There is hardly any information on Leppink to be found and that is a huge misunderstanding on the importance of this fascinatiing artist.
In honor of the renowned visual artist Henk Leppink, this book was curated by Bas Oudt, Erik Mattijssen, and myself, with accompanying texts by Marjan Unger, Erik Mattijssen, and myself. Designed by Bas Oudt, I also oversaw the text editing process.
This publication was independently commissioned and self-published, with gratitude to friends and family of Henk Leppink and the Mondriaan Fund. The book’s release coincided with the opening of a curated and designed exhibition of Henk Leppink’s work at the renowned Gallery Witteveen / Ron Lang Art.
In his body of work, Loek Grootjans reveals himself as both an artist and a collector, a scientist and an archivist. In various forms, he thematizes his personal experiences, thoughts, and worldview with a meticulousness that borders on obsession. One of the artist’s underlying ideas is that thinking in terms of top-notch and masterful works is no longer relevant. He previously abandoned painting, his first love, due to its association with mastery.
In the late 80s, after Lode Laperre completed his studies in fine arts in Brussels and solidified his conviction to become a visual artist, his profound interest in contemporary painting led to the development of a unique pictorial language, which initially emerged solely through the use of acrylic paint on canvas.
During the period of 1990-1995, Lode Laperre’s early work was repeatedly recognized, with accolades such as the National Prize for Painting Kulturama as laureate (1990) and his first remarkable solo exhibition (Tournai, 1992). The artistic challenges that awaited him in the studio and his increasing artistic activity resulted in various exhibitions, both individually and in groups.
In December 1998-January 1999, when Lode Laperre made his first trip to Southeast Asia, his extraordinary interest in other civilizations and visual cultures flourished. To this day, he frequently returns there, maintaining regular contacts with private and official institutions in the cultural-artistic field of the region, and advancing his artistic mission to create a distinct, oriental-occidental-fused pictorial language laden with personal significance. This intense and authentic artistic engagement culminates in exhibitions in Asia, including China, Taiwan, and Thailand.
Gradually, he also delves into creating ink wash drawings on paper, which align with the same artistic pursuit. Laperre’s artistic scope expands further to encompass sculptural works through the series Coprolites, in which excretions from his painting sessions are reincarnated into paint sculptures – sometimes presented as installations – which he refers to as the “fossilized remains” of his paintings.
www.ftn-books.com has the galerie Link publication in a numbered and signed edition of 100 cps now available.
The artworks of José Heerkens revolve around the essence of color. With precision, she arranges perfectly coordinated hues along lines and in grids on her canvases. Often, Heerkens leaves a portion of the linen blank, allowing the painting to remain “open enough to enter,” as she puts it. One can almost step into the painting by “walking” with their eyes over the canvas, following the shifting color blocks, the rhythm of lines, the denseness of the paint layer, and the interruptions in the brushstrokes.
Van der Heijden was the daughter of Antonius Cornelis Josephus (Anton) van der Heijden (1893-1974), a teacher at the lekeninternaat Rolduc. During the war years, she was educated at the Stadsacademie in Maastricht, under the tutelage of Jef Scheffers. In 1945, she moved to Amsterdam, where she studied at the Rijksacademie under Heinrich Campendonk and Gé Röling. Among her fellow students in Amsterdam were Jef Diederen, Gène Eggen, Harry op de Laak, and Frans Nols, all of whom are considered part of the group known as the Amsterdam Limburgers.
Van der Heijden and Max Reneman both competed for the Prix de Rome in 1951. The jury was unable to decide which of the two should receive the gold medal. As a result, the prize was not awarded, and the accompanying travel grants were not paid by the ministry. The Italian government provided a subsidy, enabling the two to make a study trip to that country. Ultimately, Van der Heijden studied at the Accademia delle Belle Arti in Ravenna. Upon returning to the Netherlands, she, alongside Diederen and Nols, established her studio at Kasteel Erenstein near Kerkrade. She then moved to Maastricht in 1959.
Her work encompassed sgraffito, mosaic, wall paintings, and tapestries. From 1954 to 1966, she also created stained-glass windows, which were executed by the workshops of Gerard Mesterom and Hubert Felix.[3] After this, she no longer accepted commissions from churches and focused on graphic work, such as woodcuts and etchings. In the late 1980s, she started creating paper collages. After the death of her life partner, Bruno Borchert, in 1994, she produced pastel works depicting the final stages of human life.
Van der Heijden was a member of the Algemeen Katholieke Kunstenaars Verbond, the Vereniging van Beoefenaars der Monumentale Kunsten, and the Beroepsvereniging van Beeldende Kunstenaars.
The artist passed away in 1998, at the age of 75. Her possessions were placed under the care of a foundation and were donated to the Museum van Bommel van Dam
www.ftn-books.com has the publication on this donation to the museum now available.
Bård Breivik (23 November 1948 – 10 January 2016) was a Norwegian sculptor and art instructor, renowned for his enigmatic and dynamic works. His journey towards artistic excellence began at the renowned Bergen Academy of Art and Design and St. Martin’s School of Art in London, where he honed his skills and mastered his craft.
