Matthias Weischer’s artwork portrays indoor settings and landscapes that invite contemplation on the concept of space. He conscientiously constructs thick layers of pigments on the canvas, resulting in a surface that exudes a vibrant texture. By utilizing this technique, Weischer skillfully integrates detailed areas and negative space, creating a captivating juxtaposition. Since gaining prominence as a distinguished member of the Neue Leipziger Schule in the early 2000s, he has continuously experimented with varying techniques, boldly pushing traditional genres into uncharted territories. His beginnings as an artist who vividly captured spaces overflowing with personal memories are evident in his current work, which still reflects a penchant for theatricality. After a stint in Rome in 2007, the artist shifted his focus to landscapes and adopted a more painterly approach that prioritizes showcasing form through the materiality of the surface. Presently, Weischer has returned to his roots as an artist, once again exploring interior spaces with a renewed interest in human figures and their connections to domestic environments.
Carlos Revilla was brought into this world in the beautiful town of Clermont-Ferrand, France. As the offspring of a diplomat, his formative years were spent traversing continents, absorbing the diverse cultures of Europe, Latin America, and the United States. Revilla’s academic pursuits led him to the prestigious Royal Academy of Fine Arts in Amsterdam, where he dedicated his studies from 1956 to 1961. During this time, he forged a close bond with none other than the illustrious Salvador Dali, while residing in Cadaqués, Spain. Here, he also had the opportunity to meet and collaborate with visionary artists such as Man Ray and Marcel Duchamp. It was no surprise when Revilla was extended invitations to exhibit his work at the prestigious Venice Biennale, not just once but three times.
In 2024, Piet Franzen, a captivating artist from Leiden, exhibited his mail art piece titled “The Activist” at the window gallery “De Prachtvink” near the Vinkhuizen shopping center, located at Platinalaan 505a, 9743 GZ Groningen. It must have been one of his final exhibitions since he died shortly after.
“The Activist” is a mail art creation measuring 12.4 x 16.7 cm, completed in 2023. With this small yet powerful work, Piet Franzen conveys his concerns about two major global issues plaguing our world: the war in Ukraine and climate change. Using a simplistic pen drawing of t-shirts on a clothesline, he playfully captures the essence of these issues. The shirts seem to narrate their involvement in various protest marches and demonstrations, thus requiring a fresh wash. Yet, despite the gravity of global problems, the activist must also remember their personal hygiene and continue with their daily routine of household chores, meals, and sleep.
“The Activist” is part of a long-running mail art series. Franzen’s artwork is characterized by the use of grey cardboard cards, all in the same format, to which he adds simple drawings and stamps. His mail art often speaks of sociopolitical consciousness and engagement.
Piet Franzen (1940, Amsterdam) pursued his art education in Haarlem and later settled in Leiden, where he managed his own gallery, SIDAC. Since the 1960s, he has been captivated by the art of FLUXUS, and has delved into painting, drawing, collages, and mail art. His projects heavily involve public participation and activist ideas. His larger art pieces have been frequently showcased in the Randstad area, while his mail art has made its way into collections around the world.
www.ftn-books.com is lucky to have one of the mail art publications by Franzen and it is now for sale.
Mika Hayashi Ebbesen, also known as Mikatsiu, is a nonconforming Japanese-Norwegian creator, embodying the persona of a frequency witch and operating within the realm of autonomous art publishing. Prior experience as a facilitator of exhibitions ignited a profound curiosity in global history and decolonial tactics; this, in turn, has significantly influenced their approach to editing and scrutinizing the interconnectedness of language. They presently co-organize From Breath To Matter, a performance series based in Berlin that delves into the potential of voice as a medium in the realm of sound and movement; furthermore, they dedicate themselves to exploring the ways in which the fusion of sound and the human form generates novel societal vernaculars—they also sporadically showcase their talent as a cellist.
www.ftn-books.com has currently the DE APPEL / The Remote Archivist available.
Hervé Di Rosa, born in Sète, France, was born in 1959 and is an esteemed contemporary artist known for his vibrant and visually striking works, heavily influenced by his travels and the diverse cultures he has encountered. Splitting his time between Paris and Mexico City, he continuously seeks out novel creative avenues around the world. Di Rosa initially honed his skills at the prestigious National School of Decorative Arts before taking the Parisian art scene by storm with his first solo exhibit “Finishing Beautifully” in 1981. It was also in this same year when he co-founded the revolutionary French art movement “Figuration libre” alongside fellow artists Richard Di Rosa, François Boisrond, Rémi Blanchard, and Robert Combas. Characterized by its lively and expressive style, the movement drew inspiration from the realms of comics, rock culture, and graffiti, presenting a fresh and defiant approach to contemporary art. With his works receiving international acclaim, Di Rosa has had exhibitions in Amsterdam, Düsseldorf, and the Museum of Modern Art in Paris.
