FTN-blog

Throughout his lifetime, primarily working in his studios in Berlin, Germany and Nong Khai, Thailand, Albrecht Genin (Oldenburg 1945 – Berlin 2013) has built an impressive body of work. Far removed from artistic trends, museums, art critics, and galleries, Genin transformed the realities of life into livable fantasies. From the beginning, Genin chose printed materials such as bibles, law books, maps, sheet music, and cash books as his canvas. His works are visualizations of the stories he encountered during his travels in countries such as Germany, Thailand, and Afghanistan. These journeys across oceans are reflected in his exhibition, Ocean Stories.

Simplicity
Genin’s aim is to simplify the complex world. Not from a philosophical “back to nature” standpoint, but simply because the world is already complex enough. This desire is illustrated in his work. All of his artwork is simplified and directly put onto paper. Genin did not enjoy working on a blank canvas and preferred to use printed materials such as a page from a bible, sheet music, a geographical map, or an old law book.

When using sheet music, Genin would begin with a single line, but then develop it into a figure. The practical size of books gave him the ability to make sketches in Thailand and later expand upon them in his studio in Berlin. In his paper works, Genin primarily used black oil paint or India ink.

He believed that color isolates the development of an image, as opposed to the foundation. Starting with color would distract from the image being formed in black and abstract. Beginning with a black base allows for the focus to remain solely on the composition.

ww.ftn-books.com has several Genin titles available

Lenz Klotz was a prominent figure in informal painting in Basel from the 1950s until 2017. His artistic foundation stemmed from his extensive study of influential artists such as Paul Cézanne, the Cubists, and his mentor Walter Bodmer. Klotz’s unique visual language revolved around fluid and fluctuating lines. Initially influenced by the structured discipline of Cubism, his style progressively evolved into more fluid and dynamic line paintings. By the early 1960s, his lines took on a rhythmic quality, forming vibrant geometrical shapes that evoked calligraphy, musical scores, and other lyrical forms of expression. Klotz’s works are featured in prestigious collections including Kunsthaus Zürich, Aargauer Kunsthaus, Kunstmuseum Basel, and Kunstmuseum Luzern.

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

Matei Negreanu, a critical figure in the international contemporary glass landscape for the past quarter-century, is characterized by transparency and disruptions. These two elements, these two ideas, embody both his creations and his life. Transparency in ambition, materials, emotions, and perseverance. Family, artistic, political, and emotional disruptions.
The artist boldly defies the allure of glass, showing no particular fascination for it. He simply views it as the building blocks of his aspirations.
Matei Negreanu is a researcher in the art world. Once he reaches the end of a path, he does not dawdle; he moves on to a new one, occasionally returning to refine a technique or a previously acquired invention. This may at times be frustrating, but he never repeats himself. His originality constantly astounds. It is the signature of a true artist.
It only took Matei Negreanu three years to make a name for himself in France, featuring in collective exhibits in the glass art scene. He arrived illegally in 1981 after permanently departing from Ceausescu’s silenced Romania. Clara Scremini, Serge and Jean Lechascinski, Sophie and Gérard Capazza were the first to showcase his personal exhibitions. This was followed by favorable reviews in specialized publications, which eventually led to exposure in national newspapers and on television. The rest of his journey followed suit: Amsterdam, New York, Chicago, Sapporo, Montreal, public collections, museums, and even highly anticipated exhibits such as his painting exhibit in Perth, Australia.

These are the milestones of a now esteemed career, a body of work well-established and esteemed for its consistency and harmony. In the transparency of glass, and going beyond deliberate interruptions.

www.ftn-books.com has one Negreanu title available.

From the mid-1970s, Marcel Odenbach has created an extensive body of tapes, performances, drawings and installations, establishing himself as one of Germany’s foremost artists in the realm of video. Through his work, he delves into a thought-provoking discourse on the construction of self in relation to the representations of history and culture.

