FTN-blog

Here is a part of the text the Gemeentemuseum published for its DOLLHOUSE exhibition in 2011: XX Small

Dollhouses hold great significance in the cultural landscape of the 17th and 18th centuries. Wealthy individuals often indulged in this expensive pastime, investing large sums of money to create their miniature homes. The history of interior design is beautifully depicted in the ceremonial dolls from the 17th century to the contemporary miniature houses, adorned with modern designs.

The fascination with miniaturized worlds has stood the test of time. Even in ancient Chinese and Greek civilizations, objects were crafted in miniature form. Nothing evokes greater admiration than a perfectly recreated gold dinner set, fitting snugly into a cherry. And nothing sparks the imagination like a vintage dollhouse, fully furnished to bring the bygone era to life.

Silver miniatures
At the heart of this exhibition lies one of the most well-preserved dolls from the Netherlands, dating back to approximately 1745, from the collection of the Gemeentemuseum. The exquisite cabinet dollhouse draws in throngs of visitors and students, marveling at its intricate design and lavish rooms. Exquisitely arranged silver miniatures in a private room and a separately published guide further embellish this exhibition.

Dollhouses
This exhibition offers a glimpse into the Dutch way of life, but not limited to it. This includes a German, English, Italian dollhouse, as well as a Japanese kitchen and a Chinese temple. The most interesting feature of the 18th-century British dollhouse is that it is an exact replica of a still-existing building, King Street 27 in King’s Lynn. The charming Palazzina Giocattolo from Bologna mesmerizes with its ornate ceiling paintings and elegant furnishings, typical of the Italian style. Another highlight is the fully-furnished farm, gifted to Princess Juliana on her second birthday by her parents. This allowed her to playfully learn about farm life.

www.ftn-books.com has books on the several doll houses from their collection and the invitation to this exhibition.

Helly Oestreicher (1936) is a sculptor with a remarkably diverse oeuvre, in which ceramics plays a prominent and often defining role. Her focus is not on the beauty of objects, but on their unique essence, and on defining existence in a spatial and tangible manner (whether big or small). The material, often left in its natural state, is her ultimate artistic tool.

In addition to clay, she also works with glass, steel, and bronze, often combining them with bricks, paper, and photographs. Experts immediately recognize the distinctive signature of Helly Oestreicher in these elements. As characteristic as her unusual combination of materials and forms is the fragility and delicate balance suggested in her work – often with a hint of perspective.

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

Residing and working in London, UK, Bouke de Vries (1960, Utrecht, the Netherlands) is a designer, curator, and artist. Throughout his career as a curator, he has grappled with issues and paradoxes surrounding perfection and value: While “The Venus de Milo” is revered despite losing her arms, a Meissen muse is deemed practically worthless after losing a finger. These contradictions have become the foundation of his artistic practice. With his “exploded” artworks, he utilizes his skills as a restorer (inspired by Ron Mueck’s model building) to help broken pots overcome their unfortunate trauma. He refers to this as “the beauty of destruction.” Instead of reconstructing them, he deconstructs them. Rather than concealing the evidence of this most dramatic episode in a ceramic object’s life, he emphasizes their new status, virtues, values, and stories.

www.ftn-books.com has the Gemeentemuseum Den Haag invitation now available.

Born in 1968 in the Netherlands, Pieter Obels possesses a remarkable talent for transforming Corten steel into otherworldly and elegant shapes, defying conventional expectations and elevating his status in the contemporary art world. Through exploring the inherent potential of the material and pushing its boundaries, Obels captures the hearts of both art enthusiasts and collectors with his innovative approach to sculpture. His works not only embody a delicate balance of strength and fluidity, but also evoke a nostalgia for the beauty of nature and organic forms in contrast to the industrialized world.

Obels’ mastery of Corten steel reflects a deep understanding of the medium and its possibilities, resulting in sculptures that seamlessly blend with their surroundings. The delicate balance achieved in his pieces resonates with viewers, inspiring a sense of awe and admiration for the artist’s mastery in manipulating such a rigid material. Collectors are drawn to Obels’ creations for their unique fusion of contemporary techniques and timeless aesthetics, as well as their ability to evoke emotions through their seemingly contradictory nature.

In essence, Pieter Obels’ work transcends the limitations of traditional steel sculpture and establishes him as a significant figure in the contemporary art scene. His commitment to creating organic forms with a natural sense of plasticity demonstrates the true versatility of Corten steel and inspires both artists and collectors to reimagine the boundaries of artistic expression.

www.ftn-books.com has at this moment several Obels publications available.

Wojciech Weiss (1875-1950) may very well be the most influential Polish artist of the early twentieth century. Like his contemporaries Mondrian and Kandinsky, he sought new ways to intertwine spirituality and art. Music and photography were indispensable forms of art for him, aiding in his pursuit. While Weiss is a historical icon in Eastern Europe, he has largely escaped the attention of the Western world. However, with the first comprehensive exhibition of Wojciech Weiss outside of Poland, the Gemeentemuseum Den Haag seeks to change that. It is a remarkable opportunity to discover this grand master.

