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RODE HARING: A Deep Dive into Contemporary Art Trends

I do not generally endorse business-oriented publications, yet I will gladly depart from this practice for the sake of this exceptional Dutch magazine. A friend of mine recently brought its existence to my attention and they kindly dispatched a promotional copy to me. Upon perusing it, I was swiftly convinced to procure a subscription.

RODE HARING is a provocative and insightful art magazine that challenges conventional perspectives and highlights the avant-garde in both historical and contemporary art. Known for its sharp visual design and critical approach, RODE HARING brings together diverse voices from the world of art, theory, and design.

In a recent issue, RODE HARING dives into the conceptual world of Daniel Buren, a leading figure in minimal and conceptual art. The magazine explores his use of stripes as a visual language and his interventionist works that question the role of the museum, the gallery, and the context of art itself. Buren’s practice of in situ works and institutional critique is analyzed through essays and exclusive interviews.

Another feature centers on the Oenovis artists’ association, a vibrant collective of contemporary creators who work across disciplines and media. The article explores the roots of Oenovis, its experimental exhibitions, and the collaborative spirit that drives its members. The magazine documents recent projects and discusses the group’s contribution to expanding the boundaries of modern artistic expression.

A historical reflection is offered in an in-depth piece on Michel Seuphor, the Belgian-French writer and artist who played a pivotal role in documenting and theorizing abstract art in the 20th century. RODE HARING revisits Seuphor’s influence on European modernism and highlights his friendships with key figures like Mondrian, Kandinsky, and Arp.

Finally, the issue showcases the intricate and innovative designs of Chris Wegerif, a designer known for his refined work in the Arts and Crafts movement. Through visual essays and critical commentary, the magazine illustrates how Wegerif’s furniture and architectural elements remain both timeless and deeply connected to early modernist ideals.

With its unique blend of contemporary critique and historical perspective, RODE HARING continues to be a vital platform for those who seek to engage deeply with the visual arts.

For subscriptions please visit : www.rode-haring.nl

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Elie Borgrave: From Belgium to the Art World

During the tumultuous year of 1905, Elie Borgrave entered the mortal realm in Brussels, descendent of a Belgian count by the name of Camille de Borchgrave d’Altena and an American socialite, Ruth Snyder. Born into luxury and prestige, his upbringing in World War I led him to eventually reside in the United Kingdom for a brief period before settling in the United States for his adolescence. It was here, in the bustling city of Paris in 1937, that Borgrave’s love affair with the art world began. Inspired by the likes of renowned artists such as Picasso, Klee, Gris, and Braque, he knew from that moment on he was destined to become a painter.

However, fate intervened and World War II forced Borgrave to flee to Brazil. Despite the challenges of adapting to a new country, he was able to make a living as a golf instructor for none other than President Vargas himself. But as the war raged on, Borgrave longed to return to the vibrant art scene of Europe. In 1941, he made his way back to the continent, specifically the United Kingdom, where he crossed paths with Jankl Adler, a well-respected abstract painter from Poland who had been exiled to London from the Bauhaus. Adler would become Borgrave’s mentor, inspiring him to dive deeper into the study of art history and eventually creating his first drawings and paintings. It was during this time that Borgrave adopted the pseudonym ELDEREN, paying homage to a small town in the Belgian province of Limburg.

By 1945, Borgrave found himself back in his home country of Belgium, where he made a trip to Paris and had the opportunity to meet the renowned Paul Klee as well as influential Dutch artists, Geer and Bram Van Velde. The following year, he proudly presented his work at the esteemed “Salon des Réalités Nouvelles” alongside other notable artists like Vasarely, Poliakoff, and the Van Velde brothers. Yet, Borgrave’s journey was far from over. In 1948, he made the bold decision to emigrate to the United States, settling in Stonington, Connecticut and establishing his own art academy. From that point on, he began to sign his paintings with a simple monogram, the Greek letter E, or Epsilon.

Now, through the lens of enigmatic complexity and linguistic dynamism, explore the works of this esteemed artist, delving into the unique mind of Elie Borgrave. Allow his pieces to speak for themselves, as symbols of his journey and his everlasting impact on the art world as we know it.

www.ftn-books.com has 1 Borgrave title available.

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Jean Ransy: A Belgian Artist’s Journey Through War

Jean Ransy, a Belgian artist, was greatly impacted by his formative experiences during World War I. Hailing from Baulers, he endured the bombing of Namur as a youth, and the brutalities of war heavily influenced his artistic lens.

After relocating to Marchienne-au-Pont, Ransy honed his craft at the esteemed Royal Academy of Fine Arts in Brussels under the tutelage of Constant Montald. He also attended Gosselies Industrial School, enhancing his skills in decoration and monumental painting. Ransy cultivated a meticulous approach to his work and formed deep bonds with fellow creatives, such as sculptor Alphonse Darville, who enriched his artistic journey.

