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Gijs Bosch Reitz (1860-1938)

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.

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Günter Brus (1938-2024)

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 (1951)

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.

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Eddy Roos (1949)

Eddy Roos (1949) stands as a renowned visual artist hailing from Amsterdam and a graduate of the Rijksacademie in Amsterdam (1965-1973), where he received instruction from sculptors Cor Hund, Piet Esser, and Paul Grégoire. He also studied under Giacomo Manzu in Italy after his time at the academy. Roos is known for his extensive research of the works of his predecessors, a practice he continues to this day by regularly visiting museums to sketch and study.

The essence of life force brought to life through dance is a prominent theme in Roos’ work. This is reflected in his powerful and expressive, yet sensual drawings and sculptures, as well as choreographies, dance films, and etchings.

Roos’ magnum opus is the project known as the sculpture garden at Borg Verhildersum in Leens, Groningen, which he began in 1975 and consists of 13 sculptures. This unique project in Europe combines sculptures and garden architecture all designed by one artist. The guiding principle in the design of the garden and architecture of the sculptures is the golden ratio, creating a harmonious unity. This project is Roos’ life’s work, and he is determined to complete and perfect it. He hopes that the project will be supported and sustained by individuals, sponsors, and funds through the establishment of the Foundation Sculpture Garden so that the final piece of this project can be realized.

In addition to the sculpture garden, Roos has also completed various other projects, including the Spain Monument (Amsterdam), Air Dancer (Rotterdam), and the Jipsinghuizen Monument (Jipsinghuizen). His work can also be found in numerous private collections and museums, both in the Netherlands and abroad, including collections such as Groeneveld, Singer Museum, Hermitage Amsterdam, Museum Beelden aan Zee, Hannema-de Stuers Fundatie, Drents Museum, De Havixhorst, Museum Ton Schulten, the collection of Prof. Bardonnet in Paris, and the Atelier Eddy Roos Museum.

www.ftn-books.com has the monograph on Eddy Roos now available.

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Nicolas Dings (1953)

Showcased in Nicolas Dings’ work is a three-dimensional world, straddling the line between melancholy and longing. He manipulates bronze, ceramics, and plastic, along with found objects and text, to craft a kaleidoscopic oeuvre that offers commentary on the world around him. A substantial book, “Zimmer Frei” (Van Hoof Gallery/ Van Spijk Publishers) was released in 2019, showcasing his forty-year career. In a previous catalogue, “Annus Horribilis” from 1993 (Kunstvereniging Diepenheim), he painted a picture of the times, which has now become a harsh reality. In 2020, museums closed their doors, exhibitions were cancelled, and events were postponed. As a visual artist, Dings could only react by continuing to work; after all, his studio was the safest place on earth. The audience dwindled to just one person: the artist himself. As we gradually return to our normal routines, the result will be a disrupted universe. Nicolas Dings does not depict the crisis through references or admonitions, but through signs on the walls (and on the floor), evoking a longing for a better world. He resides and creates in Wijdewormer and Besmont La Rue Charles, France. His body of work includes sculptures, drawings, texts, and installations in public spaces.

www.ftn-books.com has several Dings titles now available.

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Frank van Hemert (continued )

A brief tale about a prominent artist whom I have been following for over 3 decades, and whose marvelous collection I have built. His name has now resurfaced as I have acquired 3 significant early works. All three pieces originate from the esteemed collection of Gallery Nouvelles Images, and two of which were featured in the Van Hemert exhibitions at the Hague Municipal Museum. After being sold by Nouvelles Images, these works found their way into private collections, but I suspect that the gallery has repurchased them. Two of the works, executed on hard board with mixed media, will for certain remain in my personal collection, while the third (a gouache) might be available for purchase, as it bears a striking resemblance to a drawing already in my possession. www.ftn-books.com offers a nearly complete collection of Frank van Hemert’s catalogs for sale, sure to leave any enthusiast enthralled.

Here are the three acquisitions to our collection:

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Mishka Henner (1976)

Mishka Henner is a notable contributor leading the pack of contemporary artists reshaping the role of photography in the digital era. He perceives the capturing of imagery through an incessant array of automated and manual cameras as a cohesive depiction of the world, with boundless intricacy available to all with online access. A significant portion of his craft navigates this expansive digital landscape, honing in on critical themes of cultural and geo-political significance. His creative process often entails thorough investigative research coupled with the intricate construction of visuals crafted from materials procured online.

Born in 1976 in Brussels, Belgium, Henner relocated to the United Kingdom in 1984. He holds a Master’s degree from Goldsmiths College in London and in 2013, was bestowed with the Infinity Award for Art by the International Center of Photography. He was a finalist for the Deutsche Börse Photography Prize that same year, and in 2014, made the shortlist for the Prix Pictet for his expansive works centering on landscapes shaped by the beef and oil industries in America. Henner’s pieces were featured in the group exhibit New Photography at the renowned Museum of Modern Art in New York in 2015. A prominent solo showcase, Counter Intelligence at Orebro Konsthall in Sweden, showcased his works from various series in the spring of 2017.

www.ftn-books.com has the NO MAN’s LAND publication now available.

