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The magazine for professional migrant artists

Sattar Fartousi’s paintings try to hide the authority of the light, which is deep in his personal heritage, with infl uences of his new Nordic context Finland. Sattar Fartousi, Artist of the Issue (Page 7) EDITORIAL BOARD Page 4 Debate: Marketing problems and migrant artists - Ali Jajjar Amir KHATIB tel: +358 40 558 68 96 [email protected] Page 7 Artist of the Issue: Sattar Fartousi - Ali Najjar Avtarjeet DHANJAL [email protected] Page 12 Ali NAJJAR ‘Migration in Museums’ Conference in Germany tel: 0046 4094 7974 Page 13 Dr. Michael CASEY Immigrant Artists and the Mainstream Art Markets - [email protected] Alexandra Pereira Moustafa AL-YASSIN tel: +358 44 991 88 30 Page 16 [email protected] Abstract... in the porches of the memory - Amany Fahmy * * * Page 18 DESIGN, LAYOUT Exhibition Review: Pekka Halonen & PROOFREADING Pekka Halonen and the Finnish soul - Timo Salminen Asa BUTCHER [email protected] Page 21 News: Using enjoyment to create cultural shock * * * - Amir Khatib PRINTED BY Paar OÜ - www.paar.ee Page 22 Marketing art or selling art? - Thanos Kalamidas ISSN 1456-5439 * * * Page 24 Exhibition Review: Julian Schnabel BECOME A MEMBER The post expressionism - Amir Khatib Annual membership fee is 30€. Download an application form from our website: Page 26 www.eu.man.org or write to: Bridge: Global Warming Cubism in the Migrant Artists’ Space - Moustfa AL-Yassin EU-MAN P.O. BOX 523 Page 28 00101 Helsinki St. Petersburg Festival of Experimental Art FINLAND tel: +358 40 554 68 96 Page 29 Marketing the art - Juliana Roth COVER Sattar Fartousi Page 30 Artist of the Issue Last Drop - Avtarjeet Dhanjal (Page 7)

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It has been 11 years since countries in the EU, and we have two libraries in the May 1997 and EU-MAN’s USA as subscribers. These and many more each make us fi rst exhibition, which was proud; they push us forward to continue working for the hosted by Gallery Kampe sake of making culture for culture. in Turku, a city in south- 3 west Finland. At that In this project we know that we are participating in exhibition we distributed building a multi-cultural society and are sharing in the the fi rst issue of Universal building of an integration process, so it our message is Colours and, ever since one of doing well for people. We have emphasised many then, we never again experienced such a volume of times that our goal is to help the situation of ourselves, positive feedback… that was until the last issue. but not by making money or becoming a profi t- orientated project - even though we need money to move We received about 100 phone calls, emails, text ourselves. Since profi t is not our aim we have received messages and even words of praise from people in help and support from our many volunteers and the very person that made me proud of what we are doing. People good people in the Finnish Ministry of Culture. were thankful, supportive and motivated us with words 208 full of encouragement. Many were happy with the latest In our second issue of the year, we have continued developments that occurred to the magazine on different to focus upon a particular issue and this time it is levels, such as focusing on a topic, the layout, the design ‘Marketing problems and migrant art’. As in the and the arrangement of the stories. previous issue, the editorial board agreed that this is another very important theme and we hope that others The truth is that the feedback has now put us in front will share our opinion that this issue among migrant of a giant responsibility - we have to keep developing, artists is signifi cant for all European citizens. It is the be more active, we have to search for more alternatives responsibility of us all, so we have to raise our voices to keep going, or, at least, to maintain this level. in order for it to reach everyone and continue towards Meanwhile, we should pay respect to our writers who helping ourselves by ourselves. have sacrifi ced a great deal of their valuable time and energy, and who continue to support this magazine We strongly support the conference that will be held through their articles and the sensitive subjects that they in Germany this October, which focuses upon migrant write about. art and artists. The conference is about the question of migrant art and museums, and thus we have set aside I would like to mention here the artist, writer and art page 12 for its announcement to all our dear members critic Mr. Ali Najjar, the innovative creative artist, who inviting them to participate in this notable conference. is the most beloved for many readers, Mr. Avtarjeet Dhanjal, my brother the transparent artist Moustafa The dream that began 11 years ago on a piece of paper AL-Yassin, and also my friend the art critic/researcher in my friend Mr. Bela Zitrom’s Turku studio, with Mrs. Dr. Michael Casey. They continue to work voluntarily, Zhang Hong, a Chinese artist who has since returned to sometimes as voluntarily unknown soldiers to the China, and myself also in attendance, is now beginning project that is important on both social and cultural to come to fruition. It develops daily and it will continue levels. to do so thanks to all those people who have shared in this dream and many thanks to all participants, even This magazine has become an important resource for those who will come in the future. many students, researchers and for almost all members of our EU-MAN association. On occasion, we receive letters via email and mail from a number of different Amir KHATIB

Visit www.eu-man.org for more Debate Marketing problems and migrant artists By Ali Jajjar

Andy Warhol, the king of Pop art, This game that Jeff plays is a achieved his popularity on two successful one in which he earns a levels: the fi rst was the personal great deal of money and has made level, in which he designed to make him extremely popular. Jeff his own charisma, while the second founded his own industrial level was his success in company, with the cooperation marketing his artworks. of experts and companies, on His behaviour was the condition that it fi ts with his generally on these two choice leaving the company to levels inside the USA. depend on his own discoveries or what moves it, plus his Warhol was never far from relationships with the media. the sponsors, his marketing manager and the rich, who Most of the private galleries (if were a good lapdog to him, not all) hope to profi t through while his marketing of Pop a good percentage of the sale, art during his time didn’t but this percentage depends do any harm either. The upon the necessity of the popularity of Pop art came show and the popularity of through him and, in many the artist. Other galleries ways, he created the term get the show fee, or both ‘art star’ - however, a star fee and some percentage cannot be created from nothing and for as profi t, thus they make profi t on each thing there is its price. the shoulder of the artist and his/her efforts, by all means. Current star Jeff Koons is a new “artist” who had good experience Visual market on Wall Street before and after his and migrant artists’ problem professional journey into the world of visual art. He has admitted that he tries Migrant artists continuously strive to make marketing his fi rst attention, under the conditions of integration while his choice of Pop art was not and multiculturalism, which makes it useless because he implements variable hard to stay far from the art life of the Most of of “his artworks”. context; conditions that make their art less than the marketing conditions the private Jeff Koons is a deeply American artist considered good in the west and galleries (if who responds to the need of the street internationally. not all) hope and a huge number of intellectuals. He to profi t often buys the rights of some Pop art These necessarily depend on the from unknown artists, most of them benefi ts of the other’s culturally and through mass-produced toys made of porcelain, politically situations and that must a good plastic and rubber that are then insure that the role of the sponsor and percentage of reproduced in unfamiliar huge sizes, the funding body, who always decide the sale. which gives them strange astonishing to whom give and not to give, of which dimensions. there are dozens of examples which prove what we say.