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

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Discovering Frans Peeters: The Sculptor of Spheres

Renowned Limburg artist Frans Peeters, who preferred to be known as a sculptor rather than a sculptor, gained worldwide recognition for his polyester sculptures. In 1970, one of his curved forms adorning the Dutch pavilion at the World’s Fair in Osaka. The VPRO made the film ‘The Round World of Frans Peeters’ about his work, clearly outlining the essence of his artistic creations. Peeters produced numerous variations of this original form.

However, his very first sculptures were small plastic figures, botanical fruit and bud shapes, and female nudes. His big breakthrough came with his polyester spherical forms. He eloquently expresses his love for them by saying, “The spherical form is the culmination of the spatial experience. Standing in front of a sphere, I am faced with a flat surface that bends away from me in all directions, until it disappears from view. I suspect that the bending continues, I experience the other side. I am, as it were, facing all sides at once and facing myself.”

He stated his preference by saying, “I want to create sculptures where the material reveals nothing of the artist. That feeling came with my marble sculptures. People admired the polished, milky translucent skin, while I believe that the sculpture should tell its own story. The sculpture must therefore be stripped of any traces of manipulation. That’s when the artist belongs where they belong: outside of the sculpture.”

But even with the use of polyester, he was not finished yet, as he pondered the question of what color the sculpture should be. Black gives the spheres a certain weight that Peeters did not desire. Pure white dominates the spherical form, which is why he chose off-white.

www.ftn-books.com has sa few titles on Frans Peeters,

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Friedrich Vordemberge-Gildewart: A Pioneer of Minimalist Art

As a young artist at the tender age of twenty, Friedrich Vordemberge-Gildewart boldly declared his preference for the basic forms of lines, circles, triangles, rectangles, and squares over the traditional repertoire of visible reality. From his artistic beginnings in Hanover, he absorbed important influences – the simplicity and elegance of elementary shapes, the brilliant use of pure color from International Constructivism, and the Dutch style of “De Stijl”. His artistic vision transcended traditional painting, aiming to also create designs for architecture, typography, and advertising, ushering in a new era of artistic expression and lifestyle.

By 1924, Vordemberge-Gildewart’s talent had gained national and international recognition. He was given the opportunity to exhibit at the esteemed “Kestner Gesellschaft Hanover” and was invited to join “De Stijl” along with renowned artists Piet Mondrian and Theo van Doesburg. He was also a part of “L’Art d’Aujourd’hui” in Paris and “Société Anonyme” in New York, collaborating with other notable colleagues. His residency in “die abstrakten hannover”, “cercle et carré”, and “abstraction-création” solidified his position within the international avant-garde.

Even as German National Socialism gained power and deemed him a “degenerate” artist, Vordemberge-Gildewart remained steadfast and active in the avant-garde movement. He was forced to flee his homeland with his Jewish wife, Ilse Leda, finding refuge in the Netherlands in 1938. In 1950, they were granted Dutch citizenship, a grateful and welcoming new home.

In this new environment, Vordemberge-Gildewart continued to create delicate works of art, employing basic shapes, muted colors, and a sense of harmony and musicality.

The PEN Club of the Netherlands bestowed honors upon his poetic compositions, while the II. Biennale of Sao Paulo acclaimed his prowess. Further elevating his esteemed reputation, he was appointed a faculty member at the “Academie van Beeldende Kunsten” in Rotterdam and the “Hochschule für Gestaltung” in Ulm. These endeavors further solidified the admiration surrounding Vordemberge-Gildewart and his creative endeavors.

www.ftn-books.com has several titles on Vordemberge Gildewart available.

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Exploring Karin Kneffel’s Hyperrealistic Art

Karin Kneffel (born 1957 in Germany) is a German contemporary artisan, renowned for her hyperrealistic paintings that explore themes such as memory, perception, and the passage of time. Kneffel’s creations are characterized by meticulous attention to detail and the use of layered imagery, often in scenes that blur the line between reality and illusion.

“My creative fascination lies in evoking a sense of ambiguity, something that remains just beyond my grasp.” – Karin Kneffel

Her paintings frequently depict domestic interiors, still lifes, and architectural spaces with such precision that they invite viewers to question the reality of what they see.

“In a sense, art is a falsehood, and yet it reveals a truth about everyday life without competing with it. The reality of painting is one realm, while the reality of everyday life is another.” – Karin Kneffel

Reflections, distortions, and transparent surfaces are recurring motifs in her work, adding complexity and depth to seemingly mundane scenes. Kneffel’s art challenges the viewer’s perception and encourages deeper contemplation of how reality is constructed. She has exhibited internationally and is recognized as one of the leading figures in contemporary figurative painting.

www.ftn-books.com has one Kneffel book available.