For Odenbach, identity is rooted in the mysterious realm of sight – both being seen and seeing. By placing himself, and consequently the viewer, in the roles of observer, witness, or voyeur, he undertakes a charged exploration of subjectivity within the realms of personal and cultural memory, individual and collective history, and the past and present.

In his investigation of the construction of self in relation to the psychological and cultural spheres, from male identity and sexuality to the trauma of German history, Odenbach creates a symbolic theater of memory. This includes elements of his own autobiography, as well as appropriated elements from cinema, archives, and mass media. In many of his tapes, he employs a signature technique of dividing the screen into horizontal or vertical panels, serving as a metaphor for the masking and fragmentation of the self. Through this distancing device, he simultaneously limits and expands the viewer’s field of vision, revealing and concealing. Enigmatic and fragmentary images, often seen through censoring black bars or rhythmically juxtaposed in panelled triptychs, form systems of meaning that hint at subconscious associations.

Using a concise and effective approach, works like The Distance Between Myself and My Losses (1983) convey powerful metaphors for the fleeting nature of sight and self-awareness. They shed light on the tense relationship between identity and desire, in the context of history and culture. Odenbach frequently combines symbols of German “high” culture and historical mythologies – classical and Romantic music and opera, Western literature, art history and architecture, archival films – with personal references, elements from non-Western cultures, and images from Hollywood cinema and popular media culture.

www.ftn-books.com has one title on Odenbach’s works now available.

Henkes was a Dutch painter and visual artist.

Henkes grew up in Rotterdam-Katendrecht, where he lived and worked for most of his life, and was a member of the R 33 artists group before World War II. After the war, he had various exhibitions, including at Museum Boijmans Van Beuningen.

He chose his subjects from the world around him: the people and the port business, portraits, still lifes, landscapes, the devastation in the Rotterdam port, nude studies, and he fulfilled twenty monumental commissions.

By will, he left his studio collection of paintings and thousands of works on paper to the state; it is managed by the Dutch Cultural Heritage Agency.

www.ftn-books.com has some Henkes titles available

Aside from studying to become a furniture maker, Wobbe Alkema also took evening classes in furniture drawing and design at the Academy Minerva in Groningen. He received private drawing lessons from sculptor Willem Valk. Around 1920, he created drawings and paintings in an abstract geometric style, showing similarities to the work of Bart van der Leck. Alkema became a member of the Groningen art circle “De Ploeg” in 1924, where he had contact with Jan Wiegers, Jan Altink, Henk Melgers, and Hendrik Werkman. Between 1924-1926, he also had connections with Belgian constructivists. His style in these years can be characterized as abstract-geometric. From 1928-1930, Alkema traveled through Germany. The influence of Kandinsky can be felt in his work from the 1930s. In addition to paintings and drawings, he also created watercolors, woodcuts, and linocuts. He temporarily stopped painting between 1935 and 1947 due to depression and lack of space.

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

Ro Hagers’ oeuvre consists of photos, spatial installations, and sound. These diverse approaches converge in his recent video works. Hagers is particularly fascinated by the ceaseless processes of transformation on the border between nature and culture. Concepts such as ‘limited shelf life’ and ‘temporary solutions’ are thoroughly examined in his works.

www.ftn-books.com has the HEDEN invitation now available

The sculpture of André Kruysen (The Hague 1967) is full of contradictions. The sacred effect of daylight stands in stark contrast to the fast-paced image culture in which we live, looming everywhere in our living environment. This chaos is his source of inspiration, where the artist seeks stillness. His work also reveals a sense of disorder. André Kruysen’s sculptures resemble the accidental pile-up of garbage along the road, or other informal constructions. Or the stacked surfaces of Russian constructivism or the architecture of, for example, Daniel Libeskind. At the same time, the work is the result of a detailed study of the interplay between space, light, and material, together composing monumental, flowing architectural sculptures.