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Anuli Croon (1964)

Here is what Anuli Croon says about her work on her website.

www.ftn-books.com has currently 2 Croon titles available.

My paintings and works on paper show constructions that represent figures, interiors, and parts of cities as autonomous identities.

The figures as well as the urban fragments are composed of an assemblage of visual elements of different origins.

In a painting I always take my departure from varying viewpoints/perspectives. This way the paintings are becoming constructions that are open to several interpretations. The body shapes, noses and hands are stylized, the ambient features are made up of evenly looking planes and patterns.                                                                    

In my work I aim to combine different viewpoints in order to achieve a convincing picture. Basically everything is equally important and weighs equally heavily. I make no distinction in terms of time or style: classical, modern, folk art, fashion, textiles, architecture, art, comic strips – anything that comes to mind crystallizes out and I force it together in paintings to give it an individual identity.                                   

My influences are diverse:

Modern art, applied art, folk art; tapestries and textiles; comics and graphic novels; posters, stamps, book covers from various times and cultures.

– Artists: Giotto, Malevich, Roy Lichtenstein, Holbein, Seurat, Zurburán, Rogier van der Weijden, Philip Guston, Jean Brusselmans, Hendrik Werkman, Saul Steinberg, Eduardo Paolozzi,  Charley Harper, Patrick Caulfield, Matisse, Ikko Tanaka, Escher, Dick Bruna, Yrrah, Charles & Ray Eames, Alexander Girard.

These influences have fostered my imagery and strengthened me in my ambition to find what I was looking for.  My paintings relate to a crystallized reality, but not in the form of a story. It is rather a matter of interrupted narratives and connotations that resound in the space.  The viewers can wander among the various painted layers, or via the tangent planes where the layers converge.                                                                                   

In the paintings there is no centre; everything seems equally important. They are intangible puzzles that do not allow repetition or unambiguous explanations.  This way the paintings are becoming lucid and autonomous constructions that are open to several interpretations.

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Anselm Kiefer “Twin Towers” at Museum Voorlinden

It all began in early January 2024. We frequently walk our dogs in the Museum Voorlinden area, an inspiring environment that is perfect for displaying large-scale sculptures in a natural setting. Last year, it was the approximately 60 human figures by Anthony Gormley, and this year, two impressive towers suddenly arose in the midst of the dunes. At first, I thought it was a work by Atelier van Lieshout, but upon inquiry, it turned out to be a masterpiece by Anselm Kiefer.



In early January, certain pathways to the dune area were closed off and a bridge was reinforced. Shortly after, the 800-meter path was elevated by 80 cm and leveled, with plates added for heavy machinery to drive on. It was a sudden transformation. Walls of stacked cubes were delivered and it became clear that a sculpture would be installed, as two foundations were laid for erecting a structure. It turned out to be two towers of different sizes. I estimate that one tower is about 19 meters tall and the other about 16 meters. It’s fascinating to see this artwork being built over the weeks, as not only the artwork itself is admirable, but also the technical and financial efforts that were put into making it happen. Now, approximately 6 weeks after the project began, the installation is complete. A unique location for a unique Kiefer piece, one that is a “must-see” for anyone who visits the Museum Voorlinden, to admire and appreciate the accomplishment in a setting like no other

www.ftn-books.com has a range of Anselm Kiefer titles now available.

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Karin van Dam ( continued)

I am still fascinated by the works of Karin van Dam. A new addition QUARTIER SOULS LE VENT made during her Paris stay sparked the interest in her again. The book si now available at www.ftn-books.com

Renowned for her installations, Karin van Dam (1959) constructs her pieces using unconventional materials like boat bumpers, ropes, and insulation pipes. She has even utilized pre-fabricated plastic ponds, suspending them in the space of the Vleeshal in Middelburg. Van Dam perceives her installations as three-dimensional drawings, inviting viewers to walk through them. She prepares her works in advance, creating small-scale drawings incorporating spatial objects such as rubber caps, ropes, and wooden sticks. Urban structures and street patterns serve as a crucial starting point for her creations, but she freely and intuitively translates them, exploring the possibilities that the materials and objects she finds offer.

For years, Karin van Dam has been working on an ongoing project titled Steden op doorreis/Traveling Cities. The title references Italo Calvino’s novel Le città invisibili (Invisible Cities), where Marco Polo narrates imaginary cities to Kublai Khan. In the series’ initial works, Van Dam draws inspiration from Italian Renaissance towns, combining black facades with arches, battlements, and wool and other materials. Over time, the cities become more abstract and are suspended freely in space. In recent years, she has collaborated extensively with the Textielmuseum Tilburg, producing complex knitted covers for her work.