Visit www.eu-man.org for more started. and/or just professional not them are most of galleries venues and marginalised In If migrantartistsassociationsare and supportingassociations The moralisticmarketing small number. among thenatives,buttheyareavery of thegameandcouldfi ndaspace are migrantartistswhoknewtheroles making antiques.Simultaneously, there art incontemporarytimes,sotheystay the fastspeedofexperimentingwith cannot passthenewstyles, they separatethemselvesbecause still havetheromanticbehaviourand A large majorityofmigrantartists their nativecountries. Europe, sotheystayascamefrom contemporise withtheartworldof art itselfthatmigrantartistscannot differences”, orsometimesthevisual migrant have,whatwecall“cultural of Europeanculturethatmost centrism andthemisunderstanding September 11th terrorattacks,Euro- are alwaysexcuses.Onceitwasthe host countriesorthegalleries,there whether viaorganizations inthe suffer whensellingtheirworks, If mostofthemigrantartistsinEurope Europe; there’s almost are manyofthemin mentioning, andthere the scenetogether, theyarenot worth parallel tothenativeones,build not abletopresenttheirmembersas ism s and the culturalsceneryofcountryor group unabletoparticipateinmaking followers, yetitisstillamarginalised offer someactivitiestotheir national sometimes theseassociationsdo the marginalised abundant,though others thattheyarenotprofessional, That iswhatdeepenstheideasof profi tthatcoverstheiractivities. as wellworkingtomakealittle depend onthequantitynotquality, most ofthemarenotprofessional,they one associationforeachminorityand towards migrantartistsisonthe It isOKiftheorganisational work “You areunknown”. decreases allthetimeundertitle, the artist,sopriceofartwork those galleriesmakeisonaccountof a normallevel,thelittleprofi tthat migrant artandartiststakeitto disappointment insteadofhelping artist participation”isagreatdealof The phenomenaof“themigrant not professionaland/orjuststarted. venues andgalleriesmostofthemare of Europe.Inaddition,inmarginalised Opposite page: Rabbitby Jeff Koons (Naples, Italy, 2003) Above: Tulip ‘balloons’ byJeff Koons Visit www.eu-man.org formore (Guggenheim museumBilbao) size ofthe

208 5 professional and moralistic of sense and culture, since most of responsibility, but unfortunately us do not know the necessity of the there’s no conditions yet to allow such visual art which is in parallel to the organisational work, and the reason contemporary civilization. At present, there’s no sponsor or a political need to more than 60% of the visual and visual support such activities is migrants, in culture is as important as the continuity general, cannot lobby for art, such as of the market policy. the “very well-known visual art lobby that a minority established to keep the So, we have to find a space among the finance inside them”. organisations and the audience, the collectors and the art critics as well, It remains to mention the successful because our viewers are different, our example of these associations in the atmosphere is different and our culture European Union Migrant Artists is different too. Network that is the head of all in Europe because it doesn’t only work If the migrant artist was dreaming of for one particular nation or group, crossing the borders and breaking the plus it is restricted by geography. taboos that are already theirs from It works for all migrants across the museums, galleries and other art the whole of Europe and excels in organisations; they become pessimistic its professionalism by working in because these places are monopolised needed projects, such as treating the by their organisers and sponsors, topics of the exhibition projects in since for this lobby there is its own a high quality of matching subject. conditions, and sometimes it is as Finally, it owes much of its success though it has been passed down from through its ability to make contacts grandfather to son… the heritage is an and form relationships with well- example of that. respected venues, such as Russia’s Manege, Helsinki’s Cable Factory, Finally, what makes the popularity Copenhagen’s Rondataarn, Vienna’s of the artist other than the price of Mart Gallery and many more. the coin are many things, such as professionalism of the work, far or EU-MAN has received support from near from its contemporisation, or Finland’s Ministry of Culture since the attempt to enter the circle of the the beginning of its establishment light by the lobby of this circle, as eleven years ago and this financial well as the money laundry because support strengthens the work of the the artwork, like any work in our organisation professionally. EU- time, belongs to the offer and demand MAN did not ignore the visual culture which means it is inside the roles of We have to that has a lot to do with the social the market game and its behaviours - find a space movement in Europe, meaning that artwork remains in its circle. among the EU-MAN aims to be the best in the mainstream, as well as not forgetting So, if the behaviour of the organisations the reality of migrant art. commercialism is benefiting always, so and the the artwork which carry the innovative audience. Most other associations do not have influences of its time remain making us as much experience as EU-MAN and enjoy it through all times. as migrants in general we have a lack Visit www.eu-man.org for more Artist of theIssueArtist of - 2002EuManGalleryHelsinkiFinland - 1995Hammuraby Amman Jordan - 1986Iraqi Artists Associetion - 1985 Artists UnionIraq Personal Exhibitions international exhibitions andbiennales. freelancer. He’s participatedinmany teacher, hemoved toFinland asa in Iraq. After timeinJordan asamusic the fi eldofartformore than10years Institute forfi veyears andworked in studied Visual Art inBaghdad Fine Arts Sattar Fartousi wasborninIraq. He Sattar Fartousi By Ali Najjar discoverer tothe hiddenfaiths. founder ofvisualnarrativeand arts throughout theagesas stories inthehistoryofvisual beauty, andlightmanyjoyful feel andtasteahighquality of and itcrosses our eyestoletus to gothrough; itruns,pads Light hasmanydifferent ways Visit www.eu-man.org formore

208 7 If light was a deserver in the Baroque epoch, as it was with Rembrandt, when it was stealing the viewer to create dreams or stories in a quick stroke, which brought depth to the soul, a shiny spot that we miss nowadays.

Our time lit by the neon light, in its screaming brightness, always under the authority of the clarity, even our insides became a project for research and discovery.

That is what I see in the paintings of Sattar Fartousi, which is judged by the authority of the light and clearness, the light of the neon, because this artist came from Najjaf, the sunniest and sandiest city in Iraq - a city that becomes a fire because of the warmth of July.

In his paintings Sattar tries to hide the authority of the light, which is deep in his personal heritage, with influences of his new Nordic context Finland, which has long been known as dark.

His paintings play upon the monologue of contrast, light and colour, his street goes in two different ways, but they are close to each other, between a gray north and a bright, shiny, colourful south, his paintings are full of hidden details and the clear contrasting atmospheres.

Though his artworks inspire the viewer by clear abstract trails, there are some obsessions that take the language of figures hiding themselves by the colours which try to make a dialogue with the viewer. This is clear through the details of the colour that Sattar uses in almost all of his works.

The eye does not miss the parts of his architectural compositions, or the unclear bodies which are melted by the brightness of the sense until the viewer loses the details of the bodies. Sattar works these artworks, it seems, by composition meaning, but those bodies rebel from that because of the unclearness of the composition itself.

Sattar is crazy about music, he shows professionalism by implementing the colour composition and a viewer can sense that he is a great composer; they can feel his rhythm, they can hear the tones of each instruments, in front of him there was nothing else that he could make equivalent to the rhythmic composition mechanism, to the extent that these works seem as an echo to the guests of the rhythm.

