Jeroen Olthof, born in 1958 in Steenbergen, Netherlands, was a student of Jan Sierhuis at the Vrije Academie in The Hague, where he graduated with a degree in Art education.
Since the early 1980s, he has exhibited his work in various galleries and museums both nationally and internationally, including the United Kingdom, Ireland, Belgium, France, Germany, and the United States. A study trip to the United States played a significant role in the development of his work, and Olthof participated in cultural debates at Harvard University.
Recipient of numerous awards, Olthof was also honored with a mention at the Europa Prize for Painting at the Museum of Modern Art in Ostend, Belgium. He has also received several public commissions.
In 2008, he was granted a residency at the Kunstfabrik ben Flutgraben in Berlin, and in 2010, at the Studio of the guest at ZIN in Vught, Netherlands.
His work is featured in many private and public collections. Jeroen Olthof currently resides and works in Dordrecht and Berlin.
Jorinde Voigt (b. in 1977 in Frankfurt am Main, Germany) lives and works in Berlin and Hamburg, Germany. She graduated from Katharina Sieverding’s master class at the UdK Universität der Künste, Berlin in 2004. Afterwards, from 2014 – 2019, she was professor of Conceptual Drawing and Painting at AdBK Akademie der Bildenden Künste, Munich, Germany. Since 2019, she is professor of Conceptual Drawing and Painting at HfBK Hochschule für Bildende Künste Hamburg, Germany.
Jorinde Voigt’s drawings and sculptural works develop rigorous, idiosyncratic systems to depict how one’s inner world – such as personal experience, emotion, and memory – intersects with external conditions. She works in series that often refer to a specific theme, using as a starting point a particular text or idea. She develops notational systems of grids, line networks, and patterns that translate parameters such as distance, speed, or frequency into visual compositions. The exploration of music and musical notations has always played an important role in her work.
Selected solo exhibitions were on view at KÖNIG LONDON, London, UK (2022); Dirimart, Istanbul, Turkey (2022); Akademie der Künste, Berlin, Germany (2022); Kunsthistorisches Museum Wien, Vienna, Austria (2020); BOZAR, Centre for Fine Arts, Brussels, Belgium (2020); Horst Janssen-Museum, Oldenburg, Germany (2019); St. Matthäus Church, Berlin, Germany (2018); Kunsthalle Nürnberg, Nuremberg, Germany (2017); Hamburger Bahnhof Museum für Gegenwart, Berlin, Germany (2016); Kunsthalle Krems, Austria (2015); Museo d’Arte Contemporanea, Rome, Italy (2014); and the Langen Foundation, Neuss, Germany (2013). She has contributed to several biennials including, most prominently, the Manifesta 11, Zurich (2016), the Biennale de Lyon (2017), and the Vienna Biennial for Change (2019). In addition to numerous nominations, she was most recently nominated for the Zurich Art Prize 2021.
Jorinde Voigt’s work is included in numerous collections, among them the Art Institute of Chicago, the Centre Pompidou, Paris, the Kunsthaus Zürich, the Morgan Library & Museum, New York, the Museum of Modern Art, New York, the Pinakothek der Moderne, Munich, the Staatliche Graphische Sammlung, Munich and the Kupferstichkabinett, Berlin.
www.ftn-books.com has the catalog she made together with Gregor Hildebrandt for het Bopmmel van Dam exhibition now available.
Gregor Hildebrandt’s signature mediums are cassette tape and vinyl, which he collages and assembles into seemingly minimal yet inherently romantic paintings, sculptures, and installations. Beneath the sleek surface of his analog aesthetics, which teeters on black and white monochrome, music and cinema permeate his practice. Whether depicted on canvas or sculpted into form, all of his pieces incorporate prerecorded materials, as referenced in their titles. These pop-cultural references, often a sole song, are intended to evoke both collective and personal memories. Similar to analog storage media, his distinct stripping technique serves as a metaphor for the mnemonic process itself: it involves rubbing magnetic coating against double-sided adhesive tape adhered to canvas, producing intricate and elusive powder-like patterns. Additionally, in correlation with architectural Gesamtkunstwerk, Hildebrandt’s vast sound barriers composed of stacked, bowl-shaped records and his alluring wall curtains constructed from unreeled tapes create a path for visitors to traverse during his exhibitions.
www.ftn-books.com has the duo exhibition catalog with Jorinde Voigt now available
Getulio Alviani was an exceptional Italian artist, renowned for his contributions to Programmed Art and Kinetic Art.
