotomuseum now available.

Het oeuvre van Michel Hoogervorst (1961, Nederland) bestaat uit tekeningen, etsen en schilderijen van acryl- en alkydverf. Door het gebruik van lijnen en vlakken worden de doeken in compartimenten opgedeeld. Binnen deze rasters vertelt de kunstenaar zijn verhaal. Zijn werk verbeeldt vaak ingetogen observaties van alledaagse voorwerpen en onderwerpen. Soms zijn de details van de onderwerpen of voorwerpen herkenbaar, maar meestal zijn deze tot heldere vormen geabstraheerd die met hun monumentale compositie een diepe rust uitstralen.

Because of a recent acquisition FTN books has a very special Hoogervorst cassette containing 27 etchings available. The cassette is handmade and painted by Hoogervorst and thanks to the cooperation of Koos Gijzen i am able to offer this scarce item for sale. Cassette Contains 27 etching in and edition of only 5 copies each. All are signed and numbered in pencil. For information visit www.ftn-books.com

Michael Ryan pursued a degree in Fine Art and Illustration at Columbia College of Chicago before settling in Brooklyn, New York where he currently creates and showcases his work.

Ryan’s creations are a fusion of mixed media on paper, drawing inspiration from early 20th century found photographs encompassing diverse subject matters. He employs the source image as a starting point, imbuing it with his complex process of augmentations and modifications, culminating in a work of intricacy, enigma, and allure.

The illustrious Anna Marra Contemporanea in Rome represents Michael Ryan. He has garnered acclaim with solo exhibitions hosted by Anna Marra Contemporanea, Wanwan Lei Projects in New York, Cathouse Proper in Brooklyn, NY, as well as a solo booth at Drawing Now Paris through collaboration with Anna Marra Contemporanea. Ryan has also been a part of group shows at esteemed galleries such as Van Doren Waxter in New York, Phoebus Gallery in Rotterdam, and Project Plus in London.

In 2013/14, Michael Ryan received a prestigious fellowship and residency at the Marie Walsh Sharpe Foundation in Brooklyn, New York, further solidifying his reputation as a renowned artist.

www.ftn-books.com has several Ryan publications now available.

Jan van der Pol epitomizes versatility as an artist. His repertoire includes paintings, drawings, lithographs, woodcuts, and etchings. Notable in his early work from the early 1980s is the focus on the upper portion of the canvas, led by high horizons and standing figures in the landscape, inspired by the photographs of E.J. Muybridge (English photographer, 1830-1904). After exploring cityscapes, particularly in 1984, the portrait motif emerged in his work, initially as busts but later also as full-fledged faces. Van der Pol’s art does not conform to any specific movement or framework, making it somewhat enigmatic to some. He combines images from his direct observation as well as from television or photographs, creating a unique fusion of visuals in each of his works. One can observe his fondness for structured horizontal and vertical lines (compartments, grids, boxes) in almost every piece, wherein various motifs such as landscapes, human figures, and portraits come to life. Alongside the prevalent use of black, grey, and white, color also holds a prominent position in his art. Complementary and aesthetically pleasing colors are juxtaposed intentionally. Van der Pol’s masterful play with colors transforms those that clash and appear unattractive into beautiful blends.

Jan van der Pol’s work is a cherished possession of several museums, municipalities, and art rental companies. He has been recognized with accolades such as the Van Bommel- Van Dam, Arti Medaille, and Basisstipendium Fonds. His art has been showcased in both solo and group exhibitions.

www.ftn-books.com has several items on van der Pol available.

Rolf Engelen (b. 1964), from Nijmegen, underwent his education at the Academy of Fine Arts and Design in Den Bosch. A versatile visual artist, Engelen boasts not only a prolific exhibition record but also a plethora of community projects in public spaces under his belt. From 1995 to 2006, he served as the director of the Biannual Exhibition at Nagsael Museum, and in 1997, he founded the Second Chance Plant Company, dedicated to rescuing street plants. Currently residing and working in Rotterdam, Engelen is also a faculty member at the Willem de Kooning Academy.

www.ftn-books.com has the RAM invitation for his exhibition now available.

Paul Gustave Doré was born on January 6, 1832, in Strasbourg, France. He is considered one of the most important and prolific, as well as successful, book illustrators and mediators of late 19th-century European culture.

He was largely self-taught and even as a child, he showed his inclinations towards painting and drawing. In 1845, Doré arrived in Paris. In 1848, he became a contributor to the “Journal pour rire”.

With his rich and bizarre imagination, Gustave Doré created dreamlike scenes and illustrated works from world literature such as Dante’s “Inferno”, Cervantes’ “Don Quixote”, John Milton’s “Paradise Lost”, Edgar Allan Poe’s “The Raven”, works by Homer, Lord Byron, Johann Wolfgang von Goethe, and many others. The illustrations for Dante Alighieri’s “Divine Comedy” in 1868 were the crowning achievement of Doré’s career.

His diverse body of work includes various genres, from comics to Bible illustrations. Doré even had an impact on Hollywood film production. Some images in famous films such as King Kong, some creatures from the Star Wars universe, and the Dead Tree in Sleepy Hollow bear resemblance to Doré’s illustrations. He was also a painter, draftsman, etcher, and later even a sculptor.

The artist possessed a distinctive ductus, employing the clair-obscur technique to contrast light and dark paintings. His pieces exuded depth and mystique, often featuring intricate details and realistic depictions of fantastical creatures and showmen. Minimalistic yet dramatic, his drawings evoked intense emotion and created powerful imagery. The works that shaped him were grotesque, macabre, and filled with fantasy and exaggeration. Gustave Doré’s illustrations documented the Crimean War, the Commune of Paris, and the proletariat of London, while his watercolor landscapes were also highly acclaimed. Two of Doré’s most successful oil paintings were “Paolo and Francesca da Rimini” (1863) and “The Neophyte” (1868). His illustrations of the English Bible (1866) and fairy tales by Charles Perrault were also widely renowned.

In 1867, Doré held a major exhibition of his work in London, leading to the establishment of the Doré Gallery on New Bond Street.

However, not all of Doré’s engravings were crafted by his own hand. With a team of 40 employees, he was able to meet the high demand for his illustrations and drawings. His original works were sold in galleries in Vienna, London, and other cities, as well as reproductions of his book illustrations, bringing great financial success and a carefree life for the artist.

Five years before his death in 1877, Doré turned to sculpting. Without any formal training, he produced ingenious marble and bronze sculptures that left their mark on the art scene of the 1870s. His final work was a monument for Alexandre Dumas, a testament to his passion and talent as a sculptor.

Dore never married, instead remaining in the comforting bosom of his mother in the bustling city of Paris. His work ethic was unmatched, fervently producing an abundance of drawings despite the nagging feeling of inadequacy and perennially feeling misunderstood. The true extent of his prolific output of drawings remains a mystery, for he toiled tirelessly from sun-up to sundown, creating thousands of masterpieces.

Sadly, on 23rd of January, 1883, the world lost the remarkable Gustave Doré to a sudden heart attack.

www.ftn-books.com has several Dore items now available.