Visit www.eu-man.org for more I donotthinkthatSattarwas shockedbyhisown own visualproductresponse tocontemporaryart. because hebelongstoanewer generationoffering his but itseemsthatdiscussion meansnothingtoSattar way toexpressthenationalorlocalofabstract, made allnon-Europeanartistssearchandtrytofi ndtheir western modernheritageofvisualart? This problem Can weeseethesepaintingsfarfromtheinfl uenceof nostalgia. listen tothebeatingofoursoulswithinspirationfull of Between delicacyandviolencetheseartworkstryto and storingviolenceinothers. cutting partsofdelicacyinsomehispainting composition journey, butitstaysasharprhythmoften its visualelementsaresubdividedalongthecolour It isasthoughthemusiccompositionincarnatementally, property because hewantstoarrangean aestheticwayto art. upon calligraphythatwas the stampofIraqiand Arabic time werefarfromtheordinary abstractsthatdepend colour andspacedivision, that uniqueexperienceat Jackson Pollok,whosestyle concentratedontheclear of those American artists,suchas Arshal Gorkyand style”, theenvironmentalabstract.Heremindsme the seventies,whowere,tosomeextent,close“de Sattar remindsmeoftheIraqiartistssixtiesand expressing theinnerwithouthiding. industrial productsandbothofthemlayasclearcolours uses oilcolourssometimes),bothandacrylare by theinfl uenceofneonlightandacrylic(heeven than thetimeanditsproblemsbecauseitiscomposed Sattar’s worksexpressthespaceanditturnsmore to makeartoutsideoftheordinarywaymakingart. composing artinmoredelicateways,whichinsureshim tell hismessagetoothersandheinheritedmanywaysof Visit www.eu-man.org formore

208 9 I think that Sattar knows very media, sand, attaching paper, glue, works, but they have something like little about that, and I think that newspapers parts and all media that that, as he works on the contrast of Sattar has nothing to do with that may help his innovation. colours and spontaneously painted style, because he works far from the details of the unclear figures that location, and because of the But here a question is raised: that he tries to make secretly in a Iraqi political situation it means To whom does Sattar’s works realistic impact. that there was a cut in the time for belong? To the soul of the artist Sattar’s generation. They did not that looks for the lost light or is If these works remain in keeping know the products of the sixties, if compensation to this lost? Does it the resources of its inspiration, they did then that means they would belong to his unsettled inner that they could build a relationship to develop it, move with it or adapt it comes out through his spontaneous an aesthetic session that allows the into the Iraqi abstract style. production? Does it go back to the human eye to distinguish them, Oriental theme in which light and as someone who lets his senses The artworks of Sattar, which he darkness is essential in philosophy? participate primitively by collecting implemented in Finland, far from visual knowledge about the those times, use the same colour, I do not believe that artists try to meaning of the aesthetic. brightness and, with the use of new clarify the inside meaning of their

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208 11 Migration in Museums: Narratives of Diversity in Europe

A Call for Conference Participation

Open to museum professionals, exhibition curators, researchers from the humanities and social sciences, representatives from immigrant communities and artists.

Organised by Network Migration in Europe e. V., ICOM Europe (International Council of Museums) and Centre de Documentation sur les Migrations Humaines, Dudelange (Luxemburg).

Date: October 23-25, 2008 Location: Berlin

Scope and Goals of the Conference

The conference will bring together museum professionals, exhibition curators, researchers from the humanities and social sciences, (cultural) representatives from immigrant communities and artists. Next to a common opening and a public concluding session, participants will intensively work in six different workshops. Each workshop comprises 10 to 12 participants and will last for a day-and-a-half. The goal of the workshops is to initiate a European process of refl ection and discussion on migration in museums in order to generate new ideas, new concepts, new narratives and new perspectives.

Application

Applications for participation are welcome before the deadline of May 30 2008. Your application should include a mini essay/sketch of ideas (a max. of 600 words), a short biographical note (not more than two pages) and a list of (selected) publications, curated exhibitions or other relevant work in the fi eld of immigration and/ or museums. The essay should refl ect upon and discuss the following question:

“How to represent and/or exhibit diversity in Europe?”

The text can be a classical mini-essay or a sketch of ideas for a cultural project in a museum or an exhibition. It can also touch upon wider questions and travel beyond the museum’s walls. Versions of these essays (though not in an elaborated academic form) will serve as input statements for the workshops in order to trigger discussions.

Applications will be considered on a competitive basis. In addition to 40 invited speakers, 25 to 30 places are open to respondents to this Call for Participation. Financial support for the participants is available to subsidize travel and accommodation expenses. It can be granted upon request.

For further information, please visit the website: www.network-migration.org/workshop2008

Please contact us via e-mail at: [email protected]

Applications should be sent to the given email address by May 30 2008. The selection committee will choose and notify the participants by the end of June 2008.

Visit www.eu-man.org for more Paul Gauguin’s “Maternité [II]” (1899, Private Collection of Paul G. Allen) Article By Alexandra Pereira Markets Art Mainstream and the Artists Immigrant play amajor role inpromoting I believethatimmigrantartists talent. This happenseven with immigrant artist’s skillsand judgement andopinionon one in ordertodistorttheirfi nal which operatecountlesstimes sorts ofstereotypesandprejudices immigrant artist. There areall and evaluatingworksbyagiven point ofviewwhenobserving to adoptthefolkandreductive in thereceptioncountriestend wittingly doingso,commonpeople Sometimes withoutthinkingabout and techniques. or similar, artisticworkmanship perhaps evennew, eitherdifferent affi nitiesandidentifi cations,and cultural idiosyncrasies,artistic through theexchangeofideas, a difference, createandrecreate to meeteachotherandtrymake but commoninterestsandhopes people withdifferent backgrounds and verycreativegroundfor Art isafruitful,fl exible,tolerant societies. the pathtowardsmore developed art audiencesaboutdiversity, in certain generalknowledgeofthe intercultural exchangeand a Visit www.eu-man.org formore

