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Stedelijk Museum ….an eight week job

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Many of you know that http://www.ftn-books.com has one of the largest inventories with Stedelijk Museum oublications. Publications from as early as the Twenties from last century. The last eight weeks i made an effort to include the many publications i have in stock but did not add to my inventory until now. I have include over 1000 Stedelijk Museum publications which makes my inventory one of the largest “searchable” collections of available Stedelijk Museum Amsterdam publications. Over 900 different itesm are now available at http://www.ftn-books..com

visit http://www.ftn-books.com and search for “stedelijk” to discover many of the beautiful publications from this iconic museum.

 

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Huub ( and Adelheid) Kortekaas (1935)

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Perhaps their most important work is the realisation of a sculpture garden devoted to the Five religions of the world.

Tuinen

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The garden is filled with symbolism and numbers which have a relation with the religions they are presenting in their garden. It is impressive, but Kortekaas is familiar with scaping his surroundings and making his sculptures part of the landscape. I just added an early 1967 catalogue to my inventory and it shows the strength and power of his sculptures which are placed and arranged in a dutch landscape.

When you have a chance to visit tis garden….do not hesitate to devote half an hour of your time to this peaceful place, because it is kind of magical.

The above publication is available at www.ftn-books.com

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Mark Manders (1968)

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Just to illustrate the work by Mark Manders here follows a text he wrote in 1994.

The Absence of Mark Manders

Under a table you have the possibility to test your own absence. The realization that life is taking its course, even without you, is an intense human experience; it shows the finiteness of personality. Mark Manders has inhabited his self-portrait since 1986. This building can expand or shrink at any moment. In this building all words created by mankind are on hand. The building arises, like words, out of interaction with life and things.

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The thoughts that surround him in his building are, materialized or not, always important and never gratuitous. ‘When years ago I went for a walk, I would walk through streets where sometimes a clothespeg would be lying, or, when I entered a place, there would be a table with, for instance, a telephone and an empty vase, briefly I would find myself in a world that I hadn’t determined myself. I decided to build a building next to that world, or rather, in that world. A building which was dominated by a changing arrest, where and through which I would be confronted continuously with my choice, the choice of Mark Manders.’ Mark Manders considers the world surrounding his building as an evolved organism that has been constructed from so-called semi-truths. These fall as some loose atom-truths in a kind of ‘encyclopaedia basement’, a space of about four by five metres, around which he constructs his building. Herewith, Mark Manders places his self-portrait as a building actually between two world views: the world as constructed from atom-like semi-truths and the one in which these truths are accepted as facts. Often, we are not afraid in our materialized projection, the world itself has been confided to us. I remember how we determined our first priority roads and that diviners (reading the future in liver) indicated the place of the city. Walking through my building, I get confronted everywhere with deep arrest, it is terrific, the things over here surmount my momentaneous thinking and are familiar to me, I never get bored.

Mark Manders, 1994

www.ftn-books.com has some nice Mark Manders publications available

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Ørnulf Ranheimsæter (1909-2007)

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Ørnulf Ranheimsæter was a Norwegian illustrator, graphical artist and essayist.

He was born in Skien, and educated at the Norwegian National Academy of Craft and Art Industry, where he also later worked as instructor and eventually professor. He is known for his many book designs, and received the Bokkunstprisen award in 1967 and 1987. He was awarded the Fritt Ord Honorary Award in 1998.

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Why this rather obscure , lesser know Norwegian artist?.

The best reason is he illustrated DEN HELIGE NATTEN by Hjalmar Gullberg.  A short story on the Holy Night ( containing 4 original prints). The most appropriate story for today. ( the book is available at www.ftn-books.com)

Merry Christmas!

wilfried

 

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Maria C.P. Huls (1950)

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Dutch-born Maria Huls has had education in the Netherlands but is now living since 1988 near Osnabrück. When I look at her work I do not see much of a dutch tradition in her sculptures. I find them more inspired by Minimal and Konkrete Kunst. This is the kind of art that inspires me and when I look at Huls her sculptures I find them very peaceful but full of tension because of the layered shapes and torsions.