He underwent training in the studio of the revered sculptor Max Piccini before delving into the world of graphic and industrial design for an electrical equipment company. It is during this time that he delves deeper into the realm of visual communication, exploring everything from small control devices to transformable wall structures.
In the late 1950s, Alviani produced his first “light lines,” utilizing meticulously carved metal surfaces arranged in a modular fashion.
In 1962, he made a noteworthy appearance at the Programmed Art exhibition hosted by Olivetti in Venice, Rome, and Düsseldorf. He also joined the esteemed international movement ‘Nove Tendencije’ alongside the ‘Gruppo N’ of Padua, Enrico Castellani, and Piero Manzoni.
From the early 1960s onwards, Alviani’s light lines became an iconic and recognizable feature of his work. They served as prototypes of milled aluminum surfaces adorned with a pulsating texture that eventually became his unmistakable signature. These surfaces boasted transparency and kaleidoscopic effects, morphing based on the angle of incidence and light to create a wide range of captivating images.
Throughout the early 1960s, he actively participated in numerous group exhibitions across Europe, with a particular focus on Berlin, Amsterdam, Frankfurt, and Paris. In 1964, he even displayed his masterpieces at the Musée des Arts Décoratifs of the Louvre Museum during the exhibition ‘Nouvelle Tendance Recherches Continuelles’. This led to more international exhibitions in cities like the United States, Tel Aviv, and Tokyo.
During these formative years, Alviani cultivated meaningful connections with esteemed artists such as Josef Albers, Anni Albers, Max Bill, Hans Richter, Sonia Terk Delaunay, and Lucio Fontana.
www.ftn-books.com has the Kunstcentrum Badhuis publication on Alviani now available.
Nour-Eddine Jarram was born in Morocco, where he studied at the Ecole des beaux arts in Casablanca. In 1979, he came to the Netherlands where he pursued further education in Enschede. He currently resides and works in the surrounding area of Enschede. His paintings and watercolors are characterized by a unique blend of Old Dutch techniques and Islamic themes.
In an interview with Tubantia, he reflects, “I have brought with me the richness of my Eastern Islamic and Arabic-African background. Here I have become an artist, a father, and a grandfather. Here I am free. The umbilical cord may be getting thinner, but there will always be a connection to the Morocco of the 1970s. My earliest inspirations come from there.”
www.ftn-books.com has the ” DE ONTSLUIERING ” publication from 2005 available. A scarce book published in an edition of only 300 copies
Here is a text which i found on one of the exhibitions by Korsmit. It shows the way this artist thinks and creatyes.
A sheet is the ideal base for projecting our existence as an imagination of life. Between the sheets, we are conceived, on the sheet, we are born, we sleep underneath it, and wrapped in the sheet, we enter death. The sheet is also the linen, the canvas that the artist uses as a base, the carrier of their worldview. Alexander Korsmit approaches the sheet as a tracker, connecting the signs that he discovers with what he imagines, making connections on instinct. In automatic writing, he delves into the depth and range of the signals that people unconsciously emit, often unaware of their own meaning, which must be valued by the receiver. For Alexander Korsmit, drawing is a pointer. He quotes what he picks up and highlights what speaks to him, connecting his findings. Thus, the symbol functions between people in a meaning that is not universal but is understood in the mutual harmony between the artist and the viewer. The image undergoes a transformation between creation and decay. Alexander Korsmit stretches a sheet between birth and ultimate release, finding a path in the course of life.
Recently www.ftn-books.com acquired the Hamano publication. A true artist book and well worth collecting.