208 13 professionals, something which and artistic traditions, dynamic art This is just a small example can become more exasperatingly movements and unique innovations among many which make one disappointing. Regularly, also in Sub-Saharan Africa or among wonder: how much merit do we the price of the art works, even if undernourished South-Americans ascribe to cultural fusion as a main occasionally more talented works – after all, WE in Europe OWN the contributor to and inspirer of artistic or technically more skilled ones Culture, we are the thinking spirits creation, or is it underestimated (from a strict artistic perspective) of Humanity! after all? More than that: what are than some native artists’ works, the Art professionals’ faults and suffers the consequences of those Presumptions like this, rarely responsibilities in not shifting, prejudices on how an art work by expressed openly but often and for a change, the attention of an immigrant artist originally from unfortunately conveyed covertly, several kinds of audiences for this this or that place “should look like”. make me laugh and cry at the important background and these same time, of how ignorant, naïve The mainstream art markets are and xenophobic they are. Another hard to get in for most immigrant common misconception is that artists, they have tricky doors and the influence or even news about obstacles related with the demand western vanguard art movements do for specific themes, colours, not arrive to other latitudes, nor are shapes, mediums and materials, they elaborated and perfected there! the restriction of artistic freedom Immigrant artists are put aside as a basic right of the artist, or his due to incomprehensible reasons, most precious gift. This way, it though they need places where to can happen that not much choice exhibit and sell just like the others, is left for them, immigrant artists: professional groups to which they you either adapt and change your can join just like the others, and work in order to meet the gallerist, they normally need more support most critics and final clients’ than the others. biased demands and expectations, managing to survive that way, or I have no idea, for instance, about you follow your own path and must how many common Europeans be prepared to be looked upon as know that the grandmother of a stubborn or eccentric or strange Paul Gauguin, usually known as and unconventional outsider (some the French Post-Impressionist and kind of rare bird)… and perhaps Primitivism genius who painted prepared to starve too. the wonders of Tahiti using unique colours and showed some This is why artists’ unions and influences of Japanese prints in his associations, public institutions, as works, was Peruvian, and that Paul well as alternative galleries with himself lived in Peru until the age different and refreshing exhibition of seven, a country where half the policies, end up playing such an population are Amerindians and important part in the adaptation, Mestizos, with one of the most acceptance and commercialisation significant presence of people of of the art works by immigrant Japanese descent in South America, artists. In some people’s minds, and where you can find corn and it might still not be imaginable cotton of every conceivable colour

that there can be great cultural (including purple). (1897, Musée d’Orsay) “Vairumati” Gauguin’s Paul

Visit www.eu-man.org for more know andlearnedatschoolthe In Portugal,forexample,weall interesting artisticmovements. architectural stylesandincredibly even givebirthtonewartisticand produces such rich results that it can Arts world,thatculturalfusion news, atleast(oraboveall)inthe richness? After all,itisnobig correspond tomarketandcapital does artisticandcreativerichness founding infl uences? And nally: fi the new. representing theoldtogetherwith newly discoveredlandsoverseas, botanical motifs and elements of the navigational instrumentswith and combiningmaritime Islamic andItalianfeatures, East Indian,Flemish,Spanish, fusion, synthesizingGothic, a historicalexponentofcultural cliché oftheManuelinestyleas in general(ofphenotype,genotype, blond hairorgreeneyes,diversity colours, peoplewithblackskinand works ofart”:newhumanracesand for “thegreatest(inter)national cultural fusionastheresponsible Angola nationalsayingsconsider how inBrazilorCape-Verde or extreme examplesandtellabout generations. Icouldgivemore recognize itandteachtonew so itwouldfeelveryoddnotto greatest nationalartistictreasures, this examplerepresentsoneofour In spiteofbeingacommonplace, appreciated for whatitreallyis. more importantly, evaluatedand successfully commercialised and, harder togetyourworkrecognized, in aforeigncountry, it is twice hard to adapt and be able to produce incredible richness.Itisnot just artists, astheycanbringalongan the creationsbyimmigrant observant andrespectfultowards above, weshouldbeparticularly Because ofallthereasonsstated profi t. prejudices inthenameofahigher dishonest andperpetuatesenseless be artisticallyandtechnically the Art merchants,whocan’t professionals, butspeciallyof social responsibilityofall Arts cultural fusionincreasesthe and innovationspromotedby important aestheticalchanges like tostatethatawarenessofthe than artisticincontent,Iwould turn outtobemoresociological a kindofanalysiswhichwould subject ofthistext,ortowards Not todriftawayfromtheoriginal treasure toesteem. behaviour type,opiniontype)asa Visit www.eu-man.org formore

208 15 Article Abstract... in the porches of the memory By Amany Fahmy

Khamis Shahata 1918- 1996

This article will place the abstract art of Arabs and the Middle East under the spotlight, although perhaps it is already known that Arab and, in particular, Eastern art are art forms linked to the appearance of things that remain true to the description of art compared to what we see in reality.

However, Egypt has been barraged ever since the early light of mankind and civilization, between the spirit and material, so the abstract has been known ever since the birth of the fi rst pharaoh in Ancient Egypt. It then knew it during the Muslim’s Sufi sm civilization, so if the general belief is that the abstract belongs to the west, then we should know that this is false for two reasons.

The fi rst is the spiritual dimension, as mentioned above, and the second is that art, with its spiritual civilizations, is closer to the abstract thinking in the arts. Naturally we should not forget the common beliefs in Asia and the whole of the East that has had great infl uence in crystallising the abstract in the minds of western artists as an idea, which is able to save art from the Abu Khalil Lutfi 1920-1993 accumulated visual pictures to the space of freedom and innovation.

We also see that Islamic art in its decorative fi gures have interpreted the spirit of the high thoughts of Islam over the appeared reality because Islam is the infi nite belief, and the aesthetic of Islamic art is in the continuity of the abstract rhythm that creates a dialogue with time, challenges it and projects the idea of spiritual eternity.

This idea, which continued to control ancient Egyptian

Abdulhadi El-Jazzar 1925-1966 Visit www.eu-man.org for more language toaclearmind. a liberal-thinkingthatenables thereceiptofanabstract viewers shoulddealwiththeseartworks(visually) leads totheproductionofpurevisualrelations,so of minimisingthecoloursandcomposition,which the aestheticsymptomswhichhaveindividualimpacts This groupofartworkshassomethingmutual,theyare there intheporchofmemory. not familiartoEgyptianor Arab audiences-theyare these worksarenotdisplayedorexhibited,andthey a visualintroduction.Itshouldbeknownthatmostof generation; itisaselectgroupchosentogivethereader the East…Enclosedareartworksbypioneering This isabriefintroductiontoabstractartinEgyptand and chalcographical-abstract. categories ofexpression-abstract,geometrical-abstract pioneers. We cancategorisetheseartworksintothethree abstract worksbelongtothesecondgenerationof contemporary Egyptianartmovement,inwhichmany However, thereissomethingtosayaboutthe general andparticular. that pointtopsychologicalandidealthoughts,bothin the infl uenceofbothsymbolismandexpressionism most oftheartworksbyEgyptianartistsnowhave its modernandcontemporaryartmovement,although Thus, abstractartwasnotfarfromEgypt,alongwith civilisation andtheideologyofIslamiccivilisation. continuing threadbetweentheideologyofEgyptian art, allowsus,throughthispoint,todiscoverthe Muneer Kanaan1919-1999 Visit www.eu-man.org formore Effet Najy1904-1994