Di Rosa’s artistic journey mirrors his profound connection to diverse cultures, having traversed and created art in places like Cuba, South Africa, Vietnam, Haiti, and Tunisia among others. He adroitly fuses his love for pop culture and an unabashed use of color to infuse energy and dynamism into each of his pieces. Through his vibrant and graphic paintings, Di Rosa embraces mass urban culture, serving as a bridge between various artistic traditions and global influences. His most recent retrospective was held in Lisbon in 2023, captivating a new generation of art enthusiasts. Moreover, Di Rosa is currently collaborating on a project that delves into the fusion of street art and traditional craftsmanship. The venture has garnered considerable recognition in the global art scene and is set to be showcased at various international institutions later this year.
Honored by the Medici Foundation, Di Rosa spent an expanse of two years residing in the heart of New York City, where his masterpieces were showcased at the esteemed Barbara Gladstone Gallery. He also participated in the illustrious 1985 Paris Biennial, lending his talents to the creation of the event’s official poster. In 1989, he delved into the realm of collaboration, partnering with local artisans in Tunisia to craft two serigraphs in a commercial print workshop. In the year 2000, Di Rosa’s legacy expanded with the establishment of the International Museum of Modest Arts in his hometown of Sète, a prestigious establishment dedicated to exhibiting unconventional and popular artistic practices. Throughout his illustrious career, Di Rosa’s stunning art has been on display at a vast array of global institutions, from the Sogetsu Kai Kan Foundation in Tokyo to the Bass Museum of Art in Miami Beach and the Evo Gallery in Santa Fe.
Today, Di Rosa remains a towering inspiration in the vast landscape of art, constantly traversing new cultural territories and pushing the boundaries of contemporary painting. His art continues to enthrall audiences with its vibrant utilization of color, mesmerizing graphic style, and fusion of both popular culture and traditional art forms. Revered for his contributions to the “Figuration libre” movement, Di Rosa’s unparalleled work maintains a delicate equilibrium of whimsy and astute social commentary, establishing him as one of the most influential and esteemed figures in contemporary art today.
Eusebio Sempere (3 April 1923 – 10 April 1985) was a Spanish craftsman, illustrator and visual engineer whose unorthodox yet profound designs established him as the most exemplary creator of the Kinetic art movement in Spain and one of its prominent luminaries. His implementation of recurring lines and mastery of hues to manipulate light’s play on the surface furnish depth to his picturesque compositions.
Born in Onil, Alicante, Spain, Sempere embarked on his academic journey at the School of Fine Arts of San Carlos de Valencia, where he delved into painting, sketching, and assorted etching techniques. Due to a childhood ailment, he was left with restricted sight in his right eye.
Sempere’s oeuvre is characterized by the conceptualization of its components, geometric iteration and linearity, all of which amalgamated into his amalgamation of Op Art and constructivism, infused with fragments of kinetic art.
His personal imprint on the advancement of kinetic art is his repertoire of intangible geometric structures that exhibit the optical illusions of vibration and motion. Illumination also features prominently in his artistic ventures. Perhaps influenced by sources from Levantine origins, Sempere employs it as the principal unit to bring order to his creations seamlessly. His canvases are perceived as two-dimensional plains, where the artisan expertly manipulates visual elements—the light, the hues, and the shades—to achieve the perceptual and optical phenomena, transmuting them into suggestive iterations of geometric forms.
Daniel Pflumm functions as a pivotal figure in the vivacious cultural milieu and subterranean club scene of Berlin during the dynamic 1990s. Pflumm played an integral part in the progression of embodying and engrossing oneself in the aftermath of capitalism’s conquest of the former East; a crucial discourse between the production of electronic music, artistry, and the aesthetic of corporations. Employing a strategized approach of situationist détournement, Pflumm cultivated a form of Pop Art, utilizing digital techniques to highlight the minimalist and abstract influence of corporate and mass media visuals.
In Berlin, Pflumm established the renowned clubs Elektro (1992-1994) and Panasonic (1995-1997), alongside a techno label, Elektro Music Department (EMD). It is within the unique environment of these clubs that Pflumm initially conceptualized and incorporated light boxes that dissected corporate logos devoid of their identifying names, paired with TV screens playing absurd video-loops of corporate logos and advertisements synchronizing to the club’s music.
Born in Tokyo, Japan, in 1916, Departing from this world in Tokyo, Japan, in 1985,
YU-ICHI (1916-1985) stands as a towering figure among Japanese artists of the 20th century, often mentioned in the same breath as renowned names such as Franz Kline, Robert Motherwell, Pierre Alechinsky, and Henri Michaux. Notably, Herbert Read, a prominent critic, dedicates a section to YU-ICHI in his seminal work “A Concise History of Modern Painting,” including a notable painting by the artist. Even Robert Motherwell pays him tribute in his notes, hailing him as one of the few great artists of the latter half of the 20th century.
While YU-ICHI’s participation in documenta II at Kassel in 1959, and exhibitions at venues such as the Stedelijk Museum in Amsterdam, and the Kunsthalle in Baden-Baden in 1963, and the Galerie Zwirner in Cologne in 1965 certainly elevated his popularity, he shunned regular exhibitions, choosing instead to channel his energy into the artistic and creative process. His self-critical approach to his work, and his tendency to destroy anything he deemed “inferior,” resulted in his entire collection being showcased in a three-volume catalogue.
