FTN-blog

Originally involved with the Arte Povera movement, Italian artist Alighiero Boetti (1940–1994) quickly forges his own path. From the 1970s onwards, he gains recognition with his playful, colorful embroidery works, which he has made in Afghanistan. The works seem to express a mysterious system in which compositions of letters and words, and (world) maps play a significant role.

At the beginning of his career, Boetti primarily works with everyday materials found in wholesale stores in his hometown of Turin: from PVC pipes to industrial lighting to the paper doilies that pastry chefs use to beautifully present their pastries. In 1968, he builds a Roman column out of a stack of these papers (Colonna). Very different are the works that emerge in the 1970s, when Boetti regularly travels to Kabul. During one of his first visits, he gets the idea to ask his Afghan friends to have their wives embroider texts that he had previously depicted in silkscreens, multiples and conceptual works. These traditionally made arazzi (Italian for tapestries) open up new possibilities for Boetti: they allow him to create unique works of art serially, with rich meanings, without requiring his intervention.

The Afghan weavers and embroiderers have left their mark on many of Boetti’s arazzi, for instance by determining the colors in which the letters are embroidered. Boetti sees this as a subversive action, a way to disrupt the art world.

www.ftn-books.com has beside several publications on Alighiero Boetti also the Arazzi invitation now available.

From 1995 until 2003, Matthias Weischer studied at the Hochschule für Grafik und Buchkunst in the East German city of Leipzig, where he was influenced by Neo Rauch and met artists such as David Schnell. This led to the formation of a group of like-minded artists, known as the Neue Leipziger Schule, who focused on the quality of painterly aspects. Their large-scale paintings with a theatrical character quickly gained attention and the young group soon conquered the art market.

In the 1950s and 1960s
Weischer made a name for himself with his paintings of weathered interiors and forgotten studios where time seems to have stood still. These rooms are arranged like stage sets, overflowing with furniture, lamps, carpets, and draperies, provoking a series of questions: Who lived here and who chose the furniture? Were these rooms ever actually lived in, or are they products of the imagination? He draws inspiration from illustrations in cultural history books or interior design magazines from the 1950s and 1960s, but distorts them in a way that removes any specific indication of time or region. With exceptional technical skill, Weischer evokes our collective memory and confronts us with fragments from our own past in a thought-provoking way.

Following his stay at Villa Massimo in Rome in 2007, Weischer’s work undergoes intriguing changes. He begins to paint with more freedom, intuition, and spontaneity, resulting in smaller and more poetic works. Gone are the large quantities of objects, replaced by a single tree trunk, a rug, or a skull. The colors used in his paintings evoke the feeling of Italian frescoes. A prime example of this development is seen in the painting ‘Paneele’ from the museum’s collection. Weischer started this canvas in 2006, but did not complete it until 2008.

www.ftn-books.com has now 2 Weischer publications available.

As a prominent figure in the world of Italian design, Alessandro Mendini (1931) has made significant contributions over the past decades. In collaboration with the Italian company Alessi in 1992, he created a prototype of a white porcelain vase, which was then adorned by artists from all around the globe. The result of this endeavour – 100% makeup – is truly exceptional. From March 10th to August 19th, you will have the opportunity to behold all of these masterpieces.

The decorations on these vases were done by renowned names such as American architect Robert Venturi, French design legend Philippe Starck, Japanese fashion designer Yoshiki Hishinuma, and Dutch visual artist Peter Struycken. Thanks to the diverse cultural backgrounds of the one hundred designers involved, Mendini’s white prototype vase has been imbued with one hundred unique meanings.

Measuring 38.5 centimeters high, Mendini’s prototype vase for this project features a lid. Only one hundred copies were made of each vase, resulting in a total of 10,000 numbered editions.

www.ftn-books.com has several Mendini items now for sale

Richard Hutten not only designs chairs, but also collects them. Since graduating from the Design Academy in Eindhoven, he has been buying unique pieces or trading them with fellow designers for one of his own creations. His collection now boasts more than 100 seating objects, ranging from prototypes to iconic design classics, from graduation projects to one-of-a-kind models. The Gemeentemuseum showcases Hutten’s personal collection alongside chairs of his own making, such as the Berlage chair, which is based on architect H.P. Berlage’s lounge chair. The exhibition is filled with contemporary, playful, and conceptual designs from renowned names from both the Netherlands and abroad.

Richard Hutten – Sit! presents a hundred chairs that, according to the Dutch designer, matter. Whether it’s because of their groundbreaking design or because the maker holds a special place in his heart. All the seating objects in the exhibition come from Hutten’s private collection or his own body of work, which spans from the 1990s until today.

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

Julie Cockburn, born in 1966, is renowned for her intricate handiwork and her ability to transform ordinary and discovered items into works of art. Based in UK, Cockburn masterfully manipulates found objects and images – including ceramic sculptures, paintings, photographs, printed paper, and books – to evoke both novelty and spontaneity.

Having studied at the Central St Martins School of Art and Design and Chelsea School of Art in London, Cockburn defies the commonplace and mass-produced by infusing her personally crafted objects with significance. Her pieces, featuring childish embroidered patterns on discovered photographs and printed images, invite viewers to embark on a journey of artisanship and creation. By playing with the visual perception and consumption of objects, Cockburn’s work challenges the traditional notions of seeing, as showcased through her lighthearted exploration of materials.

www.ftn-books.com has a set of 2 invitations now available.