208 17 Exhibition Review Pekka Halonen and the Finnish soul By Timo Salminen © Central Art Archives / Janne Tuominen © Central Art Archives / Hannu Karjalainen Archives Art © Central Pekka Halonen in Ateneum Until 24 August 2008 Winter Landscape, Myllykylä, 1896 Tue & Fri: 0900-1800 Wed & Thu: 0900-2000 Oil, 69 x 48 cm Sat & Sun: 1100-1700 Mondays closed Ateneum, the central art museum of Finland based in Helsinki, opened Adults: 8/6.50 € its doors to the public in 1888. To celebrate the 120th anniversary is an Free for under-18s exhibition that presents the work of the Finnish painter Pekka Halonen Kaivokatu 2, Helsinki (1865-1933). The exhibition runs until August 24th 2008 and features www.ateneum.fi almost 300 works from Halonen’s diverse and eventful career that spanned 40 years. Visit www.eu-man.org for more © Central Art Archives / Hannu Pakarinen the artistsofGolden Age. international movementsofthetimejustasartall his ownroots.Halonen’s artwascloselytiedtothe Gauguin (1848-1903),whoencouragedhimtofi nd Halonen studiedforoneyearundertheartistPaul moved abroad,fi rsttoParisandlaterItaly. InParis provincialist asanartist. After studiesinHelsinkihe Pekka Halonen-althoughheissoFinnishwasnot Ateneum Museum. Golden Age, whichcoincidedwiththefi rstyearsofthe Pekka HalonenisoneofthekeyartistsFinnish the ruralpopulationandlandscapesofhisowncountry. an agriculturalsociety. Halonenchosehismotifsamong and thepeople.InthosetimesFinlandwasstillmainly Halonen’s artisbuiltondepictionsofFinnishnature River’s Bank,1897 Oil, 29,5x57 cm what theFinnishnationandlandscapeoncelooked mythical dimensions-PekkaHalonen’s paintingsshow can showyourrealFinnishmind. The exhibitionhas Finnish people. You “have”togotheresothatyou You cansaythatthepresentexhibitionisaritualfor see. existence. And that’s whattheFinnishpeoplewantto snowy pineswithoutpeopleoranimals,butfullof the mosttypicalmotifofHalonenisasheerslopewith sunny day. Ithasallthecoloursofrainbow. Maybe scenes fulloflightandcolour. Snow isnotwhiteona Finnish peoplemostlyloveHalonen’s snowywinter Especially atthepresenttimetheyprovideachanceto like... anditwassogood. Visit www.eu-man.org formore

208 19 look into the past, at the frosty winters and deep snow which have lately become a rarity because of global warming. This year the © Central Art Archives / Joel Rosenberg snowy winter lasted in southern Finland maybe five days.

Teachers of schools and kindergartens take whole groups and classes to look at the paintings of Halonen. They will be initiated this way into the mysteries of the Finnish consciousness. During the first month-and-a-half of the exhibition, over 47,000 people have visited, which is impressive when you consider that Helsinki has 500,000 habitants.

Pekka Halonen was one of the first talents to rise in the Finnish artistic scene from humble beginnings. He was born in a peasant family. It is still a special merit in Finland to have roots like Halonen. The president of Finland is Tarja Halonen! In the Finnish art history – as well as in the literature – you can speak about a democratic tradition.

Humble people have always been worthy to describe as main figures. In Finland there has never been a historical Finnish- Tomatoes, 1913 speaking upper class and in the 19th century, when Halonen Oil on cardboard, 42 x 51 cm was born, it was only Swedish. Even the name of our artist is as Finnish as possible. © Central Art Archives / Hannu Aaltonen In 1895 Pekka Halonen married a young music student named Maija Mäkinen, who also had a completely Finnish name. They soon settled down in peaceful and quiet Tuusula, nowadays only half-an-hour’s drive north from Helsinki. The Halonens built an imposing pinewood villa on the shores of Lake Tuusula. Halonen now had the opportunity to live and work in the middle of his beloved motif – the Finnish landscape.

Halonen often combined skiing and painting trips. Now he could devote himself to painting in the peace and quiet of the countryside. Pekka Halonen once summed up his ideas of art: “Art should not jar the nerves like sandpaper – it should produce a feeling of peace. Searching for peace and harmony through my art has become part of my religion, so to speak. Nature is my inspiration.”

Pekka Halonen was happy to realise the ideal Finnish way of living. Now the villa is called Halosenniemi (Halonen’s Penninsula) and is home to a museum open all year round. It’s a special place of pilgrimage for the Finns and a unique opportunity for foreigners to become acquainted with the Finnish soul. Winter Landscape from Kinahmi, 1923 Oil, 95,5 x 65,5 cm

Visit www.eu-man.org for more Randa Mirza-Shock Culture 2 Daniel Salomon-Greetings from Suomenlinna Randa Mirza-Shock Culture 1 By Amir Khatib shockcreate cultural Using enjoyment to News in our contemporary world. the hiddensideoftruth of Lebanonthatexpress featuring herdigitalphotos title SHOCKCULTURE, on April 25thwiththe She openedherexhibition Museum ofPhotography. exhibition atHelsinki’s 1973) inherrecent artist RandaMirza(born asked bytheLebanese This questionhasbeen shock? between enjoymentand What are theborders Randa Mirza-Self-portrait withremote control Cable Factory, Tallberginkatu 1 G,Helsinki The FinnishMuseumof Photography, Open untilJune22nd2008 Tue-Sun: 11:00-18:00 Shock Culture www.fmp.fi EUR 6/4/0 shocked. are alsosimultaneously enjoy thepictures,butwe audience said. Yes, we the shockasone,one an artworkthatmakes However, shecreates world politics. this isaneworientationin from thesecrisesatall- mankind suffers isnotfar have tolivein,andwhat political crisesthatwe the shockthrough of theworldconsuming She seesallofusaspeople Visit www.eu-man.org formore

208 21 Article

Marketing art or selling art? By Thanos Kalamidas

From the very first moment I thought about marketing art I felt that there is something wrong even in writing it and that’s because when you say ‘marketing art’ you mean selling art. However, we are then led to a fundamental question: do artists make an art creation I order to sell it? Here things become even more complicated because the next natural question is if artists make art on demand and whether somebody that makes art on demand is called an artist.

I will begin with the example of a 19 year-old man that created a huge portrait of Ray Charles with more than 2,000 coloured post-it notes. The young man said that he wanted the fame and the only way to achieve it was by making something unique and, of course, CNN was the channel that interviewed him. So what we have here is two things.

Firstly, the media’s thirst for the audience’s attention – this attention translates into money, adverts and more money – and, secondly, the young man used the media to attract attention to hopefully bring further fame and some money. The connecting word is obviously money and the question is whether that young man did art and if he did art will he continue doing so by researching new materials and expression styles or he will rely on what he did and keep repeating himself?