YU-ICHI exudes his artistic energy through logographic “kanji” characters, using them as a medium to convey his artistic message and express his internal state. His focus lies not on the aesthetics of the characters, but rather on the uninhibited manifestation of his inner power through his writing. He breaks away from traditional calligraphy, opting for a radical, expressive style. His talent gained international recognition early on, evident from his participation in prestigious exhibitions: Kassel; National Museum of Modern Art, Tôkyô and Kyôto; Museum of Modern Art, New York; and Stedelijk Museum, Amsterdam.
www.ftn-books.com has one f the most important titles from his career now available.
Jean Dunand stands as a significant and influential artist of the Art Deco period, choosing to express his creativity through multiple media, such as sculpture, lacquerwork, and jewelry.
Born as Jules John Dunand in Petit-Lancy, Switzerland in 1877, he later changed his name to Jean in 1909. Growing up in a family of goldsmiths, it was no surprise that Dunand was drawn to the decorative arts. He honed his skills at the École des Arts Industriels de Genève, focusing on sculpture and metalwork. When he moved to Paris, he became an apprentice to renowned sculptor Jean Dampt. Dunand’s first exhibition was at the Exposition Universelle in Paris in 1900.
Not content with sticking to one medium, Dunand began to experiment with various techniques and materials, eventually venturing into dinanderie work. His preferred material was copper, and his exquisite pieces were regularly displayed at the Salon de la Nationale des Beaux Arts and the Salon d’Automne. In 1904, the Musée des Arts Décoratifs acquired one of his dinanderie vases for their permanent collection, solidifying his reputation as a master of the art.
However, it was Dunand’s lacquer work that has etched his name into history. In 1912, he met Japanese artist Seizo Sugawara, who played a crucial role in shaping Dunand’s craft. Hailing from a village renowned for its lacquerware, Sugawara shared his expertise with Dunand, and in turn, Dunand passed on his knowledge of other decorative arts. With great determination, Dunand quickly absorbed all that Sugawara had to offer, filling numerous booklets with meticulous notes in just two short months. Despite its complexity, Dunand was not one to shy away from mastering the art of lacquer, and he did just that.
Retaining his legacy as an enigmatic artist, Jean Dunand’s mastery of various media, his pursuit of perfection, and his collaboration with fellow artisans all contribute to the captivating complexity and linguistic dynamism of his work. Thus, he remains one of the most revered figures of the Art Deco movement.
The earlier works of this artist exemplify the Art Nouveau period’s fascination with Japonisme, incorporating naturalistic motifs and elements. Repoussé and chasing techniques were utilized, as well as inlays of differently colored metals. However, as time passed and preferences shifted, the artist began to embrace geometric patterns and smooth surfaces, reflecting the growing interest in African Art and Cubism. This shift in style has become synonymous with the Art Deco movement. The artist also experimented with coquille d’oeuf, a painstaking technique of using tiny pieces of broken eggshell to create intricate patterns in lacquer.
With a desire to expand the market for this Eastern art form in France, the artist utilized lacquer not only in traditional objects, such as vases and small figurines, but also in portraiture, furniture, wall panels, and jewelry. The artist’s wide cuff bracelets and narrow circular neck collars, adorned with red, black, and yellow lacquer, became iconic Art Deco jewels, famously worn by Josephine Baker. The demand for the artist’s lacquerware was so high that he had to expand his workshop multiple times, eventually employing over 100 individuals. Notably, the artist received commissions to create large-scale lacquer works for luxury ocean liners, including the SS Île de France and SS Normandie. For the 1925 Exposition Internationale des Arts Décoratifs, he designed an entire room for the French Embassy, now considered a national treasure and owned by the French Government.
Sadly, the artist passed away in 1942, leaving behind a remarkable body of work that is still greatly admired and highly sought after today.
Alicia Penalba commenced her education as a teacher at the Buenos Aires School of Fine Arts in 1930, where she completed her studies with a diploma in drawing and painting. She participated in several group exhibitions and received some national awards for her figurative work.
In 1948, Alicia Penalba left for Paris with a scholarship, enrolling at the Académie des Beaux-Arts. From 1949 onwards, she spent 3 years working at the Académie de la Grande Chaumière in the studio of Ossip Zadkine. In 1951, she created her first abstract sculpture and destroyed almost all of her previous work. Her first group exhibition took place in 1955 at the Salon des Réalités Nouvelles, and her first solo show was held in 1957 at the Galerie du Dragon in Paris.
In the 1950s and 1960s, she gained international recognition for her work. She was invited to exhibit at documenta II in 1959 and documenta III in 1964 in Kassel, and she won the sculpture prize at the São Paulo Biennial in 1961. Her works, mostly abstract bronze sculptures inspired by forms found in nature, were featured in numerous international exhibitions. One of her well-known pieces is Grande double, of which one copy (1/4) has been on display at the sculpture park of the Kröller-Müller Museum in Otterlo since 1965.
Alicia Penalba resided and worked in France for the majority of her life, in Montrouge and Paris. She passed away in a train accident in 1982.
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