Especially her Kleinskulpturen have these qualities. This another of those lesser-known artists that you discover while writing a regular blog. Maria C.P. Huls deserves a better presentation of her works.

huls

 

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Sigurdur Gudmundsson (continued)

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Just a simple message today…. I have added the very best book on Sigurdur Gudmundsson to my inventory. Published by Zsa Zsa Eyck who presented Gudmundsson several times in her gallery. A very large publication with over 300 pages and arguably the very best and most important book on the artist.

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Jagoda Buic (1930)

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Joagoda Buic is now listed as a Croatian artist but in 1970 Seventies she participated for the former Republica of Iugoslavia at the Venezia Biennale. Her works can be compared to other artists like Pat Steir , but studying her works more closely is that their size in many cases differ.

 

Her works are oversized and abstract and the use of layers of Tissues makes them more like 3 Dimensional sculptural works. Flat against the wall or hanging from a ceiling their sculptural quality is always present. Recently i added the Venezia 1970 catalogue from the Jugoslavia contribution to my inventory. A nice and spectacular publications with 4 separate books in a cardboard sleeve. One on Buic and the other on Bernik and Dzamonja.

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The Buic portrait is one of the most intriguing women protraits i have seen lately , A beautiful adult face with an artistic life ahead of her.

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Sjoerd Buisman (continued)

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A few years ago I wrote a blog on Sjoerd Buisman and explained that I admire his works since I met him at the Gemeentemuseum where he did a project with willow branches on the sides of the ponds of the Gemeentemuseum, but I could not find photographs of the project!

Now I can correct this omission since I bought 2 books on Buisman. One on his sculptures and other works from 1967-1992 and the other on his GROEIWERKEN in which I found the photographs I had been looking for for a very long time.

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Both Sjoerd Buisman titles are now available at www.ftn-books.com

 

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Fernando Sánchez Castillo (1970)

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In his work Fernando Sánchez Castillo analyzes the relationship between art and (political) power. The artist presents us with a different view of, and interaction with, reality in his work. Sánchez Castillo often uses existing “traces” from the past as a starting point for his work and as material for his analysis and transformations. He does so—on the basis of strong social commitment—in a playful and humorous manner. Sánchez Castillo’s fascination with the history of his home country, with the civil war, the postwar era and the dictatorship, but also with today’s world, departs from a concern not only for the political and the revolutionary, but certainly for the social aspects of historical processes as well. Collective memory extends far beyond national boundaries and finds its way into the present. The artist plays with connotations that once sought images to match and, conversely, with images that now demand new connotations. The work of the Sánchez Castillo is an attempt to rewrite history, at least to make us aware of its complexity and traces, and also to show that history is a story that is constantly being constructed from the vantage point of power.

Fernando Sánchez Castillo was born in 1970 in Madrid (ES). He holds a degree in Fine Arts from the University of Complutense Madrid, and a MA degree from the Instituto de Estética Contemporánea, Universidad Autónoma, Madrid. He is a former member of the research group of ENSBA Paris. In 2005 and 2006 he was a resident at the Rijksakademie van Beeldende Kunsten in  Amsterdam (NL). Sánchez Castillo participated in the Research Team of the United Nations Geneva, PIMPA Memory, Politics and Art Practices. He had solo exhibitions at a.o. Shchusev State Museum of Architecture, Moscow (2019, RU); Kunstraum Innsbruck (2016, AT); Sala de Arte Público Siqueiros, Polanco (2016, MX); Stedelijk Museum ’s-Hertogenbosch (2016, NL); Centro de Arte Dos de Mayo CA2M, Madrid (2015, ES); OK Centrum Linz (2014, AT); Rabo Kunstzone, Utrecht (2013, NL); Kunstpavillon München (2013, DE); Kunstverein Braunschweig (2012, DE); Matadero Madrid (2012, ES); CAC Malaga (2011, ES). Group shows at a.o. Riga Biennial (2018, LT); National Center for Contemporary Arts. Moscow (2016, RU); Today Art Museum Beijing (2016, CN); Biennale Gherdëina (2016, IT); Centraal Museum Utrecht (2016, NL); Manifesta 11 Zürich (2016, CH); Albertinum Dresden (2015, DE); Palais de Tokyo (2015, FR); MOTA Tokyo (2014, JP); Goteborg Biennial (2013, SE); De Appel Amsterdam (2013, NL) and MAC Marseille (2013, FR). Works by Fernando Sánchez Castillo are part of international public and private collections.

the CAC Malaga exhibition catalogue is available at www.ftn-books.com

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Chris Evans (1967)

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This article on Chris Evans comes from FRIEZE. He is one of the younger artists to feature in this daily FTN blog.