Art is all about personal aesthetics, what is artistic for me is not necessarily art for everybody. Near the end of his life Salvador Dali was signing

Visit www.eu-man.org for more presentation of theworkanditmust The nextstepisaportfolio, a make themdreamandfeel. look attheircreation,move them, few whocaninspirethepeople who move youandthentherearethese they don’t havethesoulthatwill in. The paintingsarelikephotos; this iswherethedifference comes that itresemblesaphotograph,but who canpaintnaturesorealistically a fantasticknowledgeontechnique There arethousandsofpeoplewith cooperates fortheresult. is themajorstepwhereeverything gives soultothecreationandthis personal, thisisthepartartist step istoaddsomethinguniquely triptych forthefi rststep. Thenext toiling, practicecompletesthe of practice,whileconstant,often through educationoralot heart, knowledgecomingeither the artistandinhisorhermind practice. Talent issomethinginside of talent,knowledgeandalot A creationofartisasequence help iswritemypersonalopinion. Therefore, theonlythingIcandoto questions. they onlyleadtomoreand and marketingtoanextent,isthat discussion aboutartandmoney, them ornot. The troublewithany recognize ifhewastheonepainting signed byDalineedanartexpertto selling themashis;thesepaintings who neededthemoneyandthen paintings madebytalentedinterns be richrepresenting themanylevels have onlyseen thebeginningof art belongsto theinternetandwe I stronglybelievethatthefuture of defend yourwork. endlessly andinternethas ways to the artistiscapableofcreating afraid ofsomebodycopying,since exhibit theportfoliowithoutbeing the internethelps,so…goonline, are insecureandtheanonymityof Without generalizing,mostartists return totheinternetrevolution. portfolio andthisiswhereIwould The nextstepispublicizingthe itself portraystheartist. clip ofphotos,sincetheportfolio and notpageafterorclip equally contemporaryandartistic, strange buttheportfolioshouldbe is promoted.”Iknowitsounds is actuallybeingsoldandhowit to seewhatkindofmerchandise a departmentstoreorgiftshop appear tohaveneverwalkedinto presentations are.Someartists amaze mejusthowbadsome long careerit’s neverceasedto Woodward oncesaid,“Overmy licensing personaMichael The knownartmarketingand carefully. of workanditshouldbedonevery return totheportfoliowhichisalot few decadesbefore.However, let’s huge advantagethatartistslackeda which offers artistsnowadaysa the giganticchange-internet, by printordigitaland-herecomes his orherwork. This canbedone of theartistandmanyfaces

to sellit? me: doartists makeanartcreation asked thefundamentalquestion for the verybeginningofthisarticle I is whytheyarethere. After all,at and, I’msorrytobecynical, this painting, weneverthinkof agents when wetalkaboutphotographyor always thinkaboutapublisherbut When wetalkaboutbooks to judge,promoteandsellthework. have theknowledgeandinstinct who specializesinsellingart-they a goodmoveistofi ndsomebody artist ortheteamofartists,then portfolio thatitselfportraysthe emphasized above,isagood A keytomarketingart,asI of yoursoul. promote aproductandnotpiece a siteyouhavethefeelingthat a site,somehowwhenitcomesto as anartistandanothertopromote but itisonethingtryingtosellart I knowthatitsoundsschizophrenic that followsistopromotethesite. kinds ofart-works. The only thing online exhibitions,booksandall David Alvarez, 19, used more than 2,000 Post-it Notes to create a 10-foot im- age of Ray Charles. Visit www.eu-man.org formore

208 23 Exhibition Review

Julian Schnable at KIASMA The post expressionism

By Amir Khatib

KIASMA, the largest Schnable is a show man, he he finished art school Schnable contemporary Finnish art reminds me of the stories of the big worked a number of different jobs, museum, which opened in masters who pretend to consider including a chef and a taxi driver, Helsinki in 1998, celebrates its the personal show as part of the until he found himself as an artist, 10th anniversary this year by opening; he came wearing a pink or as to say he found the right track inviting effective, popular and coloured sleeping suit covered by to go on. ‘important’ artistes from around a winter coat, as if he was ironic of the world, artistes such as Julian it all. Schnable laughed throughout Schnable’s art works are expensive; Schnable, who had a solo show all of the press happenings as they are hard to call paintings or on the fifth floor of KIASMA he explained his artworks to the pictures, since some of them are covering an important part of journalists, or he tried to explain very huge in size. For instance, that celebration. since he does not know the details some of the pictures that he showed of them all. in KIASMA were 12 metres square, Schnable is a well-known American yet that does not excuse the high artist who worked shoulder-to- “This I have done in ‘85, oops,” price of them. Some of his paintings shoulder with many big names and the label says 1989, “No, that is were sold in Helsinki’s Gallery has a very good friendship with wrong, it is a lie. I did not paint Forsblum, “the side exhibition that them, such as the late Andy Warhol, this in ‘89!” By such explanations the gallery used the opportunity to and many other famous American Schnable was leading the press sell some of Schnable’s works, for artists; this strangely behaving artist happening, in this spirit we got up to 350,000 €. was in Helsinki during the opening to know Julian Schnable. After of his exhibition.

Visit www.eu-man.org for more or acryliconcanvas,especially implements themasoilon canvas, seem likeordinarypaintings, he Schnabel’s works,asIsaid, basis ofart. basics ofpaintingordrawingany become artistsnotknowingthe money” becausesomeofthem mind isthemarketandto“make The mostimportantthingintheir but hisphenomenonisveryclose. a Popartistandisnotnearthem, Pop artistesthoughhedoesn’t seem different fromtheother American Schnable, asaphenomenon,isno no onecananswerthisquestion. so whatisnewinhisworks?Ithink are liketheGermanexpressionists, they are not new to me because they overwhelming sizeofthem,and me, theyjustshockedmebythe works arenotveryinterestingto As amatteroffact,Schnable’s should be. but itspromotionbybusiness need inthetimeofglobalisation, insist thatartisnotanessential recognisable namesinPopartwho of Jeff Koonsandalmostall ofthe preferred friendof Warhol, afriend and importantartists,sincehewasa become internationally-acclaimed that someartistslikeSchnable contemporary life.Itisnotstrange is whathappenseverydayinour supermarket tobuygoods,which from usastheadvertstaketo So, heisacoolartist,takesthing those hugeones, hetriestoplayan colour, printstheminsomespecial for acastle,heprintsthem inone for achurchormosque, even so hetakesaphotofromthe archive photos byputtingonecolour stroke, also putshisexpressionon those He usesphotographytoo,buthe own expressionfromit. prefers thateachviewertakestheir saying apersonalmessage,buthe varnish onthemashighlightingor implements themandputsalotof too, buttheyarenotgiantsizes;he his familyinrelativelybigsizes they arehisfamily, membersof He paintsportraitsaswell,mainly painting asanexpressivemessage. as hetellsthepersonwhoreadhis subconscious topainttheseplates, plates placedrandomlyandusedhis show inKIASMA,heusedbroken call it.Inonehugeartworkinthe because thereisnoothernameto put itonthewallsandcallartwork make anartworkorsomethingthey Schnable usesallpossibleitemsto was minimalistinusingcolours. colourful artist-tosomeextenthe in acleverwaybecauseheisnot from thememory. Heusescolours by somethingthatmightcome to indicateorinspiretheviewers one, andthenusessymbolsorsigns other, putsonestrokeontheother places apartoftheatrecurtainon He makesaholeinsomeone, saw, theywerenotsuccessful. artistic game,butinmostcases,asI one question,shedidnotcare,but who workinKIASMA,Ijusthave one oftheadministrativestaff I left,butonthewayoutasked By theendofthatpresshappening, archaeological places. as thosewhowriteamemoirin inspiring thathe“wasthere”, media, placesalineofonecolour replied, “ThisisartandIlikeit.” makes artasart?”Sheimmediately she stopped,andIasked,“What Visit www.eu-man.org formore

