FTN-blog

As promissed. the 2 gouches that resemble too much to keep both in my collection so i decided to sell one. Both are of equal quality so for me it does not matter which one is sold.

Fahrettin Örenli (1969, Turkey) is what one would call a socially conscious artist. From environmental pollution to the expansion of the EU, the Amsterdammer, originally from Turkey, is invested in current affairs and takes a critical stance in his work. His project “Shadows of Dust,” to which this piece belongs, delves into the growth and development of a city. According to Örenli, modernizing countries sometimes change so rapidly that they seem to forget their past, their history. This is often evident in the urban landscape, as all traces of the past are often erased in the process of renewal. How should he, as a contemporary artist, relate to these ever-rushing developments? Can his work still be considered contemporary? Or is it outdated at the moment of its creation? Örenli’s computer-generated drawing, Shadows of Dust off IX (Buddha) (2015), in which he created a sort of surrealistic fantasy island, explores what was and what is yet to come. Is this our future? www.ftn-books.com has the A TOURIST IN LIFE publication now available

Toto Frima rose to prominence in the 1980s with her self-portraits captured on a Polaroid camera (SX70) using a remote shutter release. These photographic pieces swiftly enchanted the entire continent of Europe with their small, often suggestive nature. One of the key factors in her success was the way her works perfectly mirrored the socio-cultural developments of the time: women were able to work without competing against men, technology was seen as subservient to the message being conveyed, and the focus was on the individual “I.”

In the early 1990s, Toto Frima once again drew public attention with her new 50×60 Polaroid works. As the larger equipment required shooting sessions to take place in a studio rather than on location, the intimacy of the previous works was lost. However, the theme remained the same. Toto portrayed herself in various ways, assuming different roles or incorporating diverse objects. Yet, in all cases, she continually referred to her own identity, which could also represent someone else. In 1990, the Rheinsische Landes Museum Bonn (Germany) dedicated a major exhibition to her, and a book of her 50×60 works was published.

This was followed by a period of silence, during which Toto completely disappeared from the public eye. For several years, she felt no specific urge to point the camera at herself. Instead, she embarked on a personal development that she did not document through photos. She distanced herself not only from her own work, but also from the entire realm of photography and the artistic environment, becoming a mere spectator. However, the desire to create eventually resurfaced, growing so strong that only new self-portraits could satisfy it. And so, Toto returned in 1988 with new SX70 photos, and in 1999, she worked in Prague with the 50×60 camera.

Her latest works reflect an evolution. They are stripped of extravagance and instead draw attention to the act of “watching” and “looking,” rather than being the object of attention. The voyeuristic elements have been deliberately eliminated.

www.ftn-books.com has 1 Frima title now available.

Paul Robeson, born in 1898 in Princeton, New Jersey, was the son of a Presbyterian minister who had escaped slavery and a mother from a distinguished Philadelphia family. He received a full scholarship to Rutgers University at the age of seventeen, and in just four years he accomplished a remarkable feat by receiving twelve major letters and being named valedictorian of his class. After graduating, he continued his education at Columbia University Law School, but faced racial struggles in his career as a lawyer that ultimately ended it. However, he soon found success in the world of public speaking and acting.

In the mid-1920s, Robeson became well-known for his lead roles in Eugene O’Neill’s plays “All God’s Chillun Got Wings” (1924) and “The Emperor Jones” (1925). Throughout the 1920s and 1930s, he garnered widespread acclaim as an actor and singer, captivating audiences with his signature song “Ol’ Man River.” He also achieved the longest-running Shakespeare play in Broadway history with his portrayal of “Othello,” which ran for nearly 300 performances and is still regarded as one of the greatest American productions of Shakespeare’s work. As his fame grew in the United States, he also gained international recognition and admiration. Speaking fifteen languages, he traveled the world to promote social justice through benefit performances. He strongly believed that public figures have a responsibility to advocate for justice and peace, making him unlike any other performer of his time.

The WEST museum devoted an exhibition to Robeson in 2023. The museum publication for visitors is now available at www.ftn-books.com