FTN-blog

Hans Platschek, born in Berlin in 1923, relocated with his family to South America in 1939. He commenced his studies at the Montevideo Art Academy, where he rose to the position of chairman of the Uruguayan Art Students Association. The artist also co-established an institution dedicated to modern art and served as a publisher for the esteemed cultural publication, “Clima”. His initial solo exhibitions were held in Montevideo in 1948, with his first lectures taking place at the University of Santiago de Chile in 1951. Over the following few years until 1953, Platschek resided in both Montevideo and Buenos Aires. After returning to Germany in 1953, he encountered the likes of Max Ernst, Raoul Hausmann, Tristan Tzara, Hans Arp, and Asger Jorn in Paris. Subsequently, he relocated to Munich in 1955. The Munich Galerie van der Loo commenced showcasing his creations in 1957, regularly collaborating with the artist for the ensuing years. His participation in the XXIV. Venice Biennale in 1958 led Platschek and Jorn to produce a brochure for the eminent “Situationist International” movement. In the years that followed, Hans Platschek presented his oeuvre at various acclaimed international exhibitions, such as documenta II., where he received numerous accolades. In 1963, he was appointed to a guest lectureship at the prestigious Ulm School of Design. Platschek changed residences multiple times in the ensuing years, first to Rome, then to London, before ultimately settling in Hamburg. During this period, he authored numerous books related to art and its associated endeavors. In 1989, in honor of his 75th birthday, Galerie Gabriele von Loeper in Hamburg and Galerie van der Loo in Munich held individual exhibitions to showcase his work. In 1999, the Kunsthalle in Emden, a renowned museum in the East Friesland region of Germany, organized a major retrospective of Hans Platschek’s oeuvre. The artist passed away in Hamburg in 2000.

www.ftn-books.com has several Platschek titles available.

In his collection, Dutch artist Roland Schimmel presents a focus on optical anomalies produced by the human body’s response to certain visual input. Through paintings and animations created over the past two decades, he allows space for after-images, giving them a significant role. Schimmel’s perspective on the origin of this natural phenomenon is poignant: “I consider after-images as a reflection of my body’s yearning for its roots in light.”

Sophie Tates and Andreas Broeckmann elaborated on his work (in: cat. Deep Screen, Art in Digital Culture, Stedelijk Museum, Amsterdam 2008; text abbreviated by MK):
Schimmel meticulously crafts his abstract paintings (airbrush on canvas) and animations (computer-generated), emphasizing form and color in a way that evokes after-images, with dark and colorful dots punctuating the image, and vibrant hues in the background that often appear indistinct.
The visual impact is mesmerizing: the afterimage on the retina gliding over his artwork, not simply a representation, but an experience beyond the work itself. For a fleeting moment, the line between reality and projection blurs, and this perception is fleeting, as the image inevitably fades after a few seconds.
This body of work delves into the boundary between what is real and what is perceived. A quick glimpse at his art, a momentary closing of the eyes, and the complementary colors emerge on the retina, offering a glimpse into the untapped possibilities underlying every uttered word, every action, every choice: the complementary forms of existence itself.

www.ftn-books.com has one Schimmel title now available.

From the mid-1980s onward, Harald Klingelhöller has placed a significant emphasis on the intersection of sculpture and language within his works. Utilizing a diverse array of materials, ranging from fragile paper and cardboard to sturdy steel and granite, his creations establish a formal and conceptual dialogue between elements of narration and the visual arts. The poetic and metaphorical linguistic constructions that precede his sculptural works serve as more than just titles; they are intricately woven into the varying forms of his sculptures. In essence, his sculptures can be seen as three-dimensional interpretations of both written and spoken language, utilizing intonation, repetition, variation, and the linear flow of letters. The words and titles used in his works are drawn from a multitude of sources, including the press, poems, and medical or legal texts. He describes himself as a “linguistic flaneur.”

Klingelhöller has had several solo exhibitions dedicated to his works, such as “Schneefall erzählt” at Skulpturenhalle, Thomas Schütte Stiftung, Neuss-Düsseldorf, Germany in 2021; “Roads after the rain (double, star-shaped) (Strassen nach dem Regen (zweifach, sternför mig))” at Galerie Jocelyn Wolff, Romainville, France in 2021; “Resembling something not occurred (Kette)” at Jeffrey Starck, N.Y., USA in 2016; “Wo jeder Gegenstand, Seine eigenen Worte, So trägt, Wie jede Blum, ihren eigenen Duft, (Kette)” at Tucci Russo, Torre Pelice, Turin, Italy in 2015; “Harald Klingelhöller” at Skulpturenpark Waldfrieden, Cragg-Foundation, Wuppertal, Germany in 2014; “The Sea at Ebb Tide Dreamed” at Museu Serralves, Porto, Portugal in 2007; “…Wie Landschaften auf Worte reagieren…” at Städtische Galerie, Karlsruhe, Germany in 2005; “Alle Metaphern werden wahr – Skulpturen 1986-1997” at Städtische Galerie im Lenbachhaus, München, Germany in 1997-1998; and exhibitions at Art Gallery of York University, Toronto, Canada in 1996, Whitechapel Art Gallery, London, United Kingdom in 1990, and Stedelijk Van Abbemuseum, Eindhoven.

www.ftn-books.com has several Klingelhöller titles available.

Lisa, a native of Belgium, currently resides in Milan, Italy. Her artistic efforts span across multiple disciplines and have been showcased in esteemed festivals and galleries across the globe. She holds a Master of Fine Art degree from the esteemed Royal College of Art in London. In her artistry, she delves into the complexities of the female form and the portrayal of the self. Drawing inspiration from personal experiences, her work frequently touches upon themes of human vulnerabilities and uncertainties. She weaves a dreamlike and vibrant canvas, shedding light on the facade of reality, and crafting a realm where everything is not as it seems.

www.ftn-books.com has one inviation now available.

Jef Diederen (Heerlen, 25 augustus 1920 – Amsterdam, 26 maart 2009) was a Dutch painter and graphic artist. Diederen was part of the so-called Amsterdam Limburgers. His later painting is classified as abstract art. From 1939 to 1943, he attended the Middelbare Kunstnijverheidsschool in Maastricht, where he met Pieter Defesche and Ger Lataster. He continued his education at the Rijksacademie voor Beeldende Kunsten in Amsterdam in 1943, but left a year later and returned in 1947. He participated in the group exhibition Amsterdamse schilders van Nu in 1948 and completed his studies in 1951. In Amsterdam, he met Karel Appel and Corneille as his classmates, in addition to Lataster. Until 1955, he mostly painted landscape gouaches and drawings. These are predominantly realistic landscapes from his native region of South Limburg. Afterwards, he developed himself – like Ger Lataster – in an abstract direction, although the landscape remained a great source of inspiration for him. The dimensions of his oil paintings were often idiosyncratic and therefore stood out. He also combined canvases of various sizes with each other. The art of Jef Diederen is lyrical-abstract with a friendly and gentle appearance, despite the strong colors. France has been an important source of inspiration for him. As an independent artist, he never actively sought to align himself with groups or movements. In addition to his many paintings and works on paper, he also carried out various commissions for murals and stained glass windows. He also taught at the Kunstacademie van Den Bosch.

www.ftn-books.com has many Diederen titles available

How much Emo Verkerk can a human being endure? We ponder in excess and perhaps even beyond what we thought. This question can be answered because the responses to the retrospective exhibition “Graag of Niet” at the Gemeentemuseum Den Haag (opened on November 15th) have been overwhelming from both the audience, fellow artists, and the press. And as the gallery representing Emo, we are eager to capitalize on this (though it may not display proper modesty). We cordially invite you to the opening on December 13th of a small yet refined presentation featuring several works centered around Belle van Zuylen. Paintings from the powdered-wig era. Belle dressed for a ball in The Hague, caught in Scheveningen under the full moon. And somewhere a horse appears, though I have not found it yet. But Belle has. Come see for yourself and perhaps discover who lies behind the powder and the wig.

Such a retrospective exhibition stirs up much emotion and proves that Emo has long awaited this significant showcase. And now it seems as if an unknown talent has emerged from the depths of faraway Den Helder; with so much astonishment and admiration, the works are (re)discovered. Of course, this is nonsense. Those who have been following the work of this idiosyncratic image-maker for years are familiar with the scope of his talent. As with much good art, his oeuvre demands to be conquered by its viewers. And that is not always easy with such contrariness. Moving against the current suits the character of Verkerk, who cleverly takes advantage of it. Each artwork is its own universe in which it is pulled and pushed until the construction stands, only to almost fall again at the same moment. Not a hackneyed style, but an unequivocal ode to imagination and painting, where the outcome is never certain.

www.ftn-books.com has several Verkerk items for sale.

Hugo Tieleman, through his paintings, delves into the dichotomy between nature and the influence of man. “The tragedy of the landscape, that is the essence of my work,” he proclaims. Art critic Micha Andriessen describes his colorful paintings as depictions of displaced and overgrown scenes of decay. Through the use of sometimes venomous hues, Tieleman showcases how humanity leaves its mark on nature. With references to traditional painting, vanitas, and the landscapes and ruins of Romanticism, Hugo Tieleman examines our altered perception of nature, the landscape, and the world around us.

www.ftn-books.com has the Livingstone gallery invitation now available.

Deviled eggs, a deceased mosquito, the taut bud of a peony, or toes tucked into sandals: Ina van Zyl presents delicate, still-life-esque paintings of everyday objects that are often overlooked. However, when Van Zyl depicts them, they demand our undivided attention. Subtly captured on the canvas as images, one can sense that they are not solely about beauty or ugliness. In fact, they offer a glimpse into the world beyond them. Each piece, whether it be a portrait or self-portrait, is an attempt to grasp this world.