Artistic processes that involve commissioning others to produce work have often been fraught with unease. From the confused parameters of collaborative authorship to the unforeseen conflicts of interest that frequently arise, it is often difficult to sidestep the undercurrents of exploitation that vex this field of practice. One might imagine that in order to work with or within the corporate sector, an artist might need a degree of brashness and swagger. We might assume that he or she is intent on agitating, exposing or critiquing institutional structures. But what if, as in the work of British artist Chris Evans, this could be a far more generous proposition than preconceptions might suggest? ‘Clerk of Mind’ – Evans’s first solo exhibition in Ireland – highlighted the artist’s role as facilitator and translator between seemingly incongruous specialist fields, including international political relations and high-end jewellery design.

Praxes Center for Contemporary Art

Sensitively curated by Kate Strain, the show comprised the reconfiguration of three existing artworks never presented together before. Plans are currently underway for Project Arts Centre to commission new work by Evans in response to the Irish context. Probing the vehicle of co-authorship, CLODS, Diplomatic Letters (2012–ongoing) is a series of drawings of invasive plant species, sketched by invited members of the international diplomatic community, which were subsequently photographed by Evans, inverted and then printed as silver bromides. The tentative, almost courteous quality of the diplomats’ lines contrasted robustly with Evans’s cement and marble sculptural clods, and the slippery strips of PVC matting arranged across floor-level, custom-made platforms. Punctured with boreholes, the clods seemed to memorialize the negative space left behind when weeds are pulled from the ground. As co-authored works, these art objects are remnants of exchanges that remain partially hidden – an aesthetic in keeping with the wider curatorial approach at Project, which often presents the residual artefacts of earlier interventions in the gallery or elsewhere. In a similar vein, the textual remains of corporate negotiations featured in Evans’s concurrent exhibition ‘Untitled (Drippy Etiquette)’ at Piper Keys, London, which presented correspondence relating to the proposed rebranding of a dwindling socialist newspaper.

A Needle Walks into a Haystack (2014), named after the main exhibition at last year’s Liverpool Biennial, for which it was commissioned, comprises a vitrine housing a jemonite base and a dazzling, jewel-encrusted ring, crafted at Evans’s invitation, by high-end jewellers Boodles. The impish features of a golden ‘flowergirl’ are discernible amidst the ring’s glittering frondescence. Given that companies like Boodles might typically sponsor biennials or similar events, Evans proposed an alternative form of exchange, probing the space where art meets patronage. His design brief requested the creation of a piece of jewellery in response to the biennial’s press release – a rather excessive promotional statement including the key words ‘intimate’ and ‘domesticity’ – upon which the jewellers based their response, as explained in the literature accompanying ‘Clerk of Mind’. Mindful of their existing clientele and general perceptions of luxury brands, Boodles carefully scrutinized the terminology used to define the parameters of the commission. Treating the ring as an ‘artwork’ necessitated a contractual agreement outlining its shared ownership, the fact that it cannot be sold as a piece of jewellery and future transportation arrangements, to be implemented by Boodles’ own couriers.

As overseer of this kind of co-production, Evans acts as functionary (or ‘clerk’) – tracking the thoughts and intentions of his collaborators, while administering the practical arrangements and textual material which support the process. The artist has stated that he harbours no intention to critique particular groups, institutions or procedures; instead he hopes to forge relationships built on trust with figures whom he perceives to be especially misunderstood by the art world. Though the artworks are ultimately credited to Evans, the fact that he makes very visible the cooperative processes that lead to their production is an attempt to invalidate Romantic claims about the artist as ‘lone producer’ or ‘creative genius’. Conversely, Evans focuses on the capacity of artists to engage with a range of institutional, commercial and bureaucratic frameworks in a continuous process of reciprocal exchange. http://www.ftn-books.com has one Evans title available. The “Goofy Audit” is a future classic.

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