Living through a tumultuous era, Wojciech Weiss experienced the First World War, which drastically altered the boundaries of Europe. In 1939, Hitler and Stalin divided the newly formed Poland. Prior to the Second World War, Europe had an international character, with artists easily traveling around the world. They maintained international networks and kept abreast of the major developments in cities like Paris, Munich, and Vienna. As such, Wojciech Weiss was a member of the Wiener Secession, where he exhibited alongside Gustav Klimt and Jan Toorop. The Iron Curtain abruptly ended this cross-pollination between Eastern and Western Europe, resulting in a biased telling of the art history circa 1900. After living separately for half a century, a cultural gap emerged, meaning that – despite the end of the Cold War and subsequent economic exchange – only now are we able to rectify this one-sided perception.

www.ftn-books.com has te inviation for his great solo exhibition at the Gemeentemuseum Den Haag now available

Karin van Dam (1959) is renowned for her installations, composed using materials such as boat bumpers, rope, and insulation pipes. She has even used complete pre-fabricated plastic ponds, hanging them in the space of the Vleeshal in Middelburg. Van Dam sees her installations as spatial drawings, allowing the viewer to walk through them. The installations are always prepared in small-scale drawings, often incorporating spatial objects such as rubber caps, rope, and wooden sticks. Urban structures and street patterns are an important starting point in her work, where she creates a free, intuitive translation using the possibilities offered by the materials and objects she finds.

For years, Karin van Dam has been working on her ongoing project titled “Cities in Transit/Traveling Cities.” The title is a reference to Italo Calvino’s novel, “Invisible Cities,” in which Marco Polo tells Kublai Khan about imaginary cities. Van Dam’s early works in this series were inspired by Italian Renaissance towns: black facades with arches and battlements made of cardboard, combined with wool and other materials. Over time, the cities become more abstract and are freely hung in space. In recent years, she has collaborated extensively with the Textielmuseum Tilburg, where she has complex round knitted coverings made for her work.

www.ftn-books.com has several publications on van Dam now available.

In the year 2025, Unseen will make its home in the expansive NDSM Loods, a monumental cathedral of industry situated on a former shipping wharf in a radically revitalized area. This venue perfectly embodies the essence of Unseen – its charm, character, and allure – yet surpasses all expectations. Additionally, it boasts convenient accessibility, with a spectacular ferry ride directly from the central station or a simple drive. The surrounding area is brimming with a multitude of dining options, from upscale restaurants to charming bars ingeniously constructed from old shipping containers.

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

Famous Dutch photographer, Robin de Puy (born 1986), has a compelling desire to encapsulate her own narrative through the poignant faces of others. Whether it be the youthful, sprinkled with freckles, whom she stumbled upon while stopping for gas in Wyoming; or the acclaimed Dutch wordsmith, poet, and columnist, Remco Campert; or even the young boy, Randy, whom she encountered during her American road trip in Nevada – de Puy regards the camera as a tool to delve into the intricate characteristics and histories of each individual, which also shed light on her own persona. These encounters are often fleeting, mere snapshots into the lives of others before time resumes its frenzied pace. However, some – like those with Randy – result in profound and enduring relationships. Despite their varied outcomes, de Puy’s photographs consistently exude a sensitivity and timelessness that compel the viewer to take a leisurely look at the human experience. Her images offer opportunities for genuine human connections, and by sharing them with the world, they allow us to partake in these fleeting moments.

www.ftn-books.com has the inviation for her first major exhibition now available.

This what Ton of Holland says about himself and his home.

Ton Hoogerwerf, also known as artist Ton of Holland, has resided in his abode situated in The Hague’s Zeeheldenkwartier for four decades. “The edifice boasts a fascinating past. Updates on the conclusion of the Second World War were received here through covert radio contraptions concealed within the attic,” Ton recollects. “My knowledge encompasses the previous inhabitants and all events that transpired within these walls. I have thoroughly researched it all.”
When Ton relocated to this residence in the late 70s, it retained its original state. “Thankfully, modular ceilings were not incorporated. The doors were embellished with plywood panels, but upon removal, the original fixtures were revealed. I take great pleasure in inhabiting this tranquil abode on this unassuming street.”
The interior of the dwelling, however, is anything but mundane. This grandeur estate is adorned with artwork, from the ground floor to the rooftop. Ton’s own creations share space alongside those of fellow artists and designers. And it is a lived-in space. No arrangements reminiscent of a museum, for someone calls this place home, art and all. “Over the years, my collection has accumulated, and thus, the layout has changed. The Memphis pieces dictate the arrangement of the interior; I am not inclined to relocate them to the attic. The first piece I acquired was Metten Koornstra’s etching, which still hangs on the wall of my studio. I was only ten years old then, and my passion for collecting has endured since.”
The residence is a burst of color; each room exudes a distinctive ambiance, a fusion of contemporary and classical elements. “I am an avid lover of color, it was not created in vain. People often assume that after creating the world in six days, God rested on Sunday. However, on that day, after sipping his coffee, he decided to introduce color. Initially, everything was shrouded in black, grey, and white, but he deemed it too dull.”

www.ftn-books.com has the scarce beer coasters published by Ramakers gallery now available.

Weller (1974) depicts images, but in a unique manner unlike the familiar pictures we encounter. They become echoes of visuals ingrained in our collective consciousness, their original forms obscured by the layer Weller applies on top. To be frank, Weller is not the most skilled painter I have come across in recent years; his portraits are stiff and far from expertly painted.

But I don’t see Weller as just a painter; he is someone who uses the medium to raise questions about these collective images and how they can be distorted. This results in some strong pieces, while others may be less impressive. The hint of smudges and streaks sometimes feels contrived and serves more to smooth out the images rather than enhance them.

In this sense, I view Weller more as a thinker who utilizes visual aids, transforming them into paintings. Perhaps he should focus more on this aspect and even embrace his lack of expertise. This reminds me of Tuymans’ recent work, which clearly has nothing to do with painting, but rather with the resulting image.

www.ftn-books.com has the galerie Helder invitation now available.