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Fernando Sánchez Castillo (1970)

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In his work Fernando Sánchez Castillo analyzes the relationship between art and (political) power. The artist presents us with a different view of, and interaction with, reality in his work. Sánchez Castillo often uses existing “traces” from the past as a starting point for his work and as material for his analysis and transformations. He does so—on the basis of strong social commitment—in a playful and humorous manner. Sánchez Castillo’s fascination with the history of his home country, with the civil war, the postwar era and the dictatorship, but also with today’s world, departs from a concern not only for the political and the revolutionary, but certainly for the social aspects of historical processes as well. Collective memory extends far beyond national boundaries and finds its way into the present. The artist plays with connotations that once sought images to match and, conversely, with images that now demand new connotations. The work of the Sánchez Castillo is an attempt to rewrite history, at least to make us aware of its complexity and traces, and also to show that history is a story that is constantly being constructed from the vantage point of power.

Fernando Sánchez Castillo was born in 1970 in Madrid (ES). He holds a degree in Fine Arts from the University of Complutense Madrid, and a MA degree from the Instituto de Estética Contemporánea, Universidad Autónoma, Madrid. He is a former member of the research group of ENSBA Paris. In 2005 and 2006 he was a resident at the Rijksakademie van Beeldende Kunsten in  Amsterdam (NL). Sánchez Castillo participated in the Research Team of the United Nations Geneva, PIMPA Memory, Politics and Art Practices. He had solo exhibitions at a.o. Shchusev State Museum of Architecture, Moscow (2019, RU); Kunstraum Innsbruck (2016, AT); Sala de Arte Público Siqueiros, Polanco (2016, MX); Stedelijk Museum ’s-Hertogenbosch (2016, NL); Centro de Arte Dos de Mayo CA2M, Madrid (2015, ES); OK Centrum Linz (2014, AT); Rabo Kunstzone, Utrecht (2013, NL); Kunstpavillon München (2013, DE); Kunstverein Braunschweig (2012, DE); Matadero Madrid (2012, ES); CAC Malaga (2011, ES). Group shows at a.o. Riga Biennial (2018, LT); National Center for Contemporary Arts. Moscow (2016, RU); Today Art Museum Beijing (2016, CN); Biennale Gherdëina (2016, IT); Centraal Museum Utrecht (2016, NL); Manifesta 11 Zürich (2016, CH); Albertinum Dresden (2015, DE); Palais de Tokyo (2015, FR); MOTA Tokyo (2014, JP); Goteborg Biennial (2013, SE); De Appel Amsterdam (2013, NL) and MAC Marseille (2013, FR). Works by Fernando Sánchez Castillo are part of international public and private collections.

the CAC Malaga exhibition catalogue is available at www.ftn-books.com

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Wyn Geleynse (1947)

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What better way to introduce a video artist with a video i found on the internet. Just a short video of 3 minutes introduces this Rotterdam born artist, but living almost his entire life in Canada.

 

Wyn Geleynse is a multimedia artist living and working in London, Ontario. Born in Rotterdam, Netherlands in 1947, Geleynse moved to Canada as a child and was raised in London, Ontario. Since 1969, he has exhibited extensively both in Canada and Europe. Considered one of Canada’s pioneer film and video projection artists, Geleynse’s career spans a period of nearly 40 years. His work raises questions about self and identity, commenting on the human condition with a subtle blend of irony and humanity. Interested in the notion of film projection as a metaphor for projecting one’s thoughts and desires, Geleynse worked primarily with installation-based projections in the past. In 2009, he produced an outdoor DVD projection work titled “Wyn Geleynse: The Peel Projection” for the site that will become the Art Gallery of Peel in Brampton, Ontario.

www.ftnbooks.com has 2 titles on Geleynse available:

 

 

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Gerald van der Kaap (1959)

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Of course I can tell you that since his breakthrough exhibition HOVER HOVER at the Stedelijk Museum ( catalogue available at http://www.ftn-books.com) the conceptual works by Gerald van der Kaap have been shown all over the world and that he received public acclaim for practically all his installations and projects. Everything he takes up turns into a work of art. Whether it is a book, museum catalogue, Video, record or print everything turns into something special. Best is to show you what I mean with presenting two links.

the first the Gerald van der Kaap site at : https://www.geraldvanderkaap.com/

and the second at the Hollandsche Meesters series which devoted one of his video to Gerald van der Kaap:

 

these 2 books are among others at this moment available:

 

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Aernout Mik (1962)

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Once again a dutch artist. Aernout Mik…. Not that well known in the Netherlands but one look at his biography shows that his fame is truly international. Exhibitions and Video installations all over the world of which the exhibition at MOMA is perhaps his ultimate achievement until this date  (catalogue available at http://www.ftn-books.com). His video installations leave you with a sense of unease.

