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Ìèèá†˙¯˜ È·ˆ†Ô·†Ïë

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Ìèèá†˙¯˜ È·ˆ†Ô·†Ïë CVs ÌÈÈÁ†˙¯˜ 109 108 109 È·ˆ†Ô·†ÏË Æ‰Á†Ò„¯Ù·†‰Ï„‚†¨˙ÂÓÂχ†ı·Ș·†‰„Ï ±π∂∂ ·È·‡†Ï˙·†˙„·ÂÚ†˙¯¯Â‚˙Ó ¨˙ÂÓ‡‰†˙„ÏÂ˙φ˙ÂӇφ‚ÂÁ‰†¨Ô¢‡¯†¯‡Â˙ ±ππ≤ ‰ÙÈÁ†˙ËÈÒ¯·È‡ ¨˙¯Â˜È·Â†‰È¯Â‡È˙†˙¯ˆÂ‡Ï†˘„Á‰†¯ÈÓÒ‰†˙¯‚· ±ππ∑ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜ Ï·†ÍȯÈȉ†Ô¯˜†È„¯˘Ó·†‰È¯Ï‚‰†˙¯ˆÂ‡ ≤∞∞±≠±ππ∏ ®„ÈÁȆ˙ÂίÚ˙†≤∂©†·È·‡†Ï˙· ÂÙÈ·†˙ÂӇφ¢¯‚‰¢†‰È¯Ï‚†˙¯ˆÂ‡ ≤∞∞≤≠≤∞∞± ¨˙ÈÈËÒÏÙ†˙ÂÓ‡†ÏÚ†È˘†¯‡Â˙φ¯˜ÁÓ†˙„·چ˙·˙ÂΆ‰Ï‡†ÌÈÓÈ· Æ·È·‡†Ï˙†˙ËÈÒ¯·È‡·†ıΆ„„†‰„ÏÂȆ˘¢Ú†˙ÂӇφ‰ËϘٷ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†˙ÂӇφ¯ÙÒ‰†˙È··†‰ˆ¯Ó ÍȯÈȉ†Ô¯˜¢†¨˙ÂίÚ˙†‰¯˘Ú–˙Á‡† †˘„Á†ÔÂÎÈ˙†Á¯ÊÓ†∫ÌÈÓÂÒ¯Ù ˙‡ˆÂ‰†¨˙ÈÈËÒÏÙ†ÌÈ˘†˙ÂÓ‡†ÈÓˆÚ†Ô˜ÂÈ„†Æ®≤∞∞∞©†·È·‡†Ï˙†¨Ï· ®≤∞∞±©†¨ÒÂÏ„‡ ®˙ÂÈ˙ˆÂ·˜†˙ÂίÚ˙©†˙Á¯Â‡†˙¯ˆÂ‡ ¢ÔÈËÒÏÙÓ†ÌÈ˘†˙ÂÓ‡†›†®‰©ÈËÒÏÙ¢ ±ππ∏ ÏÈÓ‡†‰‡ÓÂß‚†¨Ò‡ËÒ‡†Ô˙‡Ù†¨Ïʇ¯†‰È„†¨ÔÒÁ–χ†‰ÊÚ ÏÈÚÓÒȇ†¯È‰ÂÒ†¨‰¯˘·†‰¯†¨¯Â·ß‚†Ï‡Â†¨È¯ÂÁ†‡‡„†¨„Â·Ú ¨·È·‡†Ï˙†¨˙È¢ÎÚ†˙ÂÓ‡†›†ıÈÈÈˢ†ÈÓÚ ÌÈÏ˘Â¯È†Á¯ÊÓ†¨˙ÂӇφÊίӆÈËÈÒ‡ÂÂχ ¢˙ÈÈËÒÏÙ†ÌÈ˘†˙ÂÓ‡†∫ÈÓˆÚ†Ô˜ÂÈ„¢ ≤∞∞∞ ¨‰Ïχ¯Ò†‰„ȇچ¨Ò‡ËÒ†ÈʇنÔ˙‡Ù†¨ÈÏ·È˘†Ì‡ÏÁ‡ ¨„·چÏÈÓ‡†‰‡ÓÂß‚†¨„ÈÓÁ†Â·‡†Ô‡Óȇ†¨ÔÈÈÒÂÁ†Â·‡†Ô‡Á ß‚‡¯Ù†ÏÈÚ‡ÓÒ‡†¯È‰ÂÒ†¨È·ÚÂʆ¯‡Ó†¨Ò˜¯ÂÓ†Ï‡Ó ¨ÈËÒ‡ÂÂχ·†Á˙Ùȉφ‰¯ÂÓ‡†‰˙ȉ†¢ÈÓˆÚ†Ô˜ÂÈ„¢†‰Î¯Ú˙‰ ˙Èȯς·†¨≤∞∞∞†¯·Â˘‡·†¨˙ÈÁ¯ÊÓ‰†ÌÈÏ˘Â¯È·†˙ÂӇφÊÎ¯Ó Êίӷ†≤∞∞±†¯‡Â¯·Ù·Â†≤∞∞∞†¯·Óˆ„·†·È·‡†Ï˙·†¢ıÈÈÈˢ†ÈÓÚ¢ ÈÚ¯ȇ†˙·˜Ú·†ÂÏË·†˙ÂίÚ˙‰†˘ÂÏ˘†ÆÌÁφ˙È··†˙ÂÓ‡Ï ‡ˆ˜‡–χ†˙„‡ÙÈ˙ȇ „¯Á†ÔÈÚ†¨˙ÂӇφÔ΢Ӊ†¨¢Ì‡†˙Ù˘¢ ≤∞∞≤†È‡Ó ÒÈχ†¨‰Ê·Â˜Â·†˜È¯‡†Â‰Èχ†¨ÏËÙ†Èχ†¨ÂÓÁ†˙ȯȇ ¯ÈÓʆ¨ÌÂÏ˘†‰Ù„†¨‡˜È„Ú†„„†¨ÌÁ˘†Í¯·†¨ÔÓ‚ÈϘ ·˜ÚȆ¨Ô˘Â˘†Ïˆ¨ËÁ¢†Ïˆ¨ÁÈψӆψ¨˘È˘†ÔÁ†¨ı˘ Ìȯӆ¨È˘‡˜†˘ÂÓ†¨Ï‚†¯È‡Ó†¨È¯Ê†Ï‡‚Ȇ¨„¯ÂÓ†Ô¯ Ô‚†Ô‰Î†ÒÁÙ†¨ÔÂÓÈÓ†ÈÓ¯†¨Ò†È„Ú†¨È¯¯‰†Úˆ¨‰Ò·Î Á¯Â‡†ÔӇΠÌÁφ˙È··†˙ÂӇφÊίӆ¨¢Ì‡†˙Ù˘¢ ≤∞∞≤†ı¯Ó≠¯‡ÂÈ ª¯ÎÂÓ†‡Ï¢¨ÈÏ·È˘†Ì‡ÏÁ‡†ª¢ÔÈËÒÙ¢†¨Ô„‡†‰„ȇ¯ ¢‰Á·Ò¢†¨‰Ïχ¯Ò†‰„È‡Ú ÂÙÈ·†˙ÂӇφ¯‚‰†‰È¯Ï‚†¨¢Ì‡†˙Ù˘¢ ≤∞∞≤†È‡Ó≠¯‡ÂÈ ‰„‡‡¯†ª¢˙ÂÈÙ˘Â†‰˘Â„˜¢†¨„·چÏÈÓ‡†‰‡ÓÂß‚ ̇ÏÁ‡†ª¢‰Ó¯ÂÙ¢†¨È¯‡ßÁ·†ÈÓÒ†ª¢ÔÈËÒÙ¢†¨Ô„‡ ÒÓÂÚ¢†¨ÈÒ‡˙ÈÓ†Ò‡ËÒ‡†Ô˙‡Ù†ª¢·ÂˆÈÓ¢†¨ÈÏ·È˘ ¢˙‡˜ÂÈ„¢¨‡˜È„Ú†„„†ª¢¯˙È 111 110 111 Tal Ben Zvi Guest Curator (group exhibitions) 1966 Born in Kibbutz Alumot, grew up in Pardes Hanna 1998 “Palestin(a) - Women’s Art from Palestine” Lives and works in Tel Aviv Azza El Hassan, Dina Ghazal, Faten Nastas, Jumana Emil 1992 Graduate of the Departments of Fine Arts and Abboud, Nidaa Khoury, Noel Jabbour, Rana Bishara, Art History (B.A.), Haifa University Suheir Ismail 1997 Graduate of the New Seminar for Visual Culture, Ami Steinitz - Contemporary Art, Tel Aviv, Al-Wasiti Camera Obscura