In addition to his mostly large-scale sculptures and installations, he also regularly creates smaller sculptures. Kruysen studied at the Royal Academy of Fine Arts in The Hague and then completed his studies at the Rijksacademie in Amsterdam. In 2011, he received the prestigious Ouborg Prize.

www.ftn-books.com has several Kruysen publications available.

André François, an accomplished sculptor, printmaker, painter, cartoonist, and illustrator, entered the world as Andre Farkas in Temesvar, Austria-Hungary (now Timisoara, Romania) on 9 November 1915. After honing his skills at the Budapest School of Fine Arts, he ventured to Paris in 1934, where he immersed himself in the teachings of renowned poster artist Adolphe Cassandre for two years. Encouraged by his mentor, he created his inaugural posters for the esteemed French department store Galeries Lafayette, and was subsequently commissioned to produce works for the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne in Paris. In 1939, he became a naturalized citizen and adopted the surname François, prompted by concerns for the safety of his Jewish family.

Following the fall of France in 1940, François relocated his loved ones first to Marseilles, and then Savoie. After the country’s liberation, they ventured back to Paris, ultimately settling in a rustic farmhouse in Grisy-les-Plâtres, where he erected his studio amidst the tranquil garden. It was there that he created mixed-media sculptures and paintings, deriving inspiration from the beauty and wonder of nature and animals.

François’ notable printmaking career encompassed both fine art and commercial endeavors. Beginning in the 1930s, he crafted lithographic posters for film and theater, and in the 1960s and ’70s, he delved into printmaking as a form of high art. His focus shifted to abstract color etching and lithography, and he became renowned for his audacious, raw abstractions of individuals and animals, occasionally incorporating humor and at times bordering on Surrealism.

Not only did François excel in this field, but he also found success as a cartoonist and illustrator. Le Nouvel Observateur, a leftist magazine, featured his political cartoons, propelling him to greater prominence in major publications throughout Europe, the United Kingdom, and the United States. In fact, he produced nearly fifty covers for the New Yorker, in addition to others for Punch, Sports Illustrated, Life, Vogue, Esquire, Le Mode, and Fortune. Moreover, he provided illustrations for a wide range of book covers, and even authored children’s books of his own. He was duly recognized as a member of the Alliance Graphique Internationale.

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

Mataré attended the gymnasium in Aachen, receiving private lessons from sculptor Karl Krauß (1859–1906) during this time and studying painting at the Academy of Fine Arts in Berlin from 1907. He initially studied under Professor Julius Ehrentraut and also spent several months studying under Lovis Corinth. He was a master student of history painter Arthur Kampf. In 1916, he fulfilled his military service but was discharged after a few months due to health reasons. He became a member of the artists’ association Novembergruppe in 1918. Only after completing his studies did he begin sculpting. The majority of his work consists of animal sculptures.

In 1922, he married 31-year-old Hanna Hasenbäumer. They had a daughter, Sonja Beatrice, in 1926. When he was 37 years old, he suffered from severe depression. In 1932, he became a professor at the Academy of Fine Arts in Düsseldorf and moved to Büderich (Meerbusch). After the National Socialists came to power in 1932, he was dismissed. He was able to earn a living by taking on commissions from religious institutions.

After World War II, Mataré was reappointed to the Academy of Fine Arts in Düsseldorf. He declined the position of rector because many teachers who had also taught during the Nazi regime were still working there, and there was little interest in his reform plans, which aimed to allow 14-year-olds to begin studying. Some of the famous students from Mataré’s class of sculptors include Joseph Beuys, Erwin Heerich, and Georg Meistermann.

Even after the war, Mataré received many commissions from religious institutions. For example, he designed four doors for the southern portal of the Cologne Cathedral. Ewald Mataré participated in the first and second Documenta in Kassel in 1955 and 1959.

Mataré passed away in 1965 from a pulmonary embolism.

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