Look at this video in which Aernout Mik ao. explains the setting of his exhibition at the Stedelijk Museum Amsterdam

Mik is an artist who can not be explained. You have to look at his videos for yourself and wonder afterwards what the effect of the video has been. another exasmple is this SPEAKING IN TONGUES;

the MOMA Aernout Mik catalogue is available at http://www.ftn-books.com

aernout mik

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LIVINUS (van de Bundt) (1909-1979)

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Experimental photo painting and one of the first video artists in the world , Livinus made a name for himself in the mid Seventies with this kind of art and the Haags Gemeentemuseum was one of the first to show this kind of art by a dutch artist in the Netherlands.

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There is a reality that is “more real that what is visible”, in which thinking can only use the abstract formulas of physical science. In contemporary art this reality can be experienced with new methods. The light experiments of Van de Bundt have a special place in this; his light manipulations, (projections or so-called photo paintings) are non-material and provide a picture of a pure energetic world.

Since he received several prestigious art prizes of which the Sikkens price is the most renowned one. http://www.ftn-books.com has some nice LIVINUS publications available including one with some original film.

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Gudrun Kemsa (1961)

 

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Both authentic and virtual, her images originate in metropolises such as Paris, New York, Rotterdam, Berlin and Dubai. Some of these cities can be readily identified, while the elimination of signage in others turns them into interchangeable locales in our global village. Kemsa has been able during the last few years to position her works with remarkable precision on the interface between photography and film.

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The concept behind these photographs and their effect on the viewer are tied up closely with the aspect of movement. Gudrun Kemsa is one of the foremost photography and video artists working in Germany today. She lives and works in Dusseldorf and has been professor of “Moving Images and Photography” at the Hochschule Niederrhein in Krefeld since 2001. She has shown works in international exhibitions and festivals and is represented in several private and public collections.

There is one early Kemsa publication now available at www.ftn-books.com

kemsa

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Charly van Rest (1949)

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Born in Indonesia ( Jakarta) he practically lived his entire life in the Netherlands/ Rotterdam. Perhaps this is the reason why his main exhibitions were also held in this city. van Rest had exhibitions at the Museum Boymans van Beuningen ( catalogue available at http://www.ftn-books.com ) and the Witte de With space.

At first you have to grow accustomed to his art. The way he looks at reality is transformed into a personal kind of art. The source is almost always reality. Transformed, enhanced, enlarged, cut and thereafter transformed into his personal art.

van rest.jpg

 

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Tiong Ang (1961)

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The work of TIONG ANG spans a wide array of media, from collective performance, experimental film, through video and installation to painting, photography, and the display of objects. His practice across these forms centers around the social, emotional and existential consequences and negotiation of dislocation, disparate identities, and dispersion of imagery. _ Recurring themes are the impact of mass and digital media on individual perspective and collective memory, and the anxieties evoked by mobility and globalization. In these hybrid contexts, Ang addresses multiple modes of human presence and representation, using social intervention and juxtaposition, chance and communality, mockery and disguise. He explores subjective positions in divided, ambivalent, and collective conditions, be it on ethical, ethnic, or sociopolitical grounds. _Initially an object/painting based studio artist, from the mid-1990s Ang has expanded his production including experimental film, performative and relational enactments, interdisciplinary collaborations and curated projects. In a divergent practice, he examines authority and sustainability of images and narratives. The common thread in the work is the conflict between detached objectivity and engaged subjectivity; it demonstrates how universal media not only affect our perceptions of places and events but also denote our concept of reality. Elements of selfhood, cultural meaning, and social absorption have emerged in a diversity of mediated images. Thus, human perception and behaviour converge in complexities of disparate truths. The persona of the artist, distorted by media based projections, is the ultimate body to explore the human experience.

The above text comes from the Tiong Ang site.

www.ftn-books.com has recently added 2 important Tiong Ang publications to its inventory.

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Marie-Jo Lafontaine (1950)

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An artist who’s works i encounter regularly whenever i visit a European museum is Marie-Jo Lafontaine. Hardly known outside Europe but one of the better known contemporary artists since her Documenta appearance in 1987. The famous Kassel exhibition was at that time curated by Rudi Fuchs and Lafontaine made a name for herself with Larmes d’Acier

This does not mean that her works before 1987 were not interesting. They certainly were , but Video related art is not the most accessible kind of art and these installations by Lafontaine . are no exception. Still the importance of her works is recognized by many and one hopes that a retrospective will be held in the near future. Showing the true quality of her poetic video art.

there are some Marie-Jo Lafontaine books available at http://www.ftn-books.com

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Paul de Nooijer (1946)

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Paul de Nooijer , filmaker and photograph announced his retirement in 2012. He did not want to repeat himself. So he focussed on his cooperation with his son Menno de Nooijer who is an artist too. De Nooijer is/was a pioneer in dutch staged photography and he even made some video clips for MTV. You can consider his photography and films like short stories in images in which he often uses stop-motion techniques.

This medium is hard to translate into a printed publication, but some efforts have been made and these are available at www.ftn-books.com