Born in Ceres, South Africa in 1971, Van Zyl grew up in South Africa and studied visual art at the University of Stellenbosch. She initially had a passion for drawing comic strips, but later turned to painting when she came to the Netherlands in the mid 1990s to attend De Ateliers. Instead of creating narrative scenes, like in comics, Van Zyl found herself drawn to singular objects and honed in on them. These objects have an independent presence on the canvas, appearing larger than life and expertly framed, detached from their contexts.

Van Zyl’s fascination with a subject – whether it be a seemingly insignificant everyday item, a landscape, or a portrait – often stems from the contradictory emotions it evokes. She is attracted to the combination of power and fragility in a budding flower, or to the deep black hue of an almost ripe plum. Her works are rather sensuous, painted meticulously with precision. However, as viewers, we can pick up on the underlying tension that symbolizes something greater. Van Zyl infuses each painting with emotions and memories that can evoke a universal feeling or a sense of longing and discomfort. This is often hinted at in her titles. For example, “Mort” for the dead mosquito, where the delicate insignificance of the insect takes on a grand significance. And “Little Orgasm” for the tenderly depicted tiny carnation, which inevitably evokes thoughts of sexuality and puberty.

In her work, Van Zyl often incorporates recurring themes of strength and vulnerability, life and death, and longing and fear. One such theme is the use of protea, South Africa’s national flower, which serves as a powerful symbol of the country’s tumultuous history. In some pieces, such as Proteus Erectus (2010), the protea stands proudly upright, evoking images of male genitalia and suggesting aggression. Yet in others, like Skaamrosie Teen Skemer (2009), shame and discomfort are conveyed as the flower hangs downward. This symbol of national pride also becomes a witness to the injustices of apartheid and racism in South Africa.

Despite her unconventional use of narrative, each of Van Zyl’s paintings conveys a deep sense of history and emotion. Portraits, such as Anton (2021), are particularly notable for their intense exploration of identity and relationships. In this piece, Van Zyl’s friend is depicted in a confrontational manner, bursting off the canvas and gazing both inwardly and outwardly. The emotional detachment of the artist is evident in her use of a diverse color palette, which conveys both contrast and balance through shades of purple, green, blue, and orange. This amalgamation of discordant elements results in a striking abstract portrait that simultaneously captures the essence of the subject and conveys a sense of weight and complexity. In her succinct yet enigmatic body of work, Van Zyl skillfully blends the personal and the abstract, creating an intriguing leitmotif that leaves a lasting impression on the viewer.

www.ftn-books.com has almost all van Zyl titles avcailable

The series of paintings and works on paper, titled Eros & Psyche, was created during the period of 2017-2021 and is based on the eponymous myth from classical antiquity, written by Lucius Apuleius in the second century AD as part of his Metamorphoses.

The myth of ‘Eros & Psyche’ pertains to the removal of obstacles in the way of love between Psyche (the embodiment of the soul) and Eros (love, sexual desire, and longing for beauty) and their ultimate union. Psyche falls in love with Eros, as foretold by an oracle, but due to the interference of Aphrodite – the goddess of love who is envious of Psyche’s beauty, but also the mother of Eros – she is no longer able to meet him.

The myth describes Psyche’s quest for Eros, as she longs to be reunited with him and after many trials, she succeeds.

In the works, the myth serves as a guide, providing the overall atmosphere from which the pieces originate and ultimately depict their own reality. The deep red and reddish-purple in the paintings Eros & Psyche XI and XIII enhance the sensual and erotic world invoked by the myth.

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

The concept of destruction preceding creation is given tangible form in the work of artist Ton van Kints (The Hague, 1955). His pieces are marked by traces of a working method that could be seen as both destructive and constructive. Van Kints saws wooden panels into simple, loose pieces and then reassembles them into a self-made puzzle, forming a cohesive whole. The complexity of the composition is always tempered by the readability of the process. His enigmatic titles often allude to the event that has taken place under his hands, shaping the narrative of the finished piece.

The material largely determines the appearance of Van Kints’ work. He respects how the material behaves, but also subjects it to his own scenario. He speaks of his pieces as if they were characters, co-actors in his artistic process. They are directed by the artist himself. It is a process of fitting, measuring, and rearranging.

This led to the creation of a large group of circular reliefs, collectively known as ‘koekoeksnesten’ (cuckoo nests). These works are interrelated, each with their own distinctive character. Van Kints’ most recent pieces are created by mounting two or more pieces together. He treats these “leftovers” in the same way he previously rearranged sawn-off segments. The underlying logic of Van Kints’ art – the dialogue with things – remains unchanged. The reliefs have become thicker, stacked and covered with a layer of epoxy. This glossy layer unifies the pieces, but hints of the earlier work remain visible. This is the “dialogica” of Van Kints.

Van Kints studied at the Royal Academy of Art in The Hague (MO-B Drawing 1974-1979) and the Pratt Graphic Center in New York (1981-82). He has been a teacher at the departments of Photography and Fine Arts at the KABK in The Hague since 1990.

www.ftn-books.com has a fine selction of van Kints publications available.