School of Art, Tel Aviv Palestinian Art Center, East Jerusalem 1998-2001 Curator of the gallery atthe Heinrich Böll 2000 “Self Portrait - Palestinian Women’s Art” Foundation offices, Tel Aviv (26 solo exhibitions) Iman Abu Hamid, Faten Fawzy Nastas, Manar Zuabi, 2002 Curator of Hagar Art Gallery, Jaffa Ahlam Shibli, Suheir Ismail Farraj, Jumana Emil Abboud, Hanan Abu Hussein, Manal Murqus, Aida Nasrallah Currently working on her thesis about Palestinian art at the Yolanda and David Katz Faculty of the Arts Graduate School, The exhibition “Self Portrait” was supposed to open at Al-Wasiti Tel Aviv University. Arts Center, East Jerusalem in October 2000; at Ami Steinitz Lectures at the Camera Obscura School of Art, Tel Aviv Gallery, Tel Aviv in December 2000; and at the International Center, Bethlehem in February 2001. All three exhibits have been Publications: “New Middle East - 11 Exhibitions”, Heinrich Böll postponed indefinitely due to the Al-Aqsa Intifada. Foundation, Tel Aviv (2000) ”Self Portrait: Palestinian Women’s Art”, Andalus Publishing May 2002 “Mother Tongue”, Mishkan Le’Omanut Museum (2001) of Art, Ein Harod Adi Nes, Alice Klingman, Baruch Shacham, Chen Shish, Dafna