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Alexander Korsmit (1951)

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.

www.ftn-books.com has now 1 title available by Korsmit

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Christian Boltanski (1944)

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Christian Boltanski participtaed in over 150 exhibitions world wide and his works are in the collections of the DE PONT museum and Stedelijk Museum Amsterdam. 2 reasons to devote this blog to Bo;latnski. Firts is that i acquired and important publication by Boltanski  which he designed and contributed. Published by Agnes B, there is a complete series of regularly published magazines titles Points d’Ironie. Boltanski was one of the founders of this highly collectable series and because of this acquisition i remembered the very impressive installation at the Guggenheim Museum Bilbao….”HUMANS”

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This is what the Guggenheim says on the installation HUMANS by Christian Boltanski

At once personal and universal in reference, Humans is one of several large-scale works by Boltanski that serve as monuments to the dead, hinting at the Holocaust without naming it explicitly. Through its size and tone, the work evokes the contemplative atmosphere of a small theater or a space for religious observance. The installation consists of more than 1,100 images that the artist rephotographed from sources he had previously used: school portraits, family photographs, newspaper pictures, and police registries. Simultaneously illuminated and obfuscated by dangling lightbulbs, the snapshots provide no context with which to identify or connect the unnamed individuals, or to distinguish the living from the dead or victims from criminals. Each of these traces of human life has been reduced to a uniform size to obscure distinguishing features and to suggest the equality of the photographs’ subjects. The collection of images is installed at random, thereby prohibiting the imposition of a single narrative. Within this haunting environment, Boltanski intermingles emotion and history, juxtaposing innocence and guilt, truth and deception, sentimentality and profundity.

Point d’Ironie and other Boltanski publications are available at www.ftn-books.com