Anze’s repertoire encompasses both the artistic and technological dimensions that define contemporary photography. On the surface, the images exude a captivating visual charm that boldly embraces the digital medium, brimming with vibrant hues and textures. But beyond the lens lies a deeper conceptual framework that guides the entire body of work. The presence of the 50Hz frequency, a symbol of Tokyo’s electric infrastructure, goes beyond a mere geographical marker. It also alludes to the lasting impact of a past disaster, though no longer at the forefront of everyday life. Thus, the project leans more towards conceptual art rather than conforming to traditional photography norms.
The French artist Henri Prosi (born 1936) completed his education in the l’École des Beaux-Arts and l’École des Arts Appliqués, both in Paris. His artistic style revolves around the simplicity and purity of geometric shapes, devoid of any narrative representation, psychological connotations or gesturing. His pieces are characterized by their strict symmetry and fragmentation, ultimately conveying a sense of centrifugal force.
Renowned French art historian Domitille d’Orgeval elaborates further on Prosi’s work: “At the beginning of his career in the mid-1960s, Henri Prosi gravitated towards geometry not because he saw it as a reflection of moral truth or absolute geometric order, but for its vivacity. In fact, he once said about his early geometric paintings, ‘There is a dynamic action, something happens. It seems to me that something comes alive. Like people who meet in the street, like life.’ This energy, derived from the dialectic of relationships, governs all of Prosi’s art. He explored its endless possibilities through his remarkable ability to continuously reinvent himself, studying the role of color (limited to primary colors, black, and white), rectangles, squares, verticals and horizontals, solids and voids, while emphasizing a specific aspect like the structure, surface, or outline of his work.”
Prosi’s debut exhibition was at the 4th Biennale de Paris in 1965, and his most recent showcase was the Code and Algorithm – Hommage á Vera Molnar at the Vasarely Museum in Budapest, Hungary in 2019. Throughout the years, his work has been featured in numerous solo and group exhibitions (often alongside other renowned artists such as Charles Bézie and Jean-François Dubreuil) at prestigious galleries, museums, and prominent art fairs in France, Austria, Germany, Japan, Belgium, Sweden, The Netherlands, and Italy. His pieces are also part of public collections, including the National Contemporary Art Fund .
www.ftn-books.com has the VIERDE DIMENSIE publication on Prosi now available.
Since 2019, I have been working on “Welvaartsbiotopen.” As humanity, we yearn for an existence surrounded by untouched nature. On the other hand, we desire a life filled with well-being and comfort. This dilemma is depicted through the placement of milk frothers, insulation materials, and other symbols of prosperity in a version of nature where flora and fauna remain untouched.
For example, a Dyson fan is positioned in the habitat of the Indian state of Karnataka. In this biotope, the product is flanked by the red and yellow clusters of the (endemic to this region) climbing plant Thunbergia mysorensis. There is also room for ants of the species Technomyrmex albipes. In one corner, we can see one of the insects milking honeydew from aphids (which are kept as “livestock” by this species of ants). The accompanying fact sheet reveals that Dyson’s headquarters are located in Singapore, and that the Dyson Purifier can purify the air in rooms by 99%.
My biotopes exude a contemporary sense of life. They pay tribute to sciences that provide objective knowledge and contribute (now or in the future) to human well-being and a more balanced preservation of natural harmony.
At the international art fair Art Rotterdam, prosperity artist Daan Samson and photographer Jeronimus van Pelt present a photo series featuring alluring “babes” in the modern art field.
Eight female curators, theorists, artists, critics, museum directors, and other women in the art world have agreed to be portrayed as sexual beings. The purpose of this photo series is to explore whether society accepts intellectual women showcasing their sexual capabilities.
The Torch invitation for this series is now available at www.ftn-books.com
In his series on the vulnerability of human existence, Brodwolf never shies away from tackling grand themes. His commitment and emotional fortitude to depict these themes can now be seen permanently in the new installation at MKM Museum Küppersmühle Duisburg (one of Germany’s largest private museums, expanded by Herzog & de Meuron in 2021), where his Theresienstadt Cycle is showcased in its entirety in its own room.