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The Artistic Journey of Kenneth Martin: From Painter to Innovator

In the pursuit of artistic expression, Kenneth Martin honed his skills as a graphic illustrator and painter. His formative years were spent in Sheffield, where he attended the School of Art, and later, at the renowned Royal College of Art in London. It was at this institution where he crossed paths with Mary Balmford, who would eventually become his beloved wife and collaborator in creating groundbreaking works of art. While Martin initially focused on naturalistic paintings during the 1930s, he embarked on a journey of intellectual exploration in 1948 by delving into the theoretical works of artists, scientists, and mathematicians. Leveraging these concepts, he meticulously crafted compositions that exuded a sense of harmony. Eventually, Martin’s artistic vision evolved to encompass abstract paintings, which led to the inception of his kinetic constructions in 1951. In addition to these influences, the art of Paul Klee left a lasting impression on Martin, particularly Klee’s skillful use of line.

www.ftn-books.com has several Kenneth Martin titles available.

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Gabriel Belgeonne: Master of Etching and Abstraction

Gabriel Belgeonne (also known as Busine, Gabriel), the Belgian artist was born in Gerpinnes in 1935. Proficient in graphic design, painting, stained glass and carpet design, he received his training from the Academy of Mons from 1955 to 1962. As the nephew of Zéphir Busine, he inherited his uncle’s love for visual arts and was liberated from the monotony of academy life.

Initially aspiring to be a painter, a meeting with Gustave Marchoul changed everything and prompted him to devote his heart and soul to the art of etching. Acclaimed by the press as “a mark and metamorphosis of forms,” his engravings demonstrate a grand mastery of his craft. The art of G.B., a constant battle between emptiness and matter, encompassing that of a painter, engraver, and architect. Using modest, restrained tones, primitive and concealed forms emerge, challenging the gentle blacks and subtle greys that dictate the composition. Recently rediscovering his passion for painting, which he had abandoned for some time, he now works in a lyrical abstraction, influenced by color and successive layers of paint (1996).

From 1962, Gabriel Belgeonne taught at the Academy of Mons and in 1976-1977, served as director at ESAPVE in Mons. In 1990, he began his tenure as a teacher and later, from 1998 to 2000, served as director at Ter Kameren in Brussels. He was also tirelessly involved in publishing and organizing graphic art events. Listed in BAS I, BAS II, and Two centuries of signatures of Belgian artists, he was a member of Cap d’Encre (1965-1970) and founder of the Tandem group (1970).

www.ftn-books.com has some Belgeonne publications available

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Alfio Castelli: The Evolution of Italian Expressionist Sculpture

Alfio Castelli, an Italian sculptor (born in Senigallia in 1917), showed interest in the work of M. Marini and G. Manzù with his first solo exhibition in Rome in 1940. Despite his artistic training at the Academy of Fine Arts in Rome, his sculptures display a departure from figurative representation, taking on ironic and caricatured undertones (Portrait of Pippo Rizzo, National Gallery of Modern Art, Rome). From his works “Lovers” and “Nudes,” his style becomes characterized by sutures, sponginess, and granulations that seem to diminish and almost dissect the figures, which could be defined as expressionist due to the way light plays on them. From this point on, his departure from figurative art is categorical. He has participated in numerous editions of the Venice Biennale and the Rome Quadriennale, gaining international recognition.

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

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Exploring Islam Through Marwan Bassiouni’s Lens

Photographer Marwan Bassiouni, raised in a Muslim family, developed a keen interest in religion at the age of twenty-four. From then on, he has been studying and practicing the Islamic faith. His work stems from a desire to portray a different perspective on the relationship between Islam and Western Europe, often depicted as conflictive in the media. He invites his audience to peer into a world that is unfamiliar to many. For example, since 2017, he has been working on the series Prayer Rug Selfies, in which he takes a photo of his prayer mat in various locations after prayer. These images offer us a glimpse into the intimate world of his own religiosity.

New Western Views 2021-2022
For his series New Western Views, Marwan photographs mosques. Or rather, he chooses to capture the view from these places of worship to the outside world. The focus of these photos lies on the windows of mosques, offering a shift in perspective. Instead of viewing Islam, you look out from the mosque into society. As Marwan says: “I invite the viewer to step inside, to look at their own landscape from a different perspective.” For the cloister, he created new work, opting for a larger format. These are views he photographed in Scotland, England, Switzerland, and the Netherlands. At first glance, the contrast between the interior of the mosque and the surrounding area was striking. The view of a Swiss suburb, Scottish railway bridge, or Dutch city park stood out against the often richly decorated mosques with colorful carpets and tiles featuring Islamic designs. However, through the clear and balanced composition of the works, the religious inner world and the Western European outer world coexist harmoniously. In post-production, Bassiouni manipulates the lighting and contrast between the interior and exterior worlds to achieve a seamless blending of the two.

www.ftn-books.com has the invitation card for his Fotomuseum exhibition now available.