Breivik’s passion for teaching and sharing knowledge led him to hold a prestigious professorship at the Royal Institute of Art in Stockholm from 1982 to 1985. However, he never abandoned his own artistic endeavors and continued to create thought-provoking and evocative pieces throughout his life.
His contributions to the art world were highly acclaimed, with the ‘Fibre’ exhibition in the autumn of 1981 receiving widespread recognition. Breivik’s talents also extended to scenography, as demonstrated in his work for the performance ‘Pyramider’ at the Henie-Onstad Art Centre.
In 1982, he was selected to participate in the influential group exhibition ‘The Sleeping Beauty – Art Now, Scandinavia Today’ at the prestigious Guggenheim Museum in New York. Furthermore, in 1984, Breivik’s works were displayed at the Toyama Modern Art Museum in Tokyo as part of an international group exhibition. The following year, he was honored to represent the Nordic region in the Venice Biennale, exhibiting at the Nordic pavilion.
Breivik’s creations transcended the realms of traditional art and pushed the boundaries of imagination. His legacy continues to inspire and fascinate art enthusiasts around the world.
www.ftn-books.com has the VORTEX 2005 exhibition catalog available.
“Dagdieven,” declared Rinus van den Bosch, the renowned visual artist, with a mischievous twinkle in his eye. He, a quintessential native of The Hague, roamed dreamily yet determinedly through his beloved city, delighting in all it had to offer. A masterful sketch artist, he painted, sang, composed, wrote poetry, and made music. Never had a child been born with more talent and less opportunity, some would say.
www.ftn-books.com has the 2009 Retrospective exhibition catalog at the BOymans Museum now available.
Located on the corner of Wally Moesweg and Oud Blaricummerweg, on the left stands the home of renowned painter Bosch Reitz. Sigisbert (Gijs) Chrétien Bosch Reitz was born in Amsterdam on February 20, 1860. This artistic maestro, famed for his stunning pieces, tragically fell from a moving Gooische steam tram in 1938. As he stumbled home, his foot became entangled in the tram’s wheels, ultimately resulting in its crushing. He managed to make his way to a nearby hospital in Amsterdam, via taxi. However, his foot had been so terribly mangled that he succumbed to his injuries a few weeks later on April 9, 1938, and was laid to rest at Zorgvliet in Amsterdam.
www.ftn-books.com has the most important monograph on Bosch Reitz now available.
The subtle, frivolous drawings do not give away his true nature. His eyes portrayed like modern Art Nouveau posters, with graceful lines, twisted fairytale figures, and pretentiously gazing fashion models, just like his fellow countrymen Egon Schiele and Gustav Klimt had represented half a century earlier. However, Günter Brus was one of the most intense performance artists of his time, the 1960s, and a pioneer for generations to come. The Austrian passed away last weekend at the age of 85.
After his time at the Academy of Fine Arts in Graz and Vienna, he founded the Wiener Aktionismus in 1964, together with Otto Muehl, Hermann Nitsch, and Rudolf Schwarzkogler. It was an experimental group of body artists who did not hesitate to physically resist against the Austrian conservatism, good taste, and the lasting, post-war fascism in their home country.
The quartet surely did not create art for the faint-hearted: anti-bourgeois, shameless, and controversial. Nitsch became famous for his ritualistic slaughters (pigs), crucifixions (humans), and blood paintings; Muehl organized pee contests, managed a commune (literally), and was accused of child abuse; Schwarzkogler enjoyed wrapping himself, mutilating himself with a corkscrew, and having intercourse with fish and chickens (although the myth about him cutting off his own penis turned out to not be true).
The pinnacle of Brus’ oeuvre is his public performance in 1968, in which he sings the national anthem while masturbating, smears himself with feces, and drinks his own urine (which he then vomits back up). This results in a six-month prison sentence and a ban from Austria. He fled to Berlin, where he remained in exile until 1976.
He started quite moderate, actually. In 1960, he painted himself, his wife, and his studio with black and white paint. From self-painting to self-mutilation, the work gradually evolved. Culminating in his last action, Zerreissprobe (1970), where he cut open his own skin with a razor.
Using the body as a “canvas” has become common in the art world since the Viennese actionists. Just look at Marina Abramovic, who in one of her performances, used a razor to cut a communist star into her own stomach. Thanks to her and other performance artists, the work of Brus (and his colleagues), despite controversies and convictions, has become acceptable again. And what was once unthinkable: in 1996, he received the prestigious Großer Österreichischer Staatspreis. But by then, he had already turned to “proper” drawing.
www.ftn-books.com has a substantial selection of Brus and Wiener A§ktionismus publications.
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Peter Zegveld is a visual artist and playwright, born in 1951 in The Hague and a graduate from the Royal Academy of Art in The Hague. His artistic oeuvre is distinguished by simplicity and accessibility, and is frequently exhibited in major museums throughout the Netherlands. His theatrical performances are visually stimulating, evocative, and cinematic. With boundless freedom and an unconventional approach, Zegveld ventures across diverse disciplines, allowing his audience to encounter and uncover absurdities. In addition to creating shows for theaters, festivals, and his autonomous art, he has also produced works for Orkater and television series for VPRO. Peter Zegveld serves as the artistic director of the Caspar Rapak Foundation.
www.ftn-books.com has the Irma Boom designed book ” Exploded View# now available.
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