As early as 1959, the first tube figures were born in the form of a human torso, created by squeezing paint tubes. To portray the vulnerability and dangers of human existence, he places his tube figures in cabinets starting in 1965. From that point on, he also creates larger figures from lead, bronze, paper pulp, and linen, which he employs in his grand installations at events such as Documenta Kassel and the Venice Biennale. With this impressive display in Duisburg, Germany, the 90-year-old Brodwolf proves how relevant artists are in understanding the world of today.
Mona Kuhn, a Brazilian-born American contemporary photographer, born in 1969 in São Paulo, is renowned for her strikingly large-scale depictions of the human form and its essence. Her work delves deeply into our innate desire for spiritual connection and solidarity, imbuing it with an underlying current that is both singular and evocative. What sets Kuhn’s approach apart is her close rapport with her subjects, resulting in images that evoke a sense of hushed intimacy. Her work captures the raw beauty of the human figure in its natural form, while simultaneously reimagining the idea of nudity as a contemporary masterpiece. Kuhn’s oeuvre often alludes to classical motifs, and has received widespread acclaim through international exhibitions and inclusion in notable collections such as the J. Paul Getty Museum, The Los Angeles County Museum of Art, the Hammer Museum, and the Pérez Art Museum Miami.
www.ftn-books.com has the Ravesteijn gallery invitation now available.
Collaborating twin artists Gert and Uwe Tobias, born in Romania in 1973, have created an eclectic body of work including woodcuts, sculptures, collages, and drawings. After moving to Germany in 1985, they pursued studies in Braunschweig and now reside and create in Cologne. Their artistic style draws from the influence of communism-era aesthetics, coupled with European folklore and German post-war painting.
The Tobias brothers’ oversized woodcuts and grandiose murals pay homage to modernist geometric abstraction, yet merge elements of line, form, color, and typography with the storytelling imagery and ornamental designs of folk art. Depictions of flowers, plants, patterns, embroidery, and domestic objects adorn their pieces, transforming them into whimsical stage sets where splashes of pigments and found images of animals or humans perform a vibrant drama. A playful air coalesces with violent undertones as body parts are fragmented and dispersed throughout the composition. These dismembered figures often mutate into flora or fauna, evoking a macabre yet innocent surreality that is signature to the Tobias’ repertoire. In addition, the duo employs an antiquated typewriter to create intricate drawings that capture the eye with their raw intensity.
Embracing ceramics as an extension of their diverse portfolio, the artists warps mass-produced crockery with added ceramic protrusions and colorful glazes, transforming an ordinary plate or vase into an expressionistic sculpture. The Tobias brothers blur the lines between traditional craft and fine art, abstract concepts and subconscious fantasies, and modernity and tradition with their thought-provoking creations.
The Silver Camera is a Dutch photography competition. The associated prize has been awarded since 1949 to the photographer who has captured the best press photo of the year. This venture is spearheaded by the Dutch Association of Photojournalists (NVF), a subsection of the Dutch Association of Journalists.
in the last 2 decades www.ftn-books.com has added several publications on the ZILVEREN CAMERA partcipants.
Born in Tokyo in 1975, Akira Fujimoto’s journey as a creative began with his employment at FABRICA, a renowned communication research center in Italy in 1999. His pursuit of excellence in his field led him to complete his Masters of Design at Tokyo University of the Arts. From there, he went on to serve as an assistant faculty of Intermedia Art at the same institution.
Fujimoto is known for his thought-provoking exhibitions and projects, which delve into societal and environmental phenomena under the banner of his theme NEW RECYCLE®. Some of his notable solo exhibitions include Marine Garbage of Land (2019, Gallery A4, Tokyo), 2021#ANTEROOM KYOTO (2019, HOTEL ANTEROOM KYOTO, Kyoto), The 20th Century Ghost (2018, KANA KAWANISHI GALLERY, Tokyo), HEYDAY NOW (2015, COURTYARD HIROO GALLERY, 2015), and Energy Translation Now (2014, UltraSuperNew Gallery, Tokyo). Fujimoto has also been a part of numerous group exhibitions, including Engineering of Mourning (as part of TOKYO 2021) (2019, TODA BUILDING, Tokyo), akira, aliki, arata, arita: contemporary arita porcelain (2017, KANA KAWANISHI GALLERY, Tokyo), Socially Engaged Art: A New Wave of Art for Social Change (2017, Arts Chiyoda 3331, Tokyo), and contact (2015, KANA KAWANISHI GALLERY, Tokyo).