“Coming Together at the Table” is the common theme of the Gemeentemuseum Den Haag and the Voedingscentrum for their exhibition “Nederland dineert” and the jubilee “75 years of nutrition education in the Netherlands.” In collaboration with the Voedingscentrum, award-winning photographers Peter Menzel and Faith D’Aluisio have captured the food consumption of three Dutch families for one week. These portraits were created specifically for the occasion and have not been shown before. For their book “Hungry Planet: What the World Eats,” Menzel and D’Aluisio traveled the world to document what people eat in a week and how much they spend on food. However, the Netherlands was absent from this list. Now, these three photographs provide a glimpse into the food habits of the Dutch families, adding a new perspective to the project.

www,ftn-books.com hahs now the invitation for this project available.

In 1961, Gaston Chaissac (1910-1964) exhibited his works at the prestigious gallery of Iris Clert in Paris. The artist is warmly embraced by all, with the CoBrA painters (who no longer form a fixed group) being the most enthusiastic and fighting for the artworks. In no time, the exhibition is sold out. Unfortunately, due to health reasons, Chaissac is unable to attend the opening and will never personally meet his admirers. However, Kunstmuseum Den Haag is now showcasing their mutual inspiration in their first-ever exhibition, CoBrA and Chaissac – Kindred Spirits.

Far from the cultural metropolis of Paris, artist Gaston Chaissac leads a reclusive existence as a self-taught individual. Yet, his expressive drawings, paintings, and sculptures, adorned with bright colors and black contours, manage to garner attention. Although he never joins an art movement, the affinity with CoBrA is evident. It stems from the post-war Zeitgeist, where artists break away from traditions and seek a modern art that is accessible to all; an art that prioritizes spontaneity, authenticity, and honesty. Their shared interest in naive and folk art, as well as the use of motifs such as snakes and totem figures, make them true kindred spirits. They decorate everything they get their hands on.

www.ftn-books.com has now several publications on Chaissac available.

Yang’s oeuvre comprises installations, utilizing a wide array of attributes and incorporating elements of performance. These meticulously timed choreographies come to life through the use of video, objects, light, and sound. Atmospheric effects, such as smoke, rain, and foam, further enhance the creation of a real and artificial world. Connecting the attributes to narrative elements, Yang engages all senses of the viewer, allowing them to see the world through a different lens. Her observations, colored by her background as the daughter of Singaporean-Chinese immigrants in the Netherlands and growing up without a mother tongue, manifest into associative and mysterious works.

In addition, she constantly seeks to discover new crafts, materials, and techniques. This ongoing exploration continuously benefits the development of her installations. She considers herself a “friendly manipulator,” utilizing the same strategies of manipulation employed by media and commercial advertisements. Through this, she hopes to have found a form that seamlessly navigates between cultures, languages, and forms of art. This leads to a sense of optimism and humor.

www.ftn-books.com has now the KM21 invitation for her exhibition for sale.

In the 19th century, Max Liebermann (1847-1935) cultivated a special relationship with the Netherlands. This German artist would annually venture to Holland, drawing inspiration for his paintings from this charming country. His fondness for the place eventually led to the establishment of close bonds with artists from the Hague School.

Between 1870 and 1914, Liebermann, accompanied by his dear friend Jozef Israels, spent his summers in the Netherlands. Together, they captured the trendsetting lifestyle emerging during that era. On canvas, they depicted outdoor cafes bustling with patrons basking in the sun, as well as riders and bathers on the beach. By then, Liebermann had acquired fame in his homeland of Germany and beyond, renowned for his paintings adorned with “sunspots.” In 1920, he was bestowed the prestigious position of director at the Berlin academy. However, towards the end of his life, Hitler’s rise to power forced him to relinquish this role. Nevertheless, even after his demise, Liebermann remained a beloved artist among the German public.

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

Roger Ballen graced the world with his presence in the bustling city of New York in 1950. However, for over three decades, he has been immersed in life and work in the vibrant landscape of South Africa. As a geologist, Ballen often found himself exploring the vast countryside, leading him to pick up his trusty camera and dive into the mysterious realm of small South African towns. Initially, he wandered the desolate streets, bathed in the harsh rays of the midday sun. But once he gathered the courage to knock on the doors of the townfolk, a whole new world unfolded before him. These interiors, with their unique amalgam of objects, and the enigmatic occupants within, served as the catalyst for Ballen’s distinctive perspective, taking his body of work from societal commentary to evocative metaphors for the inner psyche.

In his artistic journey, Ballen has become increasingly enamored with the interplay between photography and drawing. He has expanded his repertoire and pushed the boundaries of his visual language. By seamlessly integrating drawing into his photographic and video works, the artist has not only made a profound impact in the world of art, but also stirred powerful conversations about the intricacies of the human experience and its untapped creative potential.

And it’s not just still photography that has earned Ballen recognition and acclaim. The boundary-pushing artist has also ventured into the world of short films, with several critically acclaimed works that complement his photographic series. His collaborative film “I Fink You Freeky”, created for the cult musical duo Die Antwoord in 2012, has amassed a staggering 85 million views on YouTube.

Ballen’s work has found its home in more than forty prestigious museum collections, including the likes of Tate Britain in London, Victoria and Albert Museum in London, Rijksmuseum in Amsterdam, Stedelijk Museum in Amsterdam, Museum of Modern Art in New York, Musee de l’Elysee in Lausanne, and Maison Européenne de la Photographie in Paris, among others. Reflex Amsterdam is the exclusive dealer of Ballen’s captivating Polaroids, showcasing his unique vision to audiences worldwide.

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