Shalom, David Adika, Eli Petel, Eliahou Aric Bokobza, Irit Hemmo, Meir Franco, Meir Gal, Miriam Cabessa, Mosh Kashi, Neta Harari Navon, Rami Maymon, Tal Matzliah, Tal Shohat , Tal Shoshan, Yaacov Ronen Morad, Yigal Nizri, Zamir Shatz, Pinchas Cohen Gan as guest artist. January-March 2002 “Mother Tongue”, The International Center, Bethlehem Raeda Adon,“Pasateen”, video art; Ahlam Shibli, “Unrecognized”; Aida Nassrala, “Sabha”, painting January-May 2002 “Mother Tongue”, Hagar Art Gallery, Jaffa Jumana Emil Abboud, “Sainthood & Sanity Hood”, painting; Raeda Adon, “Pasateen”, video art; Sami Bukhari, “Panorama”; Ahlam Shibli, “Positioning”; Faten Nastas, “Overloaded”, video installation; David Adika,“Portraits” ÈËÏÈφ·‡Èχ ÔÂÓÈÒ†Ú˘Â‰È ·È·‡†Ï˙·†„·ÂÚ†¯¯Â‚˙Ó†ÆÚ·˘†¯‡··†„Ï ±π∂¥ ·È·‡†Ï˙·†„·ÂÚ†¯¯Â‚˙ӆƷȷ‡†Ï˙·†„Ï ±π∑π ·È·‡†Ï˙†˙ËÈÒ¯·È‡†¨‰ÈÊÈÂÂψÚÂϘφ‚ÂÁ‰†¯‚· ±ππ≤ ÆÏ¢‰ˆ†ÈÏ‚·†¢˙¯„¢Ӊ†‰ËÈÒ¯·È‡¢‰†Í¯ÂÚ†‰Â¯Á‡Ï†„Ú †Ï˘†≤†ı¯ڷ†˙˘˜†È¯Â„È˘·†¨È·Èˇȯ˜†Ï‰ÓΆ˘Ó˘Ó ∫Ô‰ÈÈ·†Æ˙ÂÈÎÂ˙†¯Â„È˘†ÈÓȆͯÂÚΆϢ‰ˆ†ÈÏ‚·†˙¯È˘ ≤∞∞∞≠±ππ∑ ˙Èχ¯˘È‰†‰ÈÊÈÂÂÏˉ ¨¢¯·„φÈÓ†ÌÚ†˘È¢†¨¢ÔÂÓ‚‡†·˜ÚȆÌÚ†˙ÂÈ˘È‡†˙Âχ˘¢ ‰‡Â˘Ï†Ô¯ÎÈʉ†ÌÂȆÔÂȈφ˙ÈÎÂ˙†¨¢˙ȯÂËÒȉ†‰Ú˘¢ ˙‡†ÌÈÈ·†∫˯‡†Â‡È„Ȇ‰ÈÊÈÂÂψ¨ÚÂϘ†È˯҆ͯÂÚ†ȇӷ „ÂÚ†‰¯Â·‚Ï ˯҆¨¢ÏÂÒÈÁ†˙¯ÈÎÓ¢†ª®±ππ≤©†ß„†≤µ†¨˙ÈÓ˜†‰Ó¯„†¨¢¯Ë˜¢ ¨≤∞∞≤†Ï‡¯˘È©†¢ÈÏ˘†¯„Á‰¢†∫̉ÈÈ·†¨ÌÈ˯҆ȇӷ ±πππ≠Ó ¨¢‚·Ê¢†‰ÈÊÈÂÂÏˉ†˙¯„Ò·†ÌȘ¯Ù†ª®±ππ∂©†ß„†µ∞†¨È˙ÏÈÏÚ ¨ß„†≤≥†¨≤∞∞±†Ï‡¯˘È©†¢ÌȈȘ‰¢†¨®DigiBeta†¨ß„†µ ˙‡†ÌÈÈ·†ª®±πππ≠±ππ∂©†¢‰ÒÈÂÒ–È‚·È‡†Á¢Â„¢Â†¢ÒÂÙËÏÙ¢ ¨®DigiBeta†¨ß„†µµ†¨≤∞∞±†Ï‡¯˘È©†¢ÌÈÚ‚¯¢†¨®DigiBeta † ≤∞∞±†˙¯ÈÁ··†˜¯·†„‰‡†Ï˘†˙¯ÈÁ·‰†È¯È„˘˙ Æ®Beta sp†¨ß„†π†¨±πππ†Ï‡¯˘È©†¢ÌÈÈÓ‡φÌÈÁ¯Ê‡¢ ®±πππ©†¢ÌÈÈÓ˘Ó†ÔÓÈÒ¢†È‡ÏÂʇ†‰Ï‡È¯‡†Ï˘†‰È˯҆˙‡†Í¯Ú ˙ÂӇφ˙Ú‰†·˙η†·˙ÂΆ¢˙È˘ÙÂÁ‰†‰ÈÓ„˜‡¢·†¯·Á Æ®≤∞∞∞©†˙ÂӇφ‰Èψ¯‰†Ô‡ÈÊÂÓ†¨¢‰È¯ÂËÒȉ‰†Í‡ÏӢ ˙¯Â˘˜˙‰†ÛÒÂӷ†¢˜ËÓÈÒ¢‰†ÔÂ˙ÈÚ·†¨¢ÂÈ„ÂËÒ¢ ˙‡Ó†ËҘˆÈÙ–ÏÚ†¢˙¯Ù‡†È˜Á¯ÓÓ¢†ÙÈϘ‰†˙‡†Í¯Ú†ÌÈÈ· ¢Ò·ÂÏ‚¢†ÔÂ˙ÈÚ‰†Ï˘†¢‰Ó¯ÈÙ¢ ®≤∞∞∞©†‰ÈÈ˘‰†˙¢¯‰†¯Â·Ú†È¯Â˘ÈÓ†˙¯Ù‡†˙¯¯Â˘Ó‰ ˙ÂίÚ˙†¯Á·Ó ˙ÂίÚ˙ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†‰È¯Ï‚†¨¢Úˆ˜Ó†ÈÏÚ·¢ ≤∞∞∞ ¨ß„†±∂†¨Â‡È„Ȇ¨¢˙ÂϘ†¯˙È·†ËÏ˘†„ÎÂÏÓ†‡Ï†ÔÂÓ‰¢ ≤∞∞∞ Ï˘†˙ÂӇφÔ΢Ӊ†¨¢¯˜Ò·Èφȯ‡†ÌÚ†È˙·Î˘†È‡¢ ≤∞∞± ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜ ·È·‡†Ï˙†¨˙È˘ÙÂÁ‰†‰ÈÓ„˜‡‰ ‰È¯Ï‚†ª·È·‡†Ï˙†¨ÌÚ‰†˙È·†˙Èȯς†¨¢‰˘˜‰†„ȉ†„‚¢ ÌÁنχ†Ì‡†˙ÂÓ‡Ï ·È·‡†Ï˙†¨È·‡†ÔÂÎÓ†¨¢˙ÂÂÓ‰†˙‡†˙¢ÚÏ¢ †≤∞∞≤ ·È·‡†Ï˙†¨˙ÈÂÏÙ†‰È¯Ï‚†¨¢≤†ÔÂÏÒ¢ ı˘†¯ÈÓÊ È˜Ò‡ÈÓÂÙ†‰È¯Ó ·È·‡†Ï˙·†„·ÂÚ†¯¯Â‚˙Ó†Æ˙¯Î†ı·Ș·†„Ï ±π∂π ˙¯¯Â‚˙ӆƱππ±≠·†Ï‡¯˘Èφ‰¯·Ú†Æ‰·˜ÒÂÓ·†‰„Ï †±π∑± ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†˙ÂӇφ¯ÙÒ‰†˙È·†¯‚· ±πππ ·È·‡†Ï˙·†˙„·ÂÚ ‰·˜ÒÂÓ†¨˙ÂӇφ‰ÏÏÎÓ·†ÈÙ¯‚†·ÂˆÈÚφ‰˜ÏÁÓ·†ÌÈ„ÂÓÈÏ †±ππ∞≠±π∏∂ ˙ÂίÚ˙†¯Á·Ó ·ÂˆÈÚ†˙ÂӇφ‰ÈÓ„˜‡‰†¨˙ÂӇφ‰˜ÏÁÓ‰†˙¯‚· †±ππ∏ ˙ÂӇφ·È·‡†Ï˙†Ô‡ÈÊÂÓ†¨¢¥†Â‡È„Ȇ˙ÂÓ‡¢ ≤∞∞∞ ÌÈÏ˘Â¯È†¨Ï‡Ïˆ· ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢„Ȉ†˙ÂÓÂÏÁ†˙ˆÂ·˜¢ ˙ÂӇφ‰È¯Ï‚†ª·È·‡†Ï˙†¨ÌÚ‰†˙È·†˙ȯς†¨¢≥≥≠‰†‰˘‰¢ ≤∞∞± ˙ÂίÚ˙†¯Á·Ó ÌÁنχ†Ì‡ ·È·‡†Ï˙†¨¯˙Ò‡†Ïˆ‰È¯Ï‚†¨Â‡È„Ȇ·¯Ú ≤∞∞∞ ı·Ș†¨Ô˙˘ÂÁ†Èӯ†ȯ‡†˙È·†Ô‡ÈÊÂÓ†¨¢Red Something¢ ·È·‡ Ï˙ ¨±∂†Â˜†‰È¯Ï‚†¨¢ÌÂÈ†Ï˘†Â˜ÂÒÙ¢ ≤∞∞± ®„ÈÁÈ©†·˜ÚȆ˙„˘‡ ÌÈÏ˘Â¯È†¨Ï‡¯˘È†Ô‡ÈÊÂÓ†¨Ë¯‡–‡ȄȆ˙„·چ˙ίÚ˙ †®„ÈÁÈ©†·È·‡†Ï˙†¨„ÏÙʯ†‰È¯Ï‚†¨¢˙‡ӈډ†ÌÂÈ¢ ÊίӉ†¨Ë¯‡–‡ȄȆ˙„·چ˙ίÚ˙†¨¢ÌÈÈ·¯Â‡†ÌÈÒÂ˙ÈÓ¢ ®„ÈÁÈ©†‰ÙÈÁ†Ô‡ÈÊÂÓ†¨¢ÌÈ˘¯Ó¢ ÔÂÏÂÁ†¨˙ÈÏËÈ‚È„†˙ÂÓ‡Ï „¯Á†ÔÈÚ†¨˙ÂӇφÔ΢ӆ¨¢Ì‡†˙Ù˘¢ ≤∞∞≤ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢Û‡¢ ·È·‡†Ï˙†˜ËÓÈÒ†¨¢·È·‡˜Â„¢†Ï·ÈËÒÙ ≤∞∞≤ ‰‡È¯Â˜†Ì¯„†¨Âß‚‚‚†Ï˘†‰Ï‡È·‰ ¨¯˘ÈϘ†‰È¯Ï‚†¨˙ÈÏËÈ‚È„†˙ÂÓ‡†Ë˜È¯ن¨¢‡¯ÂÏÙÒ˜‡¢ ·È·‡†Ï˙ ∏†ı¯ڷ†Ô¯˜Â‰©†˙˜ى†Ô¯Â‚†˙ÈÓÚ†¨¢Ì˜Ӣ†Ë˜È¯٠®ÌÈϷ熉ÈÊÈÂÂÏË· 113 112 113 ÈÏ·È˘†Ì‡ÏÁ‡ ¯‰Ê†˙Ïȇ ‰ÙÈÁ·†˙„·ÂÚ†˙¯¯Â‚˙Ó†ÆÈÏ·È˘†¯Ù熉„Ï ±π∑∞ ·È·‡†Ï˙·†˙„·ÂÚ†˙¯¯Â‚˙ӆƷȷ‡†Ï˙·†‰„Ï ±πµ∏ ‰ËÈÒ¯·È‡‰†¨˙È҇Ϙ†˙ÂÓ‡·Â†‰È‚ÂχÈί‡·†Ô¢‡¯†¯‡Â˙ ±ππ≥ ÔÙȆ¨È˘Â¯†‰„‡¯‡‰†Ïˆ‡†‰ÈÙ¯‚ÈϘ†ÂÈ„†¯ÂȈ†È„ÂÓÈÏ ±π∏≤ ÌÈÏ˘Â¯È†¨˙ȯ·Ú‰ Ô¯˘‰†˙Ó¯†¨˙ÂӇφ‰˘¯„Ó‰†˙¯‚· ±π∏∂ ‰ÙÈÁ†˙ËÈÒ¯·È‡†¨˙ÈχȈÂÒ†‰„·ڷ†Ô¢‡¯†¯‡Â˙ ±ππ∂ ¨˙ȯ·Ú‰†‰ËÈÒ¯·È‡‰†¨‰ÈÒ‡†Á¯ÊӆȄÂÓÈÏ·†Ô¢‡¯†¯‡Â˙ ±ππ± ‰ÙÈÁ†¨·ÂˆÈÚφ‰„˜–¢ˆÈ†˙ÏÏÎÓ†¨ÌÂÏȈ†È„ÂÓÈÏ ±ππ∑ ÌÈÏ˘Â¯È †¨‰ÈÊÈÂÂψÚÂϘφ‚ÂÁ·†È˘†¯‡Â˙†˙‡¯˜Ï†˙„ÓÂÏ ‚Èß‚ÈÈ·†¨˙ÂӇφ˙ÈÊίӉ†‰ÈÓ„˜‡·†ÌÈ„ÂÓÈÏ ±ππ∂ ·È·‡†Ï˙†˙ËÈÒ¯·È‡ ®È˙¯ÂÒÓ†ÂÈ„†¯ÂȈφÂÈ„ÂËÒ© ·È·‡ Ï˙†˙ËÈÒ¯·È‡†¨˙¯ÙÒ‰†˙¯Â˙·†È˘†¯‡Â˙ ≤∞∞∞ ˙ÂίÚ˙†¯Á·Ó ª·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢ÌÈ¯Ú˘†‰Ú˘˙·†·Èχ҆Ȅ‡Â¢ ±πππ „ÈÁȆ˙ÂίÚ˙†¯Á·Ó ˙ÈÈËÒÏÙ‰†˙¢¯‰†¨‰Ïχӯ†¨˙Ù¯ˆ†˙·¯˙φÊίӉ†˙ȯς ·È·‡†Ï˙†¨˘ÂÏ˘†‰È¯Ï‚†¨¢ÈÏ‚ÂÓ†Ì˙΢ ±ππ∞ ®„ÈÁÈ© ˙ÂӇφÔ‡ÈÊÂÓ‰†¨¢‰„ÂÂÊӆȯÂȈ†‚ÂÙ–‚ÈÙ†˙ÂÁÏ¢¢ ±ππ≥ ª·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢¯ÎÂÓ†‡Ï¢ ≤∞∞∞ Ô‚†˙Ó¯†¨˙Èχ¯˘È ®„ÈÁÈ©†˙ÈÈËÒÏÙ‰†˙¢¯‰†¨‰Ïχӯ†¨ÏËӆχ†‰È¯Ï‚ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†‰È¯Ï‚†¨¢„ȯ·È‰¢ ±ππ∑ „¯Á†ÔÈÚ†¨˙ÂӇφÔ΢ӆ¨¢ÈÏ·‚¢ ≤∞∞± ·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨Â‡È„Ȇ·ˆÈÓ†¨¢‰Èˇ¯‡˜¢ ≤∞∞∞ ®„ÈÁÈ©†ÂÙȆ¨˙ÂӇφ‰È¯Ï‚†¯‚‰†¨¢Ì˜ÈÓ¢ ≤∞∞≤ „‰†ÔÈÚ†¨‡„‡„–˜ȆÔ‡ÈÊÂÓ†¨Ë¯‡–‡ȄȆ¨¢˙ÂÈ˘·†ÌÈ˷ȉ¢ ≤∞∞± ÂȘˆ¨‰Ê‡ÏÙ†‰È¯Ï‚†ª·È·‡†Ï˙†¨‰Ïȉ†˙Èȯς†¨¢‰È˙ÙÓ‡¢ ¨˙È¢ÎÚ†˙ÂӇφÔ‡ÈÊÂÓ‰†¨¢‰ÙÈÓ†ÂÓΆ˙Á˙Ù†‰¯Î‰†˙˙¢ Espace Auteuil - Place†¨ÌÈÓ‡‰†„ȯȆ¨¢˙ÈÙ¯ȇ†˙ÂÓ‡¢ ‚Èß‚ÈÈ· Êȯن¨de la Porte d’Auteuil ‰˘¯„Ó‰†Ï˘†‰È¯Ï‚‰†¨¯‡Ù†¨Â‡È„Ȇ·ˆÈÓ†¨“Apfelsine” ·È·‡†Ï˙·†˙ÂÓ‡Ï Ï˘Ù†‰‡¯„‡ ÌÏ˘†˙¯Ù‡ ÏÒȯ··†˙„·ÂÚ†˙¯¯Â‚˙ӆƉÈÓ¯‚†¨‚¯Â·Ó‡‰·†‰„Ï ±π∑∞ ·È·‡†Ï˙·†˙„·ÂÚ†˙¯¯Â‚˙ӆƷȷ‡†Ï˙·†‰„Ï ±π∑≤ ÔÈϯ··Â ‰ÈÓ„‰Â†Â‡È„ȆÌÂÏȈφ‰˜ÏÁÓ‰†¨˙ÂÈÈˈ‰·†˙¯‚· ±ππ∏ ‰Âψ¯·†¨˙ÂӇφ‰ÈÓ„˜‡·†ÌÈ„ÂÓÈÏ ±ππ∂≠±ππ¥ ÌÈÏ˘Â¯È†¨Ï‡Ïˆ·†·ÂˆÈÚφ˙ÂӇφ‰ÈÓ„˜‡‰†¨˙·˘ÁÂÓÓ ¨˙ÂӇφ‰ÈÓ„˜‡·†ÈÙ¯‚†·ÂˆÈÚφ‰˜ÏÁÓ·†ÌÈ„ÂÓÈÏ ±ππ∏≠±ππ∂ ‰ÈÓ„‰Â†Â‡È„ȆÌÂÏȈφ‰˜ÏÁÓ‰†¨¯˜ÁÓ†˙ÂÁÓ˙‰†˙˘ ±πππ ‰ÈÓ¯‚†¨Ì„ÒËÂÙ ÌÈÏ˘Â¯È†¨Ï‡Ïˆ·†·ÂˆÈÚφ˙ÂӇφ‰ÈÓ„˜‡‰†¨˙·˘ÁÂÓÓ ˙ËÈÒ¯·È‡†¨˙¯ÙÒ‰†˙¯Â˙φ‚ÂÁ·†È˘†¯‡Â˙†È„ÂÓÈÏ ≤∞∞∞ ˙ÂίÚ˙†¯Á·Ó ·È·‡†Ï˙ ®„ÈÁÈ©†‰Âψ¯·†¨ †‰È¯Ï‚†¨¢ÌÈÓÂ˘È¯Â†ÌȯÂȈ¢ ±ππµ ˙ËÈÒ¯·È‡†¨‰ÈÊÈÂÂψÚÂϘφ‚ÂÁ·†È˘†¯‡Â˙†È„ÂÓÈÏ ≤∞∞≤ Sala Almirall ·È·‡†Ï˙ ÔÈϯ·†¨Schadow-Haus†‰È¯Ï‚†¨¢¯ÈȈφ˙·ÈÒ¢ ±ππ∂ ®„ÈÁÈ©†ÔÈϯ·†¨ †‰È¯Ï‚†¨¢˙ÂÈ˘È‡¢ ±ππ∏ Berlintokyo ˙ÂίÚ˙†¯Á·Ó ÔÈϯ·†¨ÁÂ˙Ù†¯„Á†‰È¯Ï‚†¨¢„Á‡Ï†ÌÈÈ˙˘¢ ±πππ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢ÔÈϯ·–·È·‡†Ï˙¢ ≤∞∞∞ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†‰È¯Ï‚†¨¢·Á¯Ó†ÍÂ˙·†ÏÏÁ¢ ±ππ∏ ®„ÈÁÈ©†ÔÈϯ·†¨ †‰È¯Ï‚†¨¢˙ÂÈχ¯˘È†ÌÈÙ¢ ·È·‡†Ï˙†¨‰¯Â˜Ò·Â‡†‰¯Ó˜†‰È¯Ï‚†¨¢È„†˙Á‡†ÌÚÙ†„ÂÚ†˜¯¢ ±πππ Christof Weber ®„ÈÁÈ© ®„ÈÁÈ©†ÔÈϯ·†¨Aufsturz†‰È¯Ï‚†¨¢ÌÈȯÈÚ†ÌÈ˘‡¢ ÔÈϯ·†¨ †‰È¯Ï‚†¨¢¯ÁÓφÌÂȉӢ ®„ÈÁÈ©†·È·‡†Ï˙†¨Ï·†ÍȯÈȉ†Ô¯˜†¨¢¯ˆÁ†Ô‚¢ ≤∞∞∞ Haus des Lehrers ÌÈÏ˘Â¯È†¨Ï‡¯˘È†Ô‡ÈÊÂÓ†Ï˘†Â‡È„ȉ†˙ÈÎÂ˙ ≤∞∞± ·È·‡ Ï˙ ¨‡‚†‰È¯Ï‚†¨¢ÌÏ˘ÂÓ‰†‚Âʉ¢ ¨Ô·†¨Ifa†‰È¯Ï‚†ÌÚ†ÛÂ˙È˘·†Ô·†˜ËÓÈÒ†“Re-thinking” ‰ÈÓ¯‚ ÌÈÏ˘Â¯È†¨Ï‡¯˘È†Ô‡ÈÊÂÓ†¨¢ÌÈÈ„È¢ ˙ÂÓ‡†ıÈÈÈˢ†ÈÓÚ†¨¢ÏÂÓ˙‡†¨È˘†ÌÂÈ·†¨Ú·˘†ÈÙÏ¢
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