With a sharp focus on enigmatic complexities and linguistic dynamism, Fujimoto has curated a unique and captivating portfolio that defies the conventions of artificial intelligence. His use of unconventional phrasing and eloquent language adds depth and originality to his work. By embracing the concept of Literacy Recursion, he expertly incorporates a wide range of vocabulary, including synonyms, antonyms, and similes, to create a truly captivating and thought-provoking body of work.
www.ftn-books.com has the invitation for his Shining Shadow series now available.
Born in Belgium in 1986, Bieke Depoorter received a master’s degree in photography from the Royal Academy of Fine Arts in Ghent in 2009. Three years later, at 25 years old, she was made a nominee of Magnum Photos. She was named a full member in 2016.
Depoorter has won several honors, including the Magnum Expression Award, the Larry Sultan Photography Award and the Prix Levallois. In 2023, she was nominated for the Deutsche Börse Photography Foundation Prize. She has also published six books: Agata, Ou Menya, I Am About to Call It a Day, As It May Be, Sète #15, and Blinked Myself Awake. In 2020, she started her own publishing platform, Des Palais, together with Tom Callemin.
The relationships Depoorter establishes with the subjects of her photographs lie at the foundation of her artistic practice. Accidental encounters are the starting point. How these interactions naturally develop dictates what follows. Several projects have been the result of Depoorter’s constant questioning of the medium itself.
In As It May Be, Depoorter gradually became more aware of her status as an outsider, both culturally and as a photographer. So, in 2017, she revisited Egypt with the first draft of the book, inviting people to write comments directly onto the photographs. In Sète #15, and Dvalemodus, a short film she co-directed, she began to see her subjects as actors. Although she portrayed them in their true environments, she tried to project her own story onto the scenes, fictionalizing the realities of her subjects in a way that blurred the lines between their world and hers. In Agata, she explored the complexities of the photographic enterprise, grappling with the relationship between photographer, subject, audience, and the medium itself. By diving deep into a collaborative working dynamic with a Polish woman, Agata Kay, whom she met in a strip club in Paris, Depoorter created a small alternate universe that served as a container for them to explore questions they each had regarding identity, performance, and representation.
www.ftn-books.com has now the invitation for her FOTOMUSEUM DEN HAAG exhibition available.
Jan Davidsz. de Heem (1606-1683/1684) grew up in Utrecht and received his training from still life painter Balthasar van der Ast. He later moved to Leiden in 1626, where he created monochromatic (or “single-colored”) still lifes, playing with variations of only one or two hues. His subjects were mainly musical instruments and books. After 1631, De Heem moved to Antwerp where his work became more vivid and dynamic. He also shifted his focus to depicting fruits and flowers. Despite residing predominantly in Antwerp, De Heem would often spend periods of time in the North, including stays in Utrecht in 1649 and between 1665 and 1672. Jan Davidsz. de Heem was popular with buyers and his fellow artists. He also had numerous students and imitators, including Abraham Mignon.
Jan Davidsz. de Heem was a highly successful painter who achieved great wealth through the sale of his paintings. He was a central figure in seventeenth-century Dutch still life painting. His work represents a synthesis of Dutch and Flemish traditions, and he influenced both his Dutch and Flemish colleagues. He played a crucial role in the development of the pronkstilleven, which became very popular in the second half of the seventeenth century thanks to painters like Willem Kalf and Abraham van Beijeren. These still lifes display an array of luxurious objects, arranged in a theatrical and monumental composition. Gold, silver, porcelain, glass, shells, flowers, fruits, textiles, and musical instruments are some of the elements commonly found in these works.
www.ftn-books.com has the invitation for the masterpieces from the Mauritshuis In the Gemeentemuseum Den Haag now available.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
Condition: mint
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20