208 25 Bridge Global Warming Cubism in the Migrant Artists’ Space

By Moustfa AL-Yassin

Dear one, money - that is wonderful, isn’t it? For a long time we have been frightened by the destruction Global warming is not my of the ice mountains. problem anymore because the officials assure us that this For a long time we are hurt problem is of no danger to us when we see a dead baby born. in these democratic countries, so don’t worry… we are Perhaps we are curious when happy. we see the G8 procession, when they present their empty Then dear one… oration gifts, that tomorrow, yes tomorrow, is pawned by For a long time I have been the global warming issue. bothered by an artist’s fall, an artist who was weaving This is true and correct, that plaits for the sun, for a long even the smallest official can time I did not like the death see; the small official who of an innovative idea, in the broods over his dream eggs hand of a profit signed on the in the nearest field, here or face of the moon of a cultural there, so I shall confess that all contract. know about global warming, but they do nothing, or, in For sure, mostly what bothers other words, they use it in their me is that I see that global politics. warming, till now, only reaches the head of the migrant All, including the G8, have artists and the population of been warned of global the “Third World”. warming, this is a wonderful matter, especially when we Decisions came this season, hear the milliards of numbers and the postman was that might be more wonderful, distributing the letters to those and worth to trust. who get a part of the shadow to protect them for one year I am very happy here, living or even less from global- and enjoying the democracy, warming. happy to write this article now, I am the world’s happiest one With best wishes, I should who is free of every thing, leave you now. I hope that you even the financial obligations, get some shadow by next year simply because I am free from to live and work like others. Visit www.eu-man.org for more talk: +358 (0) 40 554 6896 write: [email protected] view: www.eu-man.org

membership: Annual membership Our passion is to inspire and empower fee is 30e. flourish with us, help art blossom. Download an application Advertise your creations with us, from our website: www.eu-man.org we treat them all as they should, as art. contact: [email protected] EU-MAN For adverts contact > [email protected] P.O. Box 523 00101 Helsinki, Finland «MANEGE» CENTRAL EXHIBITION HALL SAINT-PETERSBURG RUSSIA WE INVITE YOU TO TAKE PART IN VI INTERNATIONAL FESTIVAL of EXPERIMENTAL ART July 18 – 27 2008

”Manege” is a unique forum for Contemporary Art. It has been presenting large international projects with numerous participants from 1993 until today. Hundreds of artists from more than 30 countries have taken part in the International projects of Manege.

This year’s festival will feature artists from the USA, France, Italy, Finland, Holland, Sweden, Austria, Iraq, England, Israel, Ireland, Switzerland, Germany, Russia and many other countries.

This is an invitation for all kinds of Artists and Art groups: young and old, well known and aspiring to come and show different genres and tendencies. We do not have any discrimination policy but of course we must make a selection. The main aim of the Festival is to show a wide presentation of International Art.

PERFORMANCE INSTALLATION-PHOTOGRAPHY-VIDEO VISUAL EXPERIMENTS AND NEW MEDIA

Conditions of participation: Participation fee - 100 Euro Payment sent by bank transfer (see box) Included in the price: 1. Exhibition space 2. Publication in the catalogue (one page per entry) 3. The best works will be awarded with Diplomas of the Festival. 4. Website of the Festival 5. PR and press promotion 6. Exhibition security services 7. St. Petersburg Sightseeing tour

Transportation of artworks (including insurance and customs formalities) are to be taken care of by the artist.

Materials for the catalogue: Author’s photo, biography, short description of the project Photographs of the actual project (or recent projects) By e-mail: JPG images (300 dpi, 15 cm on longer side) Macintosh not accepted. By post: good quality photographs minimum 10x15 cm. or electronic images on CD, DVD

Participant’s applications will be accepted until 15 May 2008 Deadline for submissions of catalogue materials and for payment is 1 June 2008 BANK TRANSFER DETAILS For more information, contact: BENEFICIARY INSTITUTION Mrs. Larissa Skobkina, Curator of the Festival SABRRU2P SBERBANK E-mail: [email protected] (SEVERO-ZAPADNY HEAD OFFICE) www.performart.narod.ru ST.PETERSBURG.RUSSIA Postal address: Larissa Skobkina, “Manege”, Isaakievskaya sq., BENEFICIARY CUSTOMER 1, St-Petersburg, 190000, Russia LARISA SKOBKINA REMITTANCE INFORMATION 42301 840 9 55003010089

Visit www.eu-man.org for more Article Marketing theart When wetalkhereaboutthisproblem lives. close tothenativeculturewhereshe/he she/he needstoproduceatleastculture person movesfromoneplacetoanother, is thesealltogether, becausewhena I thinktheproblemwithmigrantartists to do. and knowaboutwhattodonot but tosomeextentoneshouldbeclever well, notthathugeamountofthetalent you havetothetalentforthatas The marketmeansyousellandbuy, so like language. course, thereisnoproblemswiththings knows thewaytoothermarkets,plus,of and theyknowwhattodooratleast with theseprinciplesandmanners, west sideoftheglobe,hasbeenraised who wasborn,grewupandlivesonthe It isalsoamatterofculture,soperson, marketing policy. since welivetheglobalisationand in thelifeofmankindnowadays, these principlesare themainpillars and are forced todealwith,because which weallhavetounderstand For themarketthere are principles By JulianaRoth year tostarta businessandbeganto gave start-upmoneyforartists forthree example, theNetherlands’ authorities and migrantartists,inparticular. For these problemsfortheartists, ingeneral, Many EUgovernmentstry tosolve and liveforculturalaffairs. - thatisournatureforthosewhowork hear ortakeoursuggestionsseriously same time,wedonotcareifoffi cials about whatshouldbedone,but,atthe the atmospherethatsomeideasare we attempttosuggestasolutionthrough lot ofmistakes,sothefreemarketis government iswrongandresultedina block tolinkthemarketwith The experienceoftheformersocialism artists isonsubsidiesandhelp. do thatbecausethedependenceof a chancetoallequally, buttheycannot promote thevoiceofartists,giving times tomakeworkshops,seminarsand The Swedishauthoritiestriedmany but whatdoartistsgetoutofthat? integrate themintosocietyasanartist, do andbelieve. that learningisaprocess;we shouldall death. Ihopethatwealldo andbelieve game tous,theyarematters oflifeor that wehave;thesemanners arenota the welfaresystemand prosperity general, thewestworks,howwecreate know fi rsthandhowEuropeand,in We, theinhabitantsofEurope,should relationships inEurope. of Europeandwhoshouldbuildthe to takeintoconsiderationthemanners not leadtoasolutionatall. We have because thishasnoworthanddoes of peoplewhomanipulatethemarket, and nativesoritisforceduponagroup that itisnon-equalitybetweenmigrants should forget thattalking,which tosay a matterofcultureandnothingelse. We and wehavetodealwiththismatteras I insistonthisasamatterofculture, become ourheavily-spoiltchildren. artists andpamperthemmaking meaning thatwemustnothelpthe to allforthesakeoffreemarket, should developachannelandeducation With themigrantartists’ case,Ithinkwe to say. substance andtherealisticsolution,so Visit www.eu-man.org formore