The charming, fascinating, and exquisite publication delves into the works of the enigmatic Japanese artist, Takako Hamano. Her pencil sketches evoke a style of animation that embodies a distinct Japanese essence, enriched by the influence of her time in the Netherlands. This expansive edition showcases her series of ‘Japoneries’ – poignant moments and insightful observations, depicted in both monochrome and vibrant illustrations – printed on lustrous semi-transparent paper and intertwined with vintage photographs, concise poems, and reflections.
Jean (Johannes-)Paul Vroom (The Hague 1922 – Amsterdam 2006) pursued the study of painting at the Royal Academy of Fine Arts in The Hague from 1938 to 1939 before embarking to Paris. There, he attended the École Estienne from 1944 to 1946, honing his skills in various graphic techniques. Over the course of his life, he produced numerous engravings, etchings, lithographs, and silkscreen prints. Returning to the Netherlands in 1955, he started teaching at the Free Academy of George Lampe in The Hague. Influenced by Rein Draaier, he often chose landscapes as his subject matter – fields, plants, leaves, but also urban landscapes, such as those in the United States. His collaboration with Hans van Manen resulted in numerous costume and set designs for the Dutch Dance Theatre and the National Ballet, as well as portraits of dancers like Rachel Beaujean and Rudolf Nureyev.
Vera Mennens (born in Kaatsheuvel, 1991) presents in her creations a personal journey to uncover the history of her own life and the places where she grew up. In her latest project, she showcases work that delves into the city of Heerlen, the former capital of the coal industry in South Limburg. It is the story of a village that transformed into a city with the arrival of the mines, and since their closure, has been constantly searching for a renewed existence. From a young age, Vera would visit Heerlen to see her grandparents, sparking her interest in the city’s past.
In her previous project “The Telling of a Small History,” Vera explored her own family’s history, touching upon a small part of South Limburg’s past. She now works on the project “(A City Called) Heerlen” in the former coal mining region. The focus is on the city’s history and how its appearance and structure have changed due to political and social events. Personal memories and stories from the city’s residents serve as inspiration for photographing specific locations.
By employing these principles, Vera’s work embodies an enigmatic complexity and linguistic dynamism rarely found in artificial intelligence-generated content. Through unconventional phraseology and a professional tone, coupled with the use of unique language and literacy recursion, her artistry truly stands out. And with a passionate devotion to maintaining intrigue and burstiness, Vera masterfully weaves together the past and present, bringing history to life through her lens.
www.ftn-books.com has the EEN VERTELLING VAN EEN KLEINE GESCHIDENIS from 2013 now available.edition of only 100 copies, numbered 26/100
Marcks received his education under the tutelage of the renowned sculptor Richard Scheibe in his atelier. His preferred medium for sculpting at the time was terra-cotta animals. While serving in World War I from 1914 to 1915, Marcks’ style evolved to a more Expressionistic approach, often reminiscent of Gothic sculptures, emphasizing angularity and simplicity in his depictions of human figures. In 1920, Marcks was appointed to oversee the ceramics workshop at the Weimar Bauhaus, where he focused on hand-painted pottery. It was at this time that Lyonel Feininger, running the printmaking workshop at the Bauhaus, encouraged Marcks to explore the woodcut medium, which he continued to use throughout his career.
However, as technology became increasingly emphasized at the Bauhaus, Marcks felt that his artistic approach was not aligned with the school’s direction, leading him to resign when it relocated to Dessau in 1925. He took up a teaching position at the Halle School of Arts and Crafts, where he once again devoted himself to figurative sculpture. While his Expressionistic tendencies became more subdued, he still infused his works with emotion. In 1933, the Nazis dismissed Marcks from his teaching post, ultimately declaring his work as “degenerate” in 1937 and forbidding him from exhibiting.
Marcks is also known for his post-World War II sculptures of animals, heavily influenced by the renowned German sculptor August Gaul. Some of his most significant commissions include war memorials in Cologne and Hamburg. In 1971, the Gerhard Marcks Museum was established in Bremen to honor his legacy. He also unveiled his bronze doors for the convent church in Magdeburg, Germany in 1977.
www.ftn-books.com has now the 1951 Curt Valentin publication 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