208 29 Last Drop By Avtarjeet Dhanjal

In 1985, I was invited to take part the proud Gallery Director walked to newspaper coverage or ever covered in the St. Louis Arts Festival. my other Installation in the square, on the main evening news, yet as an During my stay with two local congratulated me on the success of outsider I had managed to generate artists, one of them very kindly my installation the night before, and this media attention and he was keen arranged an appointment with a the media coverage it received. that I showed my work in his gallery. director of gallery, where he was To my further surprise and the However, I then knew it was my showing. amazement of my sculptor host, he time to play firm, to get the best deal While I was talking to the Gallery suggested that we could do business, from this bloodsucking man. During Director he was also attending some could I come to the gallery to talk. negotiations, he allowed me to push other business. He was I said to the proud director of the him as far I could and agreed to show not listening to me; on gallery, “No, I came to see you my work the following year in his realisation, I closed my and did not listen to me; what gallery, perhaps on terms he did not portfolio and asked was the point of meeting offer his regular artists. my friend to let us go again?” The Gallery On my return to London, I wrote home. Director then invited me for to the bloodsucker offering my So we left, the Gallery breakfast the next day at his thanks for his hospitality and put Director did not bother home. our business discussions down on to ask why we were However, he did not invite my paper, so that we both knew where leaving? My friend felt very sculptor friend, who introduced we stood. I knew that galleries rarely strange the way this Gallery Director us, to the breakfast. My friend kindly give artists the terms of business in had treated us in such a manner. drove me in his car to the house and writing. Part of my participation in the Arts dropped me off. The next surprise Not to my surprise, I had a letter Festival was the creation of an was when I went in and discovered back from the Gallery Director installation of ‘15 Floating Flames’ that the Gallery Director was not at stating that he did not think we in the Grand Basin of St. Louis’ home, but there was a young man could do business. I was relieved. Central Park. I cast huge candles working in the kitchen. He invited It would have been equally difficult of about two-feet in diameter in a me in and offered me coffee, while for me to work with such a man. But candle factory and floated them in I waited for the Gallery Director to I also understood that Galleries are the Basin. In the evening we lit them return. not interested in the quality of your with a blow-torch while travelling This crafty director applied another work, but whether you could create by boat. The candles of this size had old trick on me; when you want media interest and the gallery could about 40mm thick wicks and created to make someone feel small / sell and keep a big portion of your nearly four-foot high flames - those unimportant - keep him/her waiting money. were equally reflected in the water for you. I had to wait for more than During part of my stay in St. Louis and as a result the whole Basin was half-an-hour. I would have left had I I had also stayed with another artist illuminated. any transport. I had no option just to who was a university professor, On the same day St. Louis’ main wait, but it made me realise that married to a female newspaper gave half-a-page of unless I was firm with this fashion-conscious coverage to my other installation in man he would continue to painter. They lived in a a public square, which brought the play silly games. decent neighbourhood 9 o’clock news cameras to cover the Upon his return we sat suitable for the status evening installation of the 15 floating down to talk and I wanted of a University candles. to hear from him what professor - in America, Having been seen on the main he had to offer me. He status is very important. evening news, my two installations suggested that I would show To keep up with their were the talk of the city and it my work in his gallery, while also status the couple did not cook at brought several hundred more people creating another public installation to home; though they had a four-year- to the Grand Basin to watch the generate further media attention. old son at home. I was told one day candles. It was clear that the exhibitions in that I had to find my own food; I was The next morning, to my surprise, his gallery did not get half-a-page of thankful for their offer to host me.

Visit www.eu-man.org for more When I explored their fairly cooked food. That evening I was Part II. large and clean kitchen; I found looking forward to my home- a whole shelf was full of books cooked meal. I cooked A few years ago I received on all different kinds of cooking, three large Prathas, with a letter from an arts but no food in the fridge or the the idea that if I had any commissioning agency in cupboards. It seemed as if it was left over I could enjoy the UK asking whether a kind of kitchen that could not be one for breakfast too. I would like to put contaminated with smelly food, It was probably the fi rst forward a proposal for except coffee or the occasional loaf time the four-year-old a sculpture for one of of bread. boy had smelled spicy food the sites it was considering The university professor would in their home and it brought along a trail in that city. have his lunch at the university and him running to the kitchen from It just happened that this letter I never had the chance to discover the far corner of the house, where arrived just a day before I was what the lady of the house did for he was having his daily cry, and he leaving for India for a month, so, food. As every morning she was quietly sat down at the dining table. without reading this letter carefully, always in her room when I left the I brought the food to the table and, I sent a note back saying that I house. The son was normally up as is Indian courtesy, I could not eat would respond to its request when I

when a small TV in his room came alone while this hungry child was returned from my trip. 31 on at 7am controlled with a timing sitting their patiently waiting for When I re-read this letter on my switch. some share. I quietly asked him if return, I realised that the agency For the fi rst three or four evenings I he would like to try a little of my had offered to pay £500 for two walked to a nearby restaurant to fi nd cooking. He nodded yes. days of my time, but the suggested something to eat. What I also noticed From the fi rstPratha I offered him budget for the commission was only was that it was the responsibility half, and I ate half; to my surprise £5,000. of the professor’s father to give the he fi nished his share before I could; I called the agency back and said evening meal to their little son. The and was eagerly looking for more. that I could not do anything for professor would toast a couple of Hesitantly I offered him another half that amount; it needed to offer me slices of bread, and put some peanut of Pratha, at the same time worried a serious commission. The director 208 butter on them, as shown on the about the host lady, who could easily asked me to give her a week or so TV commercials, and then offer the and she would get back to me. child this as his evening meal. As it A few days later I had a phone call was the same food every evening, from the agency director stating that I could understand why the child she could increase the commission would not eat the same thing again budget to £10,000. Well, I told her and again, and then would cry for I could offer them something but half-an-hour, go up to his room and not a substantial piece of work. She fall sleep. asked for another few days. Having been brought up in India, After another week, the budget was where food is always cooked increased from £10,000 to £30,000. for each meal, I could not live throw me out of the house, as I was I then told her that with that kind of without home-cooked hot food in feeding her son with foreign food. money I could give them something the evening. So one day I decided Well, the young man had fi nished back which could stand up as a to buy some wheat fl our, a few his second half of Pratha, drank a serious work. potatoes, some spices and a pot of big glass of water and seemed happy Well, we artists do need money to yogurt. I asked the host if I could and content. He even started to survive in this present day just like use their kitchen for cooking. I had mumble a little song. everyone else. However, I still do to improvise some simple meal with not like to subsidise my work for a my limited grocery. I boiled Before he left for his room, the public space, when a commissioning the potatoes, mashed little boy said to me that I agency, city or company is paying them, added some was a better sculptor than everyone else a decent salary, why spices and stuffed the his dad. I asked him why he can’t an artist expect the same. paste into chapattis to thought so? He said that his I also do not like to take more than make stuffed Prathas. dad made sculptures nobody two commissions in a year. The Even though I was knew what to do with, but commissioners must pay me enough eating every day in I made sculptures one could to live and travel, get inspired for different restaurants, I always eat and feel content. I thanked the my new work, so that I could create felt hungry without the home- young mind for